“I was doing Malpractice while I was shooting a movie. Truthfully, I wasn’t focused at all. I keep it 150. I had good ideas, but I wasn’t focused. There were a gang of skits and songs, but I didn’t format it like I wanted to. But ‘Let’s Get Dirty’ was on there and that carried on to other things. The good thing about that album is the label had to deal with my era of fans. They had to be supplied with my kind of music. Even now, they have to be supplied with that ‘90s shit. We were going into a new era then. Def Jam was changing. The regular bosses that were there were leaving at the time. Malpractice just fell into place But that whole time was just strange.”
“Dirrty”–Christina Aguilera feat. Redman (2002)
“‘Let’s Get Dirty,’ which was produced by Rocwilder, caused me to jump on a Christina Aguilera song. I didn’t think I was taking a chance by appearing [on a pop record]. I heard a couple of rappers say something about it, but now you see every rapper on a pop record. Why box yourself in? I look at this hip-hop shit as a movement. This is my way of life. I eat, live it and shit it.
So when I’m on a record with a pop star like Christina, I’m not just up there saying, ‘Okay, I’m trying to be pop.’ Nah…I’m bringing my feel and my people to her side. This is what we do over here and I wanted her audience to recognize that hip-hop feel that I’m bringing. I had a point to make to her fans. Christina loved it. Everybody knows I don’t play when I come into a studio. I come in and work. Christina was very nice and cool to work with. She’s very talented and she can sing her ass off. She took me on tour and I experienced things I have never experienced in my career as far as the glamour, the cameras and the paparazzi. That shit was crazy. Plus, she paid like she weighed [laughs]. I think I got over $130 grand just for spitting a hot 16. I’ll be ready to do a song with Christina Aguilera anytime.”
“Between Malpractice and Red Gone Wild I was having more kids. I was in the ‘hood doing the Smack DVD in 2005. And my money got kind of low [laughs]. It came to a point to where I was just doing shows to pay bills. My label was shit. There wasn’t any direction or good leaders. The staff was lost on what good music was. The era was changing two or three times within nine months.
The Internet got involved and there was a lot of downsizing in the recording studios in terms of equipment and staff. I was so stuck as a ‘90s boy. I was learning to cope with the new shit. Def Squad wasn’t banging like we should have been…E. Sermon wasn’t doing what he was supposed to be doing; Murray wasn’t doing what he had to do and I wasn’t doing what I had to do. A lot of shit was going down. I’m still in the ‘hood right now pulling my way back to the top gradually with a smarter sense.
But I was happy with the Red Gone Wild album. It introduced my crew more. It was hard. It was Muddy Water-ish. A lot of fans hit me and tell me that they loved that album. Even Wendy Williams was screaming at Def Jam like, ‘Yo, this is a hot album! Ya’ll promoting this and that, but y’all should be promoting Reggie Noble over that bitch.’ But hey, I took that one with no promotion. And I’m on to the next one.”
Blackout 2–Redman and Method Man (2009)
“I think this one was incredible. Meth and me had no bad responses off that album. The video was great. The Pete Rock single (‘A-Yo’) was fabulous. That goes to show what no promotion can do. We were hot in the streets…even Flex was bombing that shit. We should have done more numbers, but we understand the game and the fact that it’s not about doing a whole lot of numbers because of the Internet. But we should have done better than what we did and I don’t think the label knew what the fuck they were doing with that album at all. We don’t just have a black fanbase…we have a white fanbase that comes to our shows. They just dropped the ball.”
I just finished the Reggie album. It’s something different from the Redman albums. You are not going to hear the usual Redman antics on there as far as skits or ‘Sooperman Luva.’ The alter ego on this album is what Reggie Noble wants to do. I wanted to do some new kind of beats and new kind of hooks and a new feel because I am International with the music. I don’t have Erick Sermon producing on this one. But he will be on the Muddy Waters II album next year. On that one I’m going to take it back. To still be relevant by my peers is a great thing. Big up to Eminem and Ludacris.
When they first came in the game they said I was one of their favorite artists. And they are two of my favorite artists out now. They are still winning. They are winning with my [lyrical] tactics that they probably learned from me. And I’m learning from them on how to stay fresh in the game. A lot of women come up to me and say, ‘I’ve been listening to you since I was 13-years-old’ and I’m like, ‘Goddamn!’ But it’s all good. That shows me that I did my job. I can travel from ‘hood to ‘hood and people are like, ‘Hey…it’s Red!’ I’m a breath of fresh air. I appreciate the new generation of hip-hop still appreciating me and looking at me like, ‘Look, rap don’t have an age.’ I’m currently on a European tour with Method Man. I can pack a good 2500 in a club by myself, which is enough to pay my bills.
But the most important thing is the movement, which is Gilla House: Ready Roc, Runt Dawg, Melanie, who is an R&B vocalist from Detroit. She’s fabulous. Also there’s Ellis Hall III and Saukrates, who is from Canada. We are coming. We are a crew that wants to push out good music. We are not in it to destroy hip-hop or fight amongst each other and kill it. We want to do it big. No settling for less.”