Red Gone Wild: Thee Album [Clean] [Edited]

Performer: Redman
Artist: Snoop Dogg; Method Man; Nate Dogg; Erick Sermon; Keith Murray
Engineer: Conrad Golding; Mike Koch; David Strickland; Dee Jay; James Czeiner; Justin Rossi; John Bender
Producer: Pete Rock; Adam Deitch; Rockwilder; Clark Kent; Erick Sermon; Scott Storch; Timbaland; Chris 'Max' Pinset; Da Mascot; Watts; Pete Rock; E3; Adam Deitch; Rockwilder; Clark Kent; Erick Sermon; Scott Storch; Timbaland
Distributor: Universal Distribution

Notes: Personnel: Wendisue Hall (vocals). Audio Mixer: Tommy Uzzo. Recording information: Gilla House Studios, New York, NY; Hit Factory Criteria, Miami, FL; L.i.t.e. Recording Studios, Long Island, NY; Mirror Image Recorders, New York, NY; Rock Box Studios, Nyack, NY; Sony Music Studios, New York, NY; Workshop, New York, NY. Photographers: Tai Linzie; Daniel Hastings. Seven years after MALPRACTICE, Reggie Noble returns in a fury with RED GONE WILD. Funkdoc's sixth album ranks among his best work thanks to hot production from Pete Rock, Timbaland, Eminem, Rockwilder, Scott Storch, and Erick Sermon, an eclectic group of guest MCs (including Saukrates, Runt Dog, Ready Roc, Icadon, GovMattic, Hurricane G, Snoop, Nate Dogg, Method Man, Keith Murray, Erick Sermon, and Biz Markie), Red's own clever wordplay, and the usual mix of hilarious skits which keep the record moving nicely. RED GONE WILD is everything its title promises with 23 banging tracks of blunt-fueled mayhem. Back once again with the ill behavior, Redman's Red Gone Wild: Thee Album is the kind of bumpy ice cream van ride through the ghetto that fans crave. The wit is there and as strong as ever with lines Kool Keith would salivate over like "I'm in my underwear like Damon Wayans in Colors" ("Pimp Nutz") or "My bitch be like 'damn, baby, wash your feet'/She say the hair on my chest look like taco meat" ("Sumtn 4 Urrbody") or a whole bunch of others that are way too nasty to repeat. Old friends like Def Squad kingpins Keith Murray and Erick Sermon are on the guest list along with a whole honor roll of old-schoolers who all feel as vital as ever. Producer Pete Rock brings a piano and horn banger to the album ("Gimme One"), Timbaland is more aggressive than usual with his beat ("Put It Down"), and Scott Storch mashes the Neptunes and Kraftwerk sounds with his inspired loops ("Freestyle Freestyle"), but as big and as diverse as the guest list is, the album hangs and flows effortlessly. It has everything to do with Red's bottomless bag of punch lines and his uplifting spirit, which could make you smile even as he's verbally cutting you to pieces. You could argue that the blaxploitation-flavored "Soopaman Luva" suite would be a better ending than the raw party starter "Suicide," but that's about it, unless you think party song followed by smoking song is redundant, which probably means you wouldn't enjoy any Redman album. That he's able to throw it back to the good old days after all this time, fame, and his ventures into other media just speaks to how much natural talent lives inside the man. How he makes it look so easy and backs up every outrageous claim of domination with whip-smart proof is nothing short of stunning. [The album was also released in a clean version.] ~ David Jeffries

Entertainment Weekly (p.71) - "[H]e's in fine form, spitting a string of mischievously witty quotables over grimy old-school samples..." -- Grade: B+ Vibe (p.130) - "[T]he Newark native effortlessly delivers a rare and fresh commodity: fun, unforced hip hop."

Discovered by EPMD's Erick Sermon in the early 1990s, rapper Redman quickly established himself as one of the most original and outrageous personalities in hip-hop. The man born Reggie Noble truly shook up the scene with his '92 debut, WHAT? THEE ALBUM--a torrential out-powering of blunted, schizophrenic party jams that looked to P-funk for grooves and the darkest sectors of the id for lyrical inspiration. A steady string of albums followed, as well as several "high"-profile collaborations on the big screen and in the studio with Method Man as hip-hop's answer to Cheech and Chong. While some critics derided Redman for losing his step in the early '00s, he returned strong on 2007's REDMAN GONE WILD.

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