Method Man has finally weighed in on the enigmatic Wu-Tang Clan project, Once Upon a Time in Shaolin, offering a candid assessment of the record that has long been shrouded in mystery and controversy. During a recent appearance on Pablo Torre Finds Out, which featured a listening session of the project, the legendary rapper provided his first public review of the music.
“I do not hate this album,” Method Man stated, acknowledging the quality of the production and the contributions of his groupmates. He specifically credited producer Cilvaringz for the beats, describing the record as a “valid piece of art.” However, his endorsement was not without reservations. The rapper noted that certain segments of the two-hour project felt overly long and suggested that the production style occasionally leaned too heavily into the signature sound of RZA. He admitted that he had not yet sat through the entire album in one sitting and expressed a desire for a more private, thorough listening experience.
Lingering Questions on the Rollout
Beyond the music itself, Method Man remains critical of the project’s unconventional rollout. He reiterated his long-standing frustration regarding how his own contributions were handled, noting that he was not fully informed of the project’s unique nature when he recorded his verses. He suggested that had he understood the scope and intent of the single-copy release, his involvement might have been more substantial.
These sentiments align with his previous comments from 2024, where he described the album as an “uncomfortable subject” for the group. He has consistently maintained that the members were essentially hired to record verses without being told they would be part of a high-stakes, one-of-a-kind art piece, leading him to view the final product more as a compilation than a cohesive group effort.
A History of Controversy
The saga of Once Upon a Time in Shaolin remains one of the most debated topics in hip-hop history. After being purchased by Martin Shkreli in 2015 and subsequently forfeited following his legal troubles, the album was sold by the Justice Department in 2021. The current owners, the art collective Pleasr, eventually acquired the project for $4 million. While the original terms of the sale prohibited a commercial release until 2103, Pleasr has since taken steps to make portions of the music accessible to fans, including a digital sampler released in 2024.
The conversation surrounding the album continues to evolve, further fueled by the recent release of the Netflix documentary The Disciple: A Wu-Tang Fable. Directed by Joanna Natasegara, the film explores the journey of the album from its inception to its current status, providing a deeper look at the creative and logistical challenges that defined this unprecedented project.
