(Editor’s Note: I first started reading Zilla Rocca‘s Rework the Angles series on Jeff Weiss’s blog and 1) loved the concept and 2) thought it aligned in spirit with the After Further Review series I’ve tried to mount. I reached out to Rocha about collaborating for a podcast where we combined our mutual interests in revisiting older albums and because of our crazy schedules, we ended up banging this out in print instead over the courses of several weeks. –O.W.)

Oliver Wang: Zilla, since you’re my guest here, I did the host-ly thing and let you pick what album we’d revisit. You chose Method Man’s 1998 album, Tical 2000. Why?

Zilla Rocca: I always like looking back on albums that were misunderstood or downright hated on arrival. That’s the case with Tical 2000 — it’s a victim of the late ’90s Music Industry Boom. CDs were moving millions every week, but CDs also gave artists too much time. There was no restraint in the CD heyday – 22 track albums with 75 minutes of playing time was the norm in rap back then.

The original Tical is a great cassette album: it’s muddy, it’s bass heavy, and it’s 13 songs long. That was ’94. By ’98, when Tical 2000 dropped, Def Jam was on fire, and Method Man was a super duper star. So when I revisit Tical 2000 now, I have to wade through literally TEN SKITS and countless wrong turns before I find an album worthy of Method Man’s talent. If you have some patience and rearrange the tracklisting, you’ll notice that Tical 2000 shows Method Man as one of the best emcees of 1998 (he was competing with Jay-Z, DMX, Big Pun, Canibus, Busta, Outkast,Black Star, etc)

Tical 2000 never comes up when discussing great Wu-Tang solo albums (and rightfully so), but when I cut it down to size, it’s a really devastating record. And enough time has passed for people to get over the disappointment or the bad experiences they had with it back then to just enjoy a great rap record by one of the most entertaining rappers of all time. Continue reading AFTER FURTHER REVIEW + REWORK THE ANGLES: TICAL 2000


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The Disco Four: Move To The Groove (Enjoy, 1980, 12″)

At some point, I bought into some bullshit logic that “only hip-hop after 1986 is good” and when I finally dropped that childish belief, I finally got to enjoy, uh, the Enjoy catalog in all its disco rap glory. I can only assume that’s Pumpkin on the drums (undersung beat baron of this era).

365 Days of Soul, #145


Zion I: Human Being (Live Up, 2012, Shadowboxing)

At a certain point, Zion I landed on this blend between classic Bay Area lyricism and a heavy electronic production style (maybe around the time of True and Livin’?) and that’s helped fuel an impressive longevity by any token. Seeing these guys still do their damn thing gives me faith in humanity (and their tastes).

365 Days of Soul, #106


Threat Sickinnahead 1993

Threat: PDK (Mercury, 1993, Sickinnahead)

Threat should have been bigger, especially when he was being mentored by Ice Cube and King Tee and had DJ Pooh and Bobcat doing beats for him (Pooh does “PDK” for example). Heck, they even filmed a short documentary about the album. Alas, maybe if he had been a year earlier, this would have gotten a stronger run but in ’93 it was about Dre and Snoop and folks like Threat and Kam were unlikely to get the attention they might have otherwise.

Meanwhile, this is post #100 of the 365 Days of Soul series. To be candid, it has felt like a chore even though it’s been a great excuse to relisten to a slew of stuff. I don’t do this often but if you’ve been enjoying the first 100 days and want to show some appreciation, please consider copping Let It Whirl if you haven’t already or simply send in a modest donation. Thanks!

365 Days of Soul, #100