11. Reggie (2010)

Reggie feels like Redman stumbling through a phase, trying to figure out where he fits. The album’s concept—introducing Reggie Noble as an alter ego—sounds better on paper than it plays out. Most of the tracks don’t live up to that idea, and some of the decisions, like using Auto-Tune, land flat. It’s a bold choice for Redman, but it doesn’t quite mesh with the rest of the vibe.

That said, there are moments where the real Redman shines through. The humor, the raw energy, and that sharp delivery are all present, even when the beats and concepts don’t hit the mark. “Tiger Style Crane” stands out as a classic Redman joint, bringing some much-needed fire to the end of the album. Unfortunately, Reggie overall feels like an obligatory project—something to wrap up a chapter before moving on to something bigger. It’s a bit of a misstep in the catalog, but still a glimpse of the character fans know. | 5/10

10. Mudface (2015)

Redman’s Mudface is like a snapshot, a quick jolt of energy with some highs and a few forgettable lows. At just 35 minutes, the project’s brevity leaves a lot to be desired, especially when you consider his past work, which often ran longer and dug deeper. But that doesn’t mean it’s without merit—Redman’s sense of humor, charisma, and lyrical prowess still shine through.

The vibe is rooted in that classic boom-bap, with a few tracks that feel like they’re nodding to older styles. Tracks like “Bars” are hard-hitting, with Redman coming through with sharp lines and his signature delivery. That’s the Redman fans know and love—the one who’s quick to jab at the industry and throw in a few personal reflections. But then, you hit tracks like “Getting’ Inside” and “Go Hard,” where the energy dips and you’re left wondering if the effort is there. There’s no doubt he’s still capable of greatness, but the consistency just isn’t there across the board.

A project like Mudface has the feel of an in-between, something to keep fans engaged while they wait for the next big thing. It’s entertaining at times, but you can’t shake the feeling it’s not quite the full Redman experience. | 6/10

9. Malpractice (2001)

Malpractice hits in 2001, and while Redman still brings his usual energy and sharp lyricism, there’s a sense of repetition here. The album’s production, mostly handled by Erick Sermon, feels too familiar, relying on the same old tricks that worked in the past but don’t bring anything new to the table. Redman’s flow is on point as always, but at times it feels like he’s coasting, recycling themes and styles we’ve heard before.

The guest features, including Method Man, George Clinton, and Missy Elliott, bring some spice, but even they can’t mask the lack of evolution in Redman’s approach. Tracks like “Let’s Get Dirty” stand out, but overall, the album doesn’t offer much that feels fresh.

A bigger issue this time around is the skits. While they’re funny the first time through, they quickly become a nuisance on repeated listens. They interrupt the flow of the album, breaking the momentum and pulling you out of the vibe Redman works hard to set. The humor, which once felt spontaneous and fun, starts to feel forced, making the skits feel like more of a chore than a treat.

Malpractice isn’t a bad album, but it’s hard to shake the feeling that Redman could’ve done more, especially by now in his career. The lack of growth and those overdone skits keep it from reaching its full potential. | 6.5/10

8. Blackout! 2 (w/ Method Man) (2009)

Blackout! 2 brings Method Man and Redman back together after a decade, proving their chemistry hasn’t dulled with time. The album thrives on their natural rapport, blending humor, braggadocio, and pure lyricism over production that pulls from both their roots and the era’s trends. It’s a record that balances high-energy cuts with a laid-back vibe, reminding fans of their unique dynamic without hitting the highs of the original Blackout!.

Tracks like “A-Yo,” powered by Pete Rock’s soulful, loop-heavy production, set the bar early, with Method and Red effortlessly trading lines over a lush beat. “Dangerous MCees,” with Erick Sermon behind the boards, leans on funk-driven minimalism, giving the duo plenty of space to flex their intricate flows. Redman’s wild charisma pairs with Method Man’s grittier delivery to keep things engaging, whether they’re indulging in weed-fueled humor or chest-thumping bravado.

That said, the second half of the album drifts into uneven territory. Songs like “I Know Sumptn” feel out of place, leaning on Auto-Tune and polished hooks that clash with the gritty energy established earlier. Meanwhile, “City Lights,” featuring Bun B, bridges eras with its hypnotic Southern drawl, showing how the duo adapts to newer sounds without fully stepping out of their lane.

The standout moments lie in tracks like “Four Minutes to Lock Down,” where Raekwon and Ghostface join for a lyrical Shaolin assault, anchoring the album’s more chaotic stretches. While Blackout! 2 doesn’t surpass its predecessor, it delivers an entertaining ride through sharp rhymes, bold personalities, and an unmistakable partnership that still shines. | 7/10

7. Red Gone Wild: Thee Album (2007)

After a six-year hiatus, Red Gone Wild: Thee Album felt like a homecoming for Redman, but one that leans heavily on nostalgia. By 2007, Red was no longer a dominant force in mainstream Hip Hop, but his eccentric energy and irreverent style were still intact. The album’s structure is sprawling—74 minutes packed with sharp punchlines, absurd humor, and the chaotic funk Redman fans know well. However, this length turns into a double-edged sword, as fatigue sets in before the final stretch.

Tracks like “Put It Down” (with Timbaland’s driving production) and “How U Like Dat” shine bright, showing Red’s ability to move with the times without abandoning his signature grit. The Method Man collaboration “Merry Jane” delivers a nostalgic spark, though it doesn’t hit the highs of their earlier classics. “Freestyle Freestyle” has Scott Storch blending funk with futuristic loops, offering Redman a playground to bounce his lines off effortlessly. On the other hand, weaker cuts like “Gimme One” stumble despite Pete Rock’s involvement, leaving Redman unable to elevate them. Guest appearances from Erick Sermon, Snoop Dogg, and Nate Dogg feel surprisingly underwhelming, while lesser-known collaborators bring unexpected vitality.

The album’s production roster is ambitious but inconsistent, pulling Redman between funky chaos and a polished, radio-ready sound. While the humor and lyrical acrobatics keep the vibe alive, the album could’ve benefited from a tighter focus. Despite its flaws, Red Gone Wild is a love letter to Redman’s roots, satisfying longtime fans but unlikely to win over new ones. | 7/10

6. Doc’s Da Name 2000 (1998)

By the time Doc’s Da Name 2000 hit shelves, Redman had already proven himself as one of the sharpest, funniest, and most versatile voices in Hip Hop. Coming off a flawless three-album streak, expectations were sky-high. While Doc’s Da Name 2000 delivered some undeniable highlights and became his first platinum album, it didn’t quite hit the mark set by its predecessors.

The production, mostly helmed by Erick Sermon, leans on the signature funk-heavy beats that pair so well with Red’s energetic delivery. Tracks like “Da Goodness” (featuring Busta Rhymes) showcase a minimal, futuristic sound where Redman effortlessly flips between humor and braggadocio. “I’ll Bee Dat” is another standout, with its playful swagger riding a Rockwilder beat that practically screams late-’90s Def Squad dominance. Meanwhile, cuts like “Jersey Yo!” and the posse-filled “Cloze Ya Doorz” maintain that rough Newark edge, mixing gritty storytelling with Redman’s trademark wit.

But where the album falters is its length and pacing. Clocking in at 24 tracks, it’s weighed down by an overabundance of skits. Redman’s love for skits has always been a double-edged sword—at their best, they add humor and personality; at their worst, they derail the momentum. On Doc’s Da Name 2000, the latter often applies. Tracks that should hit harder feel buried under interruptions that don’t add much to the experience.

Still, the album has its moments of brilliance. Redman’s wordplay remains top-tier, and tracks like “Down South Funk” and “Beet Drop” highlight his knack for experimenting with sound. While not his strongest effort, Doc’s Da Name 2000 reflects Redman’s charisma and humor—even if the excess takes away from its impact. | 7/10

5. Blackout! (w/Method Man) (1999)

Redman and Method Man, two of Hip Hop’s most distinct personalities, came together in 1999 with raw and electric energy for this dope collabo. Built on Erick Sermon’s bass-heavy funk and tinged with touches of Wu-Tang’s signature eeriness courtesy of RZA, the album blends irreverent humor and hard-edged lyricism into an hour of banging Hip Hop.

The synergy between these two emcees was undeniable. Method Man brought his laid-back, slithering flow, sounding like he rolled straight out of a blunt smoke-filled haze, while Redman countered with his rowdy, off-the-wall delivery that smashed through every beat like a wrecking ball. It’s a dynamic that runs through the album’s core, keeping the energy consistent whether they’re throwing playful jabs at each other or delivering absurd punchlines.

Of course, Blackout! wouldn’t be what it is without the unforgettable production. Tracks like “Da Rockwilder” (arguably their biggest hit) pack a futuristic punch with its stripped-down, synth-driven beat, while songs like “Cereal Killer” lean into haunting grooves that balance Meth’s calm menace with Red’s comedic insanity. Erick Sermon’s funk-driven beats anchor much of the project, giving the duo room to bounce their wild personalities off each other without losing control of the chaos.

Even with all the humor and weed-soaked antics, there’s a gritty edge here. The chemistry feels effortless but tight, with Redman and Method Man consistently trading bars in a way that keeps listeners engaged. While tracks like “Run 4 Cover” stumble slightly, most of the album sticks to what the duo does best—melding wit and wordplay with undeniable charisma.

Blackout! is pure fun—two legends wilding out without overthinking the process. It’s loud, unpolished, and unapologetic, and that’s exactly what makes it timeless. | 7.5/10

4. Muddy Waters Too (2024)

Redman’s Muddy Waters Too is a triumphant return for the Brick City legend, dropping nearly three decades after his classic 1996 album Muddy Waters. For many, that original LP remains his magnum opus—a gritty, funk-fueled showcase of charisma, humor, and bars. To see Redman come so close to matching it after almost 30 years is nothing short of remarkable. At 32 tracks and 80 minutes, this project is massive, yet it never drags—a rarity in today’s EP-dominated landscape. Redman bucks the trend of brevity and delivers quality and quantity, giving us a proper full-length experience.

From the jump, Funk Doc Spock sounds energized, confident, and in top form. His humor, wordplay, and wit are as sharp as ever, while his flow feels timeless. Whether it’s the hard-hitting opener “Da Fuck Goin’ On?”, the soulful Jersey anthem “Don’t You Miss,” or the stoner-friendly “Kush” with Snoop Dogg, Redman navigates a range of moods without missing a beat. Tracks like “Lite It Up,” an epic posse cut featuring Queen Latifah, Naughty by Nature, Rah Digga, and more, underline his dedication to the culture.

Despite a lineup of producers—Erick Sermon, Rockwilder, Khrysis, Rick Rock, and Redman himself, among others—the album feels surprisingly cohesive. The beats balance classic boom bap with modern touches, creating a gritty yet polished soundscape. Highlights like “Dynomite” with Sheek Louch and “Pop da Trunk” show Red’s versatility, shifting between funky, hardcore, and even trap-inspired beats with ease.

Redman’s infamous love of skits is present but doesn’t interrupt the flow too much, making the album more enjoyable as a whole. This year saw plenty of veterans drop strong projects, but Muddy Waters Too is the standout. Redman proves he can still hang with the best, delivering a long-awaited sequel that’s fun, consistent, and deeply rooted in Hip Hop. For those craving an album with personality, humor, and bars galore, this is a must-listen. Props to Reggie Noble for showing us all how it’s done. | 8.5/10

3. Whut? Thee Album (1992)

Redman’s Whut? Thee Album is the kind of debut that feels less like a starting point and more like an explosion. From the opening track, it’s clear that Redman wasn’t coming into Hip Hop quietly—this was loud, funky, and straight out of a smoky basement. Produced largely by EPMD’s Erick Sermon, the album leans heavily on P-Funk-inspired beats, thick basslines, and raw energy, blending a chaotic party vibe with razor-sharp lyricism.

Tracks like “Time 4 Sum Aksion” and “Tonight’s Da Night” are standouts, with their infectious grooves and Redman’s charismatic delivery. His ability to switch from streetwise punchlines to outlandish humor—sometimes within the same verse—keeps you on your toes. Whether he’s trading verses with his alter ego on “Redman Meets Reggie Noble” or clowning around on “How to Roll a Blunt,” his personality is impossible to ignore. It’s brash and confident, but not without moments of self-awareness.

What sets Whut? Thee Album apart is its commitment to unpredictability. Skits like “Psycho Ward” and “Sooper Luver Interview” don’t feel like filler; they add layers to the world Redman builds across the album. Even the storytelling, like on “A Day of Sooperman Lover,” feels larger than life, filled with absurd humor and funk-laden transitions that hit you from all sides.

Erick Sermon’s production deserves as much credit as Redman’s rhymes. The beats hit hard, drawing from Zapp, Parliament, and other funk legends, with grooves that stick to your ribs. Tracks like “Rated R” and “Watch Yo Nuggets” bring an aggressive, head-nodding energy, while others like “Blow Your Mind” offer a laid-back but still potent vibe. The sound isn’t clean or polished—it’s raw and gritty, which works perfectly for Redman’s unfiltered style.

For all its wild energy and humor, the album doesn’t lose focus. It’s cohesive, consistently entertaining, and packed with replay value. Whether you’re here for the punchlines, the funk, or the party anthems, Whut? Thee Album delivers it all with swagger and creativity. Over three decades later, it still feels alive, proof of Redman’s great presence and talent. | 8.5/10

2. Dare Iz a Darkside (1994)

Dare Iz A Darkside is an outlier in Redman’s catalog, a sinister, funk-drenched ride that sees Reggie Noble at his most chaotic and unfiltered. While his debut, Whut? Thee Album, laid the foundation for his wild charisma, and Muddy Waters brought more polish, this sophomore effort is something else entirely—dark, gritty, and drenched in an eerie P-Funk influence. It’s well-documented that Redman himself doesn’t care for this album, citing a bad headspace during its creation, and he rarely performs tracks from it live. That detachment, though, is part of what gives the record its raw, unsettling edge.

The funk here isn’t the playful, bouncy variety you’d expect from a Funkadelic disciple—it’s murky, aggressive, and borderline menacing. Erick Sermon’s production reaches a feverish intensity, layering heavy basslines and sparse, atmospheric loops that make every track feel like it’s creeping out of a basement in Newark. Tracks like “Bobyahed2dis” and “Wuditlooklike” stomp with a hypnotic weight, grounding Redman’s off-the-wall antics in beats that feel more like blunt instruments than polished backdrops. Even the album’s cover, a direct nod to Funkadelic’s Maggot Brain, signals how deeply Redman leaned into that psychedelic, chaotic energy.

Lyrically, Redman is both deranged and razor-sharp, careening through verses with his trademark wit and rugged confidence. On tracks like “Can’t Wait,” he drops punchlines with ease, delivering bars like “Switchin’ speeds like Bruce Lee ridin’ a Fuji, in a movie” with a smirk audible in his delivery. At the same time, his gruff tone and occasional plodding vocal patterns make the album feel deliberately oppressive, less concerned with accessibility than with pulling listeners into his warped funk universe.

What makes Dare Iz A Darkside fascinating is how it blends humor, paranoia, and aggression. Redman channels funk’s outer limits, crafting a record that’s bizarre, heavy, and unmistakably his. For some, the density and darkness might be a turnoff compared to his more upbeat records, but for those willing to dive into the abyss, this album offers a one-of-a-kind experience. It’s not clean, it’s not perfect, and it’s certainly not Redman’s favorite—but it’s unforgettable. | 8.5/10

1. Muddy Waters (1996)

By 1996, Redman had already proven himself as one of the most dynamic voices in Hip Hop, but Muddy Waters elevated his craft to a level that secured his place in rap history. The album is an unapologetically raw experience, dripping with funk-infused beats and Redman’s signature blend of humor, grit, and lyrical dexterity. While the mood is undeniably dark, the record never loses its mischievous energy, delivering a perfect balance between menace and playfulness.

The production, led by Erick Sermon and Rockwilder, thrives on murky basslines, haunting melodies, and crisp drum patterns that feel simultaneously rugged and polished. Tracks like “Creepin’” and “Whateva Man” demonstrate how Redman and his producers crafted hypnotic and immersive grooves. Funk and soul influences are baked into every beat, providing a rich foundation for Redman’s verses to explode off of. The atmosphere throughout Muddy Waters feels like a smoky basement session turned chaotic block party—intimate, yet bursting with personality.

Lyrically, Redman is at his most vibrant here. His flow is razor-sharp, effortlessly switching from aggressive bursts to laid-back coolness. On tracks like “Do What Ya Feel,” his chemistry with Method Man is undeniable, laying the groundwork for their future collaborations. Elsewhere, he weaves dense punchlines and surreal humor into the smoky grooves of “Smoke Buddah” and the infectious bounce of “Pick It Up.” Even when diving into street narratives or personal reflections, Redman’s charisma keeps every bar unpredictable and full of life.

What ties the album together is its consistency. Skits and interludes, a staple of the era, are scattered throughout but, unlike on some of Redman’s other albums, rarely really overstay their welcome, blending into the gritty vibe of the record. Even the posse cuts, like “Da Ill Out” featuring Def Squad members, maintain the album’s grimy, funk-heavy aesthetic.

Muddy Waters is not only one of Redman’s strongest efforts but a cornerstone of ‘90s Hip Hop. Its rich production, relentless energy, and razor-sharp lyricism make it an album that commands attention from start to finish. It’s the perfect encapsulation of Redman’s unique voice, a record that sounds as fresh today as it did nearly three decades ago. | 9/10