By Odeisel

Redman has crafted one of the strongest solo catalogs in the history of Hip-Hop. His unique blend of comedy, hardcore aesthetic, brute force lyricism and wit has carved him the perfect non superstar status: big enough to matter on the music landscape, small enough to walk without security. At this stage in his career, he’s not the star he once was but there are still occasional flashes of that brilliance on his new album Reggie.

The album is a stark departure from Redman’s historically funk-driven sound. According to Redman, that departure is due to the album being about his Reggie Noble persona, much less thuggish and hardcore than Redman. He opens with the punch line driven “Intro” over pianist Abu Jamal’s classic “Swahililand,” made famous by De La’s “Stakes Is High.”

To replace the funk, Red employs synth on a large section of the album with mixed results. There are a few songs where Red shamelessly reaches out to the Jeezy/Ross crowd, “Lift It” and “Lights Go Off” are abysmal, both featuring elementary rhyme schemes and cliché production. A stop higher is “Where I Be” with DJ Kool ranting all over the track and Redman adopting the Drake/Big Sean pausing punch delivery.

There are no stellar guest spots on the album as they all either pull Redman down to Earth so that he doesn’t make them look bad, or the song itself isn’t too exciting. The former is the case on “Cheerz” featuring Ready Rock, who is just not a compelling rapper.  His basic couplet style delivery hampers the track as well as “Full Nelson” which features Runt Dog and Saukrates as well.

Method Man and Bun B fail to black “Lie 1 Up,” a track whose weak production elicits uninspired lien work and delivery from bother Redman and Method Man. Bun B fares better than the duo but not by much.

There are a couple surprises on the album. The Faith Evans appearance on Michael Jackson tribute “All I Do” features soft strings, maracas, a rolling bass line and a subtle electric guitar as Reggie tips his cap to the King of Pop. The piano-driven rhythm of “Let Me get 2” along with the angelic wail give a different feel that overcomes the pedestrian rhyme scheme.

“Mic Lights Camera Action” features a Redman trying to add some depth of content. Red introduces you to his life, relaying how he ducks in and out of the light, alternating between hype and anonymity, ghostwriting and producing behind the scenes. The balance of the song concerns itself with Obama’s election with Red as secret service and schooling up and coming rappers to the history of the music.

“Rockin With Da Best” features legendary Kool Moe Dee on the breaks over a sinister beat infused with all that Redman you know and love and his boomerang lines that touchdown, go a few lines and then come back to you. “Tiger Style Crane” features Redman hard-charging over a dirty beat; spitting lines and weaving though a track while throwing strong punches.

Reggie Noble is one of the most skilled emcees we have ever had. His album is not a reflection of that skill level and pales in comparison of his earlier work. The once sublime talent has fallen closer to the pack and it remains to be seen whether he still possesses the powers to dance with the wolves. Reggie doesn’t show enough evidence to affirm that. Perhaps Redman should return to rocking rough rhymes.

[pro-player width=’425′ height=’344′ type=’video’]http://www.youtube.com/watch?v=kFp2CK0D16k[/pro-player]

out of 5

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