When Redman dropped Muddy Waters back in 1996, it was an instant classic. Packed with funky beats, sharp rhymes, and that unmistakable Reggie Noble humor, the album became a staple of 90s Hip Hop. It’s widely regarded as Redman’s magnum opus, the project that solidified him as one of the most dynamic, creative, and flat-out entertaining MCs of his era. Now, almost three decades later, Redman returns with Muddy Waters Too, a sequel that carries the weight of nostalgia without getting lost in it.
First off, this isn’t Detox. Redman promised this album for years, but unlike Dre’s elusive project, Muddy Waters Too actually arrived—and not only does it live up to expectations, it smashes them. Coming in at a hefty 32 tracks with a runtime of over 80 minutes, Redman does what most artists these days won’t even attempt: he gives listeners a full-course meal when everyone else is serving appetizers. This isn’t a quick-hit EP dressed up as an album; it’s a proper, ambitious full-length project. And while that might sound overwhelming in today’s world of short attention spans, Redman makes it worth every minute.
Redman’s career spans more than 30 years, and his ability to stay consistent while remaining true to himself is nothing short of remarkable. Hailing from Newark, New Jersey, Redman broke into the game as part of EPMD’s Hit Squad and quickly became one of Def Jam’s most valuable players. Known for his gritty yet funky style, razor-sharp wordplay, and comedic edge, Redman became a Hip Hop legend through projects like Whut? Thee Album and Dare Iz a Darkside. Of course, Muddy Waters cemented his icon status, and his chemistry with Method Man (see: Blackout! albums) further showed his versatility. Through it all, Redman never conformed to trends—he stayed Reggie, whether the industry liked it or not.
On Muddy Waters Too, Redman sounds energized and fully in control. From the opening track “Da F*** Goin’ On?” it’s clear he’s still got that hunger. His flow is sharp, his punchlines hit hard, and his humor—always a defining trait—is present throughout the album. Whether he’s poking fun at himself, flexing his lyrical chops, or addressing haters, Redman sounds like he’s having the time of his life. And that energy is infectious. It feels like Redman took his time to create a project that reflects everything we love about him: funky beats, hilarious skits, and pure Hip Hop.
Speaking of beats, Muddy Waters Too pulls together a diverse group of producers, including Erick Sermon, Rockwilder, Khrysis, Teak Underdue, and Redman himself. Despite the variety of contributors, the album has a surprisingly cohesive sound. It leans heavily into that 90s flavor, but it doesn’t feel dated. Tracks like “Jersey,” a soulful anthem repping Redman’s hometown, and “Don’t You Miss,” a nostalgic reflection on Hip Hop’s golden era, are dripping with vintage vibes. But Redman isn’t stuck in the past—songs like “I’m on Dat Bullsh*t” and “Gheddo Motivation” dabble in modern trap elements without feeling forced. It’s a careful balance, and Redman nails it.
One of the album’s standout qualities is its ability to shift moods without losing focus. Take “Pop da Trunk,” where eerie synths and handclaps create a menacing atmosphere, and contrast it with “Lite It Up,” a massive posse cut featuring New Jersey heavyweights like Naughty by Nature, Rah Digga, and even Queen Latifah. Both tracks feel like essential parts of the same story, even though their vibes are worlds apart. And then there’s “Kush,” featuring Snoop Dogg, which is the perfect stoner anthem. Redman and Snoop’s chemistry is as natural as ever, and the track’s hazy production feels tailor-made for a late-night smoke session.
Of course, no Redman album would be complete without his signature Soopaman Luva saga. The seventh installment doesn’t disappoint, delivering a funky, cinematic ride that’s part superhero spoof, part lyrical flex. It’s split into three parts across the album, giving listeners time to savor its wild, imaginative storytelling. Redman has always had a knack for turning absurdity into art, and this is no exception.
For those who’ve been following Redman’s career, Muddy Waters Too feels like a gift. Tracks like “Looka Here,” featuring the legendary KRS-One, remind us of Redman’s roots while showing that he can still hang with the best of them. And “Wave,” a smooth, laid-back joint, proves that Redman hasn’t lost his ability to create music that’s perfect for riding out to. Even the skits—something we’ve historically been lukewarm on—work surprisingly well here. They don’t disrupt the flow, and they add a layer of personality that’s been missing in a lot of modern albums.
Muddy Waters Too is FUN. In an era where so much music feels overly serious or calculated, Redman delivers an unapologetically entertaining album. There’s humor, braggadocio, and a sense of freedom that’s refreshing. Tracks like “Booyaka Shot,” where Redman aggressively calls out fake people, and “Goofy,” where he and Ke Turner clown on weirdos, are prime examples of this. It’s clear Redman isn’t trying to fit into anyone else’s mold—he’s making music on his own terms, and it works.
2024 has been a big year for Hip Hop veterans. Legends like LL Cool J, MC Lyte, and Masta Ace have all dropped critically acclaimed projects, but Redman’s Muddy Waters Too might be the strongest of them all. It’s a reminder that age isn’t a barrier to making great music. If anything, Redman sounds more comfortable in his skin than ever before. While many artists from his era have faded into obscurity or struggled to adapt, Redman proves he’s still a force to be reckoned with.
At 80 minutes, Muddy Waters Too is a marathon compared to a lot of today’s bite-sized projects, but that’s part of its charm. Redman bucks the trend of short ‘albums’ and delivers something that feels substantial. Sure, it might be too much for listeners with TikTok attention spans, but for those who appreciate value for money, this is it. And the best part? It never drags. Redman keeps the energy high and the content engaging from start to finish.
Ultimately, Muddy Waters Too is everything fans could’ve hoped for. It’s nostalgic without being stuck in the past, funny without being gimmicky, and packed with enough quality content to satisfy even the most die-hard Redman heads. It’s a rare feat for an artist to drop a sequel to their best album almost 30 years later and come so close to matching its greatness, but Redman does exactly that. This album reminds us why Redman is one of the greatest ever to do it. Funk Doctor Spock is back, and Hip Hop is better for it.
8.5/10
Also read: The Best Hip Hop Albums Of 2024
