Filling this month’s slot for gravely under-promoted Def Jam release from an established superstar comes Red Gond Wild: Thee Album, the oft-delayed sixth solo studio album from Brick City’s favorite son, Redman. Originally slated for a 2004 release, Red Gond Wild finds the Jersey native offering his first album since mixed critical success, 2001’s Malpractice. Since then, Redman appeared in his own feature film, television show, and “Gilla House” mixtape series. Following a brief hiatus, his guest verse on Ghostface’s end-of-2006 “More Fish” compilation showcased a certain return to form. Despite this performance, the album remains both formless and uninspired.

Boasting a collection of guest spots from frequent collaborators Keith Murray, Biz Markie and Method Man, with production from both trusted associates Erick Sermon and Rockwilder, as well as feuding hitmakers Timbaland and Scott Storch, the final product seems to be little more than a feeble grab-bag; this from someone who spent the early part of his career making albums that managed to be well-crafted while simultaneously retaining the endearing recklessness of Redman’s ‘Funk Dokta Spock’ persona. While there exist some inklings of a cohesive order to what unfolds, too many Red Gond Wild moments seem not only contrived and predictable, but fully overproduced. This is clear from the opening song, “Fire” (produced by E3), a paint-by-numbers comeback track that is not only painfully unfunny, but can’t decide if it wants to relax the listener or force an indifferent listening public to pay attention. THIS from the man who once made “whatever, man” a catchphrase in the Hip-Hop lexicon! Couple those flaws with the fact that it opens the album with a whimpering declaration “Welcome to the Red Gone Wild show” and you have one of the most underwhelming opening tracks in years.

Fortunately, “Bak in da Buildin’,” “Put it Down” (produced by Timbaland) and “Gimmie One” (produced by Pete Rock) do hit far closer to the mark. While he doesn’t quite recapture the same tenacity displayed on 2004’s aborted first single and mixtape favorite “Da Countdown,” Redman manages to make both his disdain for Def Jam apparent, as well as express as much of his blissful obnoxious sneer through the filter of production designed for un-intrusive urban-pop radio.

It’s the moments like the aforementioned, as well as efforts with longtime collaborator fellow-Def Squad member Erick Sermon that truly work. On such occasions, Redman seems hungry, witty and reckless as ever. But with these moments being the album’s exceptions, it relegates the majority of the albums tracks to either the filler, or puzzlingly misguided piles.

Perhaps the album’s greatest flaw is Redman’s struggle to keep the release relevant to 2007’s hip hop climate. As someone who believes that great music is truly timeless, I have to remain a realist when attempting to enjoy this release in the genre’s present-day musical spectrum. In comparison to the equally delayed 2006 Clipse album Hell Hath No Fury, the group at least made the effort to let the album grow within each pushed-back release date. Red Gond Wild seems not only rushed, but references to such past-their-prime topics as The Green Mile and Malibu’s Most Wanted trap it in the vacuum of 2004, where at least then it would be regarded as a snapshot of the time instead of a too-little too-late offering. Redman seems to be someone aware of his losing battle with father time, only he goes about reconciling his chronic-loving persona with a 15+ year career by filling the album with extensive references to “hanging out at college dorms.” The result not only comes off as pandering to a niche audience (who, judging from recent RIAA lawsuits isn’t purchasing records today as it is) but paints Redman as the Def Jam frat house’s 30-year-old alumni who ignores the alcoholism ruining his life by pretending he’s in college.

The album closes with the best Snoop guest verse in years and easily the most enjoyable installment of his “Soopaman Luva” series since 1996’s Muddy Waters. Yet, such an enjoyable ending only perpetuates how bad the albums lesser moments truly are.

Having established himself as the only non-Prince Paul produced artist with skits worth listening to, only “Mr. Ice Cream Man” remains entertaining upon second listen. With such a key part of his character compromised, Red Gond Wild seems less of a return and more of a spring cleaning. While it is a better listen than 2001’s Malpractice, the fact remains that the Redman loyalists followed for years has always been “wild,” and the MC heard here is a shell-of-a-shell of his former self. Hopefully the forthcoming Muddy Waters II, supposedly produced entirely by Erick Sermon, will see Eminem’s favorite rapper truly go wild again.

by Chaz Kangas

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