If any rapper is worth getting pumped up for, if any rapper is worthy of your excitement, it has to be Reggie Noble, the Funk Doc, Soopaman Luva, better known as Redman. Many hip-hop artists tend to fall on the lethargic side of lazy during live performances (think head-bob and crotch-grab as the primary dance moves), but New Jersey’s Redman belies this generalization as one of hip-hop’s livelier acts.
This past summer, the Rock The Bells tour came to California. The show in San Francisco was an all-day festival with an outdoor stage, and Redman didn’t perform until after sunset. After a day of performances by Guru, MC Supernatural, Dead Prez, Zion-I, Q-Bert, Jean Grae, Andre Nickatina, Equipto, Raekwon and Ghostface — and a whole lot of sun — much of the crowd was beginning to disperse as Redman and Method Man took the stage. My brothers and I could barely stand after six-straight hours, but Red and Meth energized the crowd, climbing the speakers and swinging from the set as Redman quite literally “Let Da Monkey Out.” So don’t let his stoner persona fool you, Redman showed the Bay that he could get as hyphy as any rapper, instantly earning the audience’s respect.
Redman started his career off with the same vigor, on 1992’s Whut? Thee Album, after being discovered by EPMD. His first album is still one of his strongest, opening with “Time 4 Sum Aksion” and “So Ruff,” two songs that epitomize Redman’s funky, energetic style. He’s always been known for his sense of humor, and “How To Roll A Blunt” and “A Day of Sooperman Lover” demonstrate his one-of-a-kind storytelling ability. Red’s P-funk-influenced beats, hilarious wordplay and satirical tone made Whut? Thee Album one of the most memorable debuts in hip-hop, and earned Redman the title of Artist of the Year in 1993 (presented by the now-tarnished Source Magazine).
Redman’s subsequent release, Dare Iz a Darkside, is a much harder, less refined and seemingly more smoked-out effort. Those only familiar with Redman from his collaborations with Method Man both in music and on the big and small screen may want to steer clear, but while Darkside has less friendly, “single-quality” tracks, it is one of the rawest albums of a very raw decade, and showcases Red’s lyrical superiority just as much as Whut? did. Redman’s next few albums became progressively more commercial-friendly with his acting career the ultimate result, but he never forgot how to crank out a banger. Muddy Waters, released in 1996, provided us with the classic “Pick It Up,” as well as “Smoke Buddah” and “Whateva Man.” Doc’s Da Name 2000 was a hit-or-miss affair, but stayed true to Redman’s unique flavor with songs like “I’ll Bee Dat,” “Jersey Yo” and “Da Goodness.”
The release of Blackout, with Def Jam label mate and Wu-Tang Clansman Method Man, marked a new chapter in Red’s career. Redman has taken a slight mainstream turn (to put it nicely), and in the midst of a busy schedule — filming deodorant commercials, getting sitcom “Method and Red” canceled, and starring in a movie, “How High,” that isn’t funny no matter how much weed I smoke — he has only managed to release one album in the new millennium, 2001’s Malpractice. A somewhat disappointing and unoriginal (by his standards) release, one can expect to hear both “Diggy Doc” and “Muh-Fucka” this Friday at RIMAC.
While new material by Redman can be hard to find (his new album, Red Gone Wild is scheduled to drop later this year), we can forgive him due to the wealth of his older material. As soon as Red hits the stage, it should be easy to forget all of his acting efforts and simply appreciate the energetic effort put forth in his live performance, even if he is stoned, which he will be — and you should be too.
