Shaolin What (Skit)

Method Man · 4:21 The Day After [2006]

[Method Man]

I'm the bastard, the total package like Lex Luger

Pull a sting like a yellow jacket, makin manuever

through the slum nigga Iron Lung, ladies and gentlemen

Welcome to my torture chamber, pit and the pendulum

Foul play, T 2000 be "Judgement Day"

Face millenium - hell to pay

My knuckles soft from these Star Wars of Han Solo; southpaw

Ring your bell like it's Quasimodo - what is the law?

Stay hardcore my Clan logo, move to quik to catch a photo

Jettin on land like Jet Moto

Now we roll up on the conduit

These niggaz actin like they been through it;

as if they heart beat the truest

I +Can't Lose+ like +Parker Lewis+, set in my ways

Got you corny niggaz askin who is .. Johnny Blaze?

Get a late pass stankin-ass (ha) sucker ass

Now you sufferin like succotash (wha-what-what) while Johnny Cash

makin moves on your moneybag, I'm strip clubbin

Stickin hundreds in yo' honey ass; my brothers buggin

in the background, holdin me down, watchin these clowns

as they eyeball I pay it no mind - gettin high y'all

Look at the scaffold, the night tall

Rap infected get the Lysol, to disinfect it

You don't know me or my effin Method

That's the shit that made me ticked

When I throw the pitch, how many catch it?

Stapleton, the Wild West Park Hill

Port Richmond, Now Borne Jungle Nils

One mo' gaen - hit me with that SHIT they be smokin

Got Cali niggaz loc'n, New York niggaz open

John Jay phenomenon, the mega-bomb

Transformed into firearm (pow) like Megatron

You get stepped on and shit upon, I'm still calm

knowin brothers wanna do me harm - Shaolin what?



(Shaolin what, huh?) {*breaking glass*}

Y'all niggaz make room for daddy, for real

(Holla if you hear me)

We got love for those that got love for us

(Show your lust; your best bet is to roll with us)

Now go to your room (hang it up)

Shaolin What (Skit)

Method Man remains a defining voice of the Wu-Tang Clan, known for blending gritty street narratives with smooth, jazz-inflected flows. On the 2006 album 4:21 The Day After, he continues to explore the dynamic interplay between spoken word and musical composition that characterizes much of his discography. This track serves as a skit, a common device in hip-hop production used to bridge songs or establish a specific atmosphere within an album's narrative arc. While not a traditional verse-heavy recording, the piece reflects Method Man's commitment to crafting cohesive listening experiences. His work throughout the 2000s demonstrated a willingness to experiment with structure, ensuring that even brief interludes contributed meaningfully to the overall sonic identity of his projects.