Method Man and Redman's Blackout 2: A Review

After a far too long, ten years to be exact, Method Man and Redman are back together again as if it's the first time. Matching the unadulterated zeal and enthusiasm for hip-hop, Blackout 2 brings the same infectious beats and hard-hitting rhymes as its predecessor. Production is handled by many of the original beatsmiths: Erick Sermon, Rockwilder, and Redman himself, as well as Havoc, Pete Rock, Bink, and others. The veterans play off each other effortlessly, as if they are trying to outdo each other in chemistry and charisma as well as lyrics.

The wordplay of Dangerous MCees is less impressive than the Ghostface and Raekwon featured Four Minutes to Lock Down, which recalls older Wu-Tang highlights with its rambunctious lyrics and instrumental. But both Dangerous MCees and Four Minutes to Lock Down, much like the rest of the album, are more lyrically impressive than most records released from any region in the last few years. It's also clear that they're having fun, and it's only when they've been having fun with the music that they've made their strongest music as solo artists. Ms. International is hilarious and A-Yo, I'm Dope N----, Errbody Scream, and Hey Zulu would have been fine additions to either artist's earlier classic work.

Guests are all worthy emcees, largely family: Keith Murray of Def Squad on Errbody Scream, and the aforementioned Wu-Tang Clansmen; Bun B also turns in an appearance on the excellent City Lights. And all dazzle with their wordplay, as much as the two stars. That's refreshing, and indicative of the fact that there's no compromise here. There's no T-Pain, no Akon, no Lil Wayne, no overreliance on the vocoder. This is pure East Coast hip-hop at its strongest since the pre-Get Rich or Die Trying(read review) G-Unit mixtapes.

There's nothing especially deep or meaningful here, but no one familiar with either artists work should expect that. Rather this album is a throwback to those days when a classic record was sixty minutes of pure rhyming, rather than social commentary or gangster/hustler posturing. It's great that this element of hip-hop is returning to prevalence, through recent releases from Lil Wayne and Eminem and now Method Man & Redman. It's an underground album that's good enough to crossover, but if it doesn't enjoy the success it deserves, then at least take pleasure in the experience. Here's to hoping there's not another long lapse before the follow up.