While he wouldn’t be high up in the nominations for ‘Most Conscious MC’, nor even ‘Most Verbally Dextrous’, when it comes to the ‘Catchy Hooks’ category, Dirty South magnate Ludacris leaves the competition breathing in the dust. After all, there has to be a reason his Def Jam South CDs "Back For The First Time", "Word of Mouf" and "Chicken N Beer" have sold over 10 million copies - and it ain’t because he’s changing the world with erudite wisdom.
On his fourth album, Luda’s vices and charms, as always, are worn on his sleeve. "Red Light District", the album, may have nothing whatsoever to do with the synonymous sleaze district in Amsterdam, but it’s still full of ladies, playas and bagfuls of catatonic ‘erb. From a general point of view, it offers the usual concoction of beefy, in-your-face hooks, smart-ass one-liners and the kind of tongue-in-cheek, misogynistic, macho ‘fun’ that we’ve come to expect from rap’s Atlanta-raised loose cannon.
He hasn’t forgotten how to make a fuss in the club either. "Get Back", the album’s lead single, pounds apoplectically from the speakers, demanding attention with weighty, anthemic production and liberal doses of fool-serving braggadocio. Slamming as it is though, the tune’s aggressive posture – repeated to an extent on "Put Your Money" (featuring DMX) and "Who Not Me" (with Small World and Dolla Boy) - is slightly out of synch with the vaudevillian vibes we normally associate with Luda.
The rest of the album is more in keeping with these usual hi-living theatrics. The Organized Noize-produced dancehall rub "Blueberry Yum Yum" (featuring Sleepy Brown) is a bonafide stoner’s anthem. "Number One Spot", which samples Quincy Jones' "Soul Bossa Nova" – aka the Austin Powers theme tune – boasts joie de vivre in large amounts...as does "Large Amounts", which contains samples from the musical "Oliver!"
These cuts balance out the album’s moments of mediocrity, which stand swathed in sub-standard production and lame guest spots. Nate Dogg’s crooning on "Child of the Night" is questionable; DMX’s performance on "Put Your Money" is virtually non-existent; and let’s not even go there with Dolla Doy and Small World on "Who Not Me". By the end, Luda saves the day with two killers: the blues themed "Hopeless", (featuring Trick Daddy) and "Virgo", a tribute to the old school with Doug E Fresh and Nas on devastating form.
Despite the clichéd lyricism and patchy production in places, "Red Light District" contains enough strength and fun to remain an enjoyable and uplifting ride. It reminds us that ludicrous as Ludacris is at times, you can’t help but love him.
