All I Need (Remix) Lyrics

[Chorus: Mary J. Blige & Notorious B.I.G.]
You're all, I need
Lie together, cry together
I swear to God I hope we fucking die together

To get by
You're all, I need
Lie together, cry together
I swear to God I hope we fucking die together

To get by

[Verse 1: Method Man]
Shorty I'm there for you anytime you need me
For real girl, it's me in your world, believe me
Nothing make a man feel better than a woman
Queen with a crown that be down for whatever
There are few things that's forever, my lady
We can make war or make babies
Back when I was nothing
You made a brother feel like he was something
That's why I'm with you to this day boo, no fronting
Even when the skies were gray
You would rub me on my back and say, "Baby it'll be okay"
Now that's real to a brother like me, baby
Never ever give my cootie away and keep it tight aight
And I'ma walk these dogs so we can live
In a fat-ass crib with thousands of kids
Word life, you don't need a ring to be my wife
Just be there for me and I'ma make sure we be
Living in the effin' lap of luxury
I'm realizing that you didn't have to funk with me
But you did, now I'm going all out kid
And I got mad love to give, you my nigga
[Chorus: Mary J. Blige & Notorious B.I.G.]
You're all, I need
To get by
You're all, I need
Lie together, cry together
I swear to God I hope we fucking die together

To get by

[Interlude: Mary J. Blige]
Like sweet morning dew
I took one look at you
And it was plain to see
You were my destiny
With you I'll spend my time
I'll dedicate my life, I'll sacrifice for you
Dedicate my life to you


[Verse 2: Method Man]
I got a Love Jones for your body and your skin tone
Five minutes alone, I'm already on the bone
Plus I love the fact you got a mind of your own
No need to shop around you got the good stuff at home
Even if I'm locked up North you in the world
Wrapped in three-fourths of cloth never showing your stuff off, boo
It be true me for you, that's how it is
I be your Noah, you be my Wiz
I'm your mister, you my misses with hugs and kisses
Valentine cards and birthday wishes, please
We on another level of planning, of understanding
The bond between man and woman, and child
The highest elevation 'cause we above
All that romance crap, just show your love
[Chorus: Mary J. Blige and Notorious B.I.G.]
You're all, I need
Lie together, cry together
I swear to God I hope we fucking die together

To get by
You're all, I need
Lie together, cry together
I swear to God I hope we fucking die together

To get by

[Outro: Method Man and Mary J. Blige]
Suck on these
Cheeba cheeba y'all, and you don't stop
Yeah yeah, cootie in the, Tical
Cheeba cheeba y'all, and you don't stop
Yeah yeah, cootie in the chair, Tical
Cheeba cheeba y'all, and you don't stop
Yeah yeah, cootie in the chair, Tical
Mary J. raw, and Meth-Tical
Like sweet morning dew
Yeah yeah
I took one look at you
Cootie in the chair, Tical
And it was plain to see
Cheeba cheeba y'all
You were my destiny, baby
Cheeba cheeba y'all
Cheeba cheeba y'all, bring it on, yeah
What's that shit that they be smoking
No romance without finance for now
Baby, please, '95
Ticallion Stallion, ha ha, ha ha
Man woman and child, yeah

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About

Genius Annotation

The remix of “All I Need” finds Method Man rapping about how much he loves his woman. Combined with Mary J. Blige’s powerful verse and chorus that also chronicles shared love for her man.

Meth and Blige won Best Rap Performance by Duo or Group at the 1996 Grammys with this track.

Mary J. Blige holding the Grammy award she received

This song samples and interpolates Marvin Gaye & Tammi Terrel’s “You’re All I Need to Get By”.

Q&A

Find answers to frequently asked questions about the song and explore its deeper meaning

What did Method Man say about "All I Need (Remix)"?
Genius Answer

Meth told Complex,

Wonderful story behind [the record]. I was recording my album on the road and we lived in San Francisco for about three weeks. We had little apartments out there. Being out on the road so long, I was missing my girl so I used my money and flew her out.

Me and RZA had joining rooms. So he’s in there making the ‘All I Need’ beat and I swear on everything I love I wrote that record right there while she was laying next to me, asleep in the bed. I hadn’t seen her in a month and I was just so happy to see her. I wrote the record, recorded the record, and wrote the hook. That’s why the original is on there like that.

After Def Jam pops off with the album and ‘Bring The Pain’ was big, they wanted me to do ‘All I Need’ as the second single. [I said], ‘No, no, no! I won’t do ‘All I Need’ as the second single.’ RZA agreed. He said we were gonna do, ‘Release Yo Delf.’ I didn’t want to do ‘Release Yo Delf.’ RZA picked that [as the second single]. I don’t even do the shit at my shows but this Smokers Club tour, I’m gonna do it.

We go and do the ‘Release Yo Delf’ video that Steve Carr shot. I was mad at him because I didn’t like the look and the feel of the video. It was like he was trying to recreate ‘Method Man,’ and that wasn’t gonna happen. Then the ‘All I Need’ shit pops up again.

Lyor Cohen, Kevin Liles, and people in the office were like, ‘You need to pop off with this record.’ This time they had RZA down with it. I’m playing with them so I’m like, ‘I’m gonna need some money to do this record.’ [They asked], ‘What do you need?’ and I said a new Lexus. I was just playing, I had a car already. But they shelled it out.

Russell or Lyor had the brilliant idea to get Mary on the song. But to get Mary, you gotta go through Puffy. So now here comes the dilemma: RZA’s a producer and Puffy’s a producer. Puff wants to do his version and RZA want to do the track too. So what do we do here? How do we compromise?

Man, I must’ve went in there and did four different versions of ‘All I Need,’ Same beats but different verses. The Puffy one and the RZA one sound completely different and the original sounds completely different than both of them.

When we did it, it was just me, Mary, and Puff. I was spitting blood during the recording of the ‘All I Need (Remix).’ [Going in the studio with Mary], I was having all these fucking tooth aches. Right after I came out the dentist office, numbed up and everything, I went to CVS, got my pain killers prescription, went up in the studio, and was spitting blood in-between takes.

I remember the first time I met Mary. I got invited to Biggie’s gold party at the Roseland Ballroom. They got footage of that on YouTube. I had the big afro and the brown leather coat, we was bums. We ain’t give a fuck. [That’s] Staten Island for you. I met Mary that night and she told me she wakes up to ‘Bring The Pain’ every goddamn day. I was like, ‘Well shit, I love the shit out of Mary J. Blige!’ She ain’t have to say that shit to me.

That shit was bananas because when it dropped. When we was coming up, when all that club shit was popping, if you couldn’t dance and wasn’t on your pretty boy shit, them chicks was not fucking with you. I hate pretty boys. Pretty boys got this obnoxiousness about them. It make you want to beat the pretty off them, like scar them up or something.

I felt that song was putting me in that light. What I didn’t realize was, niggas was respecting that song as well as chicks was. The way I presented that song didn’t feel like a love song. Plus, with me in the background saying, ‘It ain’t a love song!’ trying to beat that in people’s heads helped.

We coming in the same vain as Snoop Dogg when he said, ‘We don’t love these hoes.’ Yeah, we don’t love ’em either! Niggas could be like, ‘Fuck that bitch! Fuck that hoe!’ but in the back is his baby moms or his wife that he treats with the utmost fucking respect. We don’t treat every chick like that. Nobody wants to be treated like that, but the ones that act the part—hey, if it’s a fucking spade I’m gonna call it a spade. And if nobody holds our black women high, I do.

I remember the phone calls and getting called up to the office. I watched how we started from doing college tours to bars to theaters to outside venue festivals to arenas off this one fucking record.

Another thing I realized, at first there were nothing but grimy niggas at my shows. Once that record dropped, it was blond hair and silver outfits all in the front! There were a bunch of little Mary J. Blige’s running all through the damn party.

Then we got the Grammy. That was cool. Mary got a few after that but I got that one. I am very proud of that award. It was Mary’s first too, so I can always say I was her first.

At the end of the day, we got the record done. Puffy was happy, RZA was happy, people that got it were happy, and Lyor sat back with his cigar like, ‘See, I told you! You should’ve done this record when I told you to. You would’ve been outta here!’”

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