Redman - Malpractice

Since I spent the previous post discussing OutKast's ATLiens, the album where the group really found their footing and came into their own as a top tier hip-hop act, I feel like it's only right that I spend this post talking about an album where most people felt like the lead artist fell the fuck off. 

Sorry if that was harsh.

Coming into the new millennium, Reggie Noble (that's Redman to you) was in an interesting position. On the one hand, he'd had unprecedented amounts of success with both his 1998 solo record Doc's Da Name 2000 and his '99 collaboration with Method Man Blackout!, both of which earned him by far his highest sales numbers yet, meaning he could afford even more clothes and crap for his house in New York (if you know you know). On the other hand, some fans argued that he was beginning to lose some of his creativity, with Doc's Da Name 2000 being the first of his solo records (in my opinion at least) to not be an absolute classic. While that album had some absolute bangers, including "Da Goodness" and "I Got a Seecret", there also seemed to be a few filler cuts, the production felt less creative, and Red was beginning to feel like more of a caricature of his former self, with some ridiculous lyrics, song concepts and ad-libs making me feel like I was listening to a comedy record rather than something by the man who supposedly "walk around the street with a black Tec-9 by his waistline kickin' the hype shit". Basically, the album was good, but it wasn't great, and while Blackout! was a very stellar collaboration, it would take another excellent solo record for Red to bring himself back to the heights of where he was in the early to mid '90s.

So what did he choose to do? Well, he decided to basically do the thing no-one wanted him to do, and make Doc's Da Name 2000 all over again. Damn.

Redman released his fifth solo studio album Malpractice in May of 2001, presumably indicating that it was going to be the soundtrack of the summer for the true hip-hop heads. Sadly, the real reason that Red put it out at this time was so he could put more effort into making the cult classic comedy film How High alongside Method Man. And while I'm very glad he found the time to make that classic piece of cinema, it does beg the question - how much effort was actually put into the album Malpractice, and had Red in actual fact rushed the thing out in order to make for more time on the movie set? I guess we'll never really know the true answer to that, but I'd wager we could take a pretty good guess by taking a look at the quality of this album. 

Personally, I remember bumping this thing quite a bit way back when I was first getting into Redman's discography, but then again you can enjoy anything when you're going through that honeymoon phase with an artist. What I'm determined to know now is how this album stacks up through (reasonably) unbiased eyes. So sit back, readers, as this is going to be a long one. 

I mean, did this thing really need to be 78 minutes??

1. Roller Coaster Malpractice Intro (feat. Adam F & G. Forbes) (prod. Da Mascot & Adam F)

Never before has a rap album used such a nonsensical combination of words to outline its theme. Redman, you are truly a pioneer of the genre. And while I appreciate the use of the phrase "bloody cunts" on an American rap album, otherwise this intro is pretty useless and very weird. Also, how much weed had the writers been smoking to think "the twisted tunnel of death" was an acceptably interesting and unique name for one of the attractions? That's just being lazy.

2. Diggy Doc (prod. Erick Sermon)

Red pays homage to The D.O.C.'s "The D.O.C. and the Doctor" with this short intro track, and the results are actually really successful. The instrumental from Erick Sermon is pretty intense, and not as cartoonish as one might have expected from the ridiculous intro skit - in fact, it surpasses a lot of what we heard on Doc's Da Name 2000 in my opinion. Meanwhile, Red gets to reintroducing himself by expressing some of his crazy antics and dropping some nice punchlines and bars throughout one long verse that takes up most of the track time. "Shot up Toys-R-Us and robbed K.B., nigga!" is the best bar in my opinion. The track ends with the signature "WKYA" tag, which signifies that Red's ridiculously contrived running jokes are yet to come to an end. Sigh.

3. Lick a Shot (prod. Erick Sermon)

Looks like we're now onto the cartoony stuff, which is fine by me if it sounds this good. This is by no means a Redman essential, but for a random cut on such a generally maligned album, this song is still pretty fucking good. Erick Sermon's beat is bouncy as hell and full of lovely sound effects that keep this thing entertaining to the very end, and Red's actual rapping is great too. His flow seems more aggressive and focussed on here than it was on his previous solo outing, and the lyrics are nice, with lines like "think you catching me and my bitch, you dead wrong" standing out. The one criticism with this song I have is that it feels a bit formulaic, and I think cutting the hook down a bit would have helped it - otherwise this still stands as an absolute banger of a track. Definitely a personal favourite. 

4. Let's Get Dirty (I Can't Get In Da Club) (feat. DJ Kool) (prod. Rockwilder)

The lead single, and by far the biggest chart success Red managed to get out of any of these songs - in fact, this track made it into multiple early 2000s video games I believe, meaning a lot of people heard it. And that's a shame, as it really doesn't sound anything like the rest of this album. The instrumental from Rockwilder on here is incredibly energetic, and makes me feel like I'm actually in an incredibly rowdy club whilst writing this rather than in my room waiting for the wind to die down so I can go cycling. That said, I don't like it. It's just so abrasive and harsh on the ear, and doesn't sound right at all. And why the fuck did Red feel the need to bring in fuckin' DJ Kool just to scream in my ear throughout the track? The best part about this song is Red himself, who brings the energy with some great bars about how he wants to be let into the damn club already. See, when he sticks to a theme he can really do it well - it's just a shame that (spoiler) he doesn't bother throughout most of this album. As for this song, I love Red's verses, but the weird-ass beat and shouty interludes keep me from enjoying it fully. 

5. WKYA (drop) (prod. Da Mascot)

In the same vein as "Welcome (Interlude)" and "Boodah Break" from the last two albums respectively, this song is a half skit-half song affair where there's a big radio presenter build-up followed by one short verse. The difference is, there really isn't much to remember about this one aside from Red's interpolation of Slick Rick's "Teacher, Teacher" - he really is doing a lot of homage-paying on this album, isn't he? This verse is just alright, but I'm glad he realised not to extend it into a full song. 

6. 2-Way Madness (Skit) (prod. Da Mascot)

A completely ridiculous skit that has nothing to do with anything. Why yes, this is on a Redman album. How did you know?

7. Real Niggaz (feat. Scarface, Treach, Mally G & Icarus) (prod. Erick Sermon)

I'm sure all the hip-hop fans who picked up this record back in 2001 were very excited for this joint here, since it features two absolute legends of our chosen genre - Scarface and Treach, both known for their wildly unique deliveries and lyrics. The perfect fit for our host then, who also felt the need to bring in two of his blunt rollers- I mean close friends, Jamal (or Mally G according to this CD) and the newly appointed Icarus. This posse cut does go down pretty well too, even if Erick Sermon's beat does nothing to distinguish itself from others on this album. Scarface starts things off well, and Redman does a good job too, but it's Treach who undeniably is the best on this track - his passionate delivery makes for an incredibly memorable final performance on here. Icarus is OK, and Mally G is a little too aggressive in an unpleasant way, but neither of them bring the track down at all. This is a very good posse cut, but you can't help think that a more well-developed beat would have helped turn it up a notch. Still, at least the skit on the end was funny.

8. Uh-Huh (prod. Big Soxx)

Sadly, the title of this song pretty much sums up the way I feel about it - this is a far more underwhelming piece than any of the other songs so far. The ridiculously named "Big Soxx" cooks up an incredibly monotonous beat that fails to develop at all, and Reggie decides to utilise an incredibly boring flow throughout too, which would be fine if he actually had anything interesting to say. I'd like to make some funny joke about this, but I just can't be bothered - this is one of the dullest Reggie songs out there. 

9. Da Bullshit (feat. Icarus) (prod. Erick Sermon)

Now this is what I'm talking about. Erick Sermon cooks up an instrumental that sounds pretty similar to the rest of what we've heard so far, but is more bouncy and engaging, and Redman absolutely fucking kills this beat with a fast-paced and well timed flow full of great, memorable moments that were entirely missing from the previous track. Lines like "I'm gritty, I wouldn't love in a tennis match" are some of the best on this album, and his flows throughout the track are nice as hell too. And then, Icarus comes in for a dope verse on the end, much better than what he did on "Real Niggaz". Sure, the hook is a little repetitive, but it's only repeated once, so what does it matter? This song is actually really great. It's followed by a short skit, which leads us into...

10. Who Wants To Fuck a Millionaire (Skit) (prod. Da Mascot)

That's right. Another skit. One that's fucking three minutes long. The game show part of this skit is about as funny as a snuff film, but the second half isn't as bad. Still, go into this prepared for a waste of your time...

11. Enjoy Da Ride (feat. Method Man, Saukrates & Streetlife) (prod. Diverse)

A complete switch up in sound for this album sees Red teaming up with Method Man, and both bringing the closest accountants in their respective offices along for the ride too. The instrumental on here certainly is "diverse" compared to the rest of the album, as it features an incredibly intense synth melody and speedy drums which make it one of the most interesting beats on the whole LP - it also helps that it's one of the best. This beat gets my head nodding the whole way through, and contrary to what I've seen some people say, the MCs actually fit over it really well, especially Meth, who sounds right at home here. His verse is great, as is Red's, who starts strongly with "I cop a new Benz, crash the front / so hard the airbags use nasal pumps". The other two do well too, and it's nice to have Dr. Trevis on here, even if his presence is lessened by the screams of Adam F. Still, at least that shows some love for the UK. This is definitely one of my favourite songs on the album, and a much needed change of pace for the sound too. 

12. Jerry Swinger Stickup (Skit) (prod. Da Mascot)

If you thought "Who Wants To Fuck a Millionaire" was an overlong skit, check this one out - over three and a half minutes. Have a guess how many are actually worth it. 

13. J.U.M.P. (feat. George Clinton) (prod. Erick Sermon)

Sounds pretty similar to the other Redman solo cuts of a regular length on here, only this one stands out a bit because of the addition of musical legend George Clinton's whimsical ramblings on the intro and outro. The beat on here is pretty nice, and Red rides it well, but there's really not too much to make me want to go back to it. The chorus is pretty repetitive, and aside from the line about "stickin' the easter bunny" I'm not too impressed with Reggie's rhymes. This song is just OK. 

14. Muh-Fucka (prod. DJ Twinz)

I imagine most people went into this one with an optimistic grin, excited to see what Red would do with the old-school sounding Twinz beat that's actually decent... only to quickly put their head in their hands as Red comes in, as it becomes evident quickly what the concept of this one is. Every rhyme, that's every single rhyme, is "muh-fucka". I mean, there are other rhymes before that sometimes, but he says the titular word at the end of every goddamn bar in this song. Including the fucking chorus. Motherfucker!

15. Bricks Two (feat. Double O, D-Don, Roz & Shooga Bear) (prod. Erick Sermon)

Erick Sermon's beat on this one is actually really smooth and appealing, and sounds really different from most of the other beats on here. I wonder how he pulled this one off. This track is a direct sequel to "Close Ya Doorz" off of the last album, and once again features unknown MCs from Brick City that Red obviously thinks deserve a chance at the spotlight. Oddly, then, one doesn't even get credit on the back cover - Pacewon of the Outsidaz shows up for a verse, and it ends up actually being the best one on the track. Like with "Close Ya Doorz", Redman's presence on here is reserved for ad-libs only, but I don't mind that, as he wouldn't suit this beat anyway - the other MC's make good use of it, and rap excellently throughout the track. This is a great posse cut in fact, and arguably better than "Close Ya Doorz". And so it begs the question - what the hell happened to all these guys? Where's the "Redman presents Da Bricks" compilation?? I bet that would have been a better venture than bloody The Meth and Red Show.

16. Wrong 4 Dat (feat. Keith Murray) (prod. Erick Sermon)

After giving him a subtle shout-out towards the end of "Diggy Doc" earlier (Jesus, that feels like a long time ago), Reggie brings Keith Murray back home from his stint in prison, and re-introduces him to the world via a piss-poor performance that makes Keith sound like he's just been beaten up before recording. His verse does take away from the momentum of the song a lot - perhaps it was a sign of what was to come on the much-maligned He's Keith Murray album. Still, the rest of this song isn't too bad, and it has one of the better choruses on this LP. Also, Redman acting proud of himself for paying his own bills is pretty hilarious, more so than any of the skits on this album. Speaking of skits...

17. Judge Juniqua (Skit) (prod. Da Mascot)

The least funny skit on an album full of incredibly unfunny skits. Listen to this one if you want to cringe to death, but otherwise please steer clear. 

18. Dat Bitch (feat. Missy Elliott) (prod. Da Mascot)

This album really is the most star-studded of all of Reginald's LPs. I mean, we've had DJ Kool, Scarface, Treach, Method Man, George Clinton and now Missy Elliott too? It's no wonder this is the highest charting album of his discography (yes, you read that right). It's a shame that this is a really uninteresting cut, and in no way touches the excellence of "Dog In Heat", Missy's track with Red and Meth from her album Miss E... So Addictive, released a week before this one. This track is repetitive, misogynistic, and has a weirdly dramatic beat that doesn't really fit the lyrics at all. Sorry, Red, but this was an interesting experiment that didn't work. Back to the drawing board!

19. Doggz II (prod. Da Mascot)

Reggie's producer alias Da Mascot is really putting his work in during the final quarter of this album. I guess Erick Sermon was tired of hitting the copy and paste button so many times. Just kidding! This is the second sequel to a Doc's Da Name 2000 cut on this album (after "Bricks Two"), which really does go to show just how much this thing feels like it's aping that LP. Reggie includes a DMX sample of "where my dogs at?" from one of his many songs with a lyric along the lines of this one (who knows which exact one), and that's cool, but unfortunately his flow on this track is so dull and annoying that you won't be able to enjoy it. It's a shame, because this beat is really dope - it's full of nice sound effects, and hits harder than Erick Sermon's bouncy funk. Unfortunately, Red's actual vocals ruin this one. "What kind of nigga keep his mind on his money, music, not bitches at all?" is not viable lyrical content, Reggie. At all. 

20. Whut I'ma Do Now (prod. Rockwilder) 

I guess Rockwilder got the memo about creating too weird of a beat for "Let's Get Dirty". Unfortunately, he took that the wrong way, and decided to make an instrumental completely aping those of Erick Sermon for this track. Poor Rockwilder. He just can't seem to do the right thing. The beat on here is pretty terrible, as is the incredibly repetitive chorus... but at least Red's lyrics aren't bad, and his flow is much better than it was on the last two tracks. The song ends with the obligatory sex skit, because of course it does.

21. Soopaman Luva 5 (Part I) (prod. Erick Sermon)

Ahh, the fabled Soopaman Luva is back, and better than ever. Well not really, but you have to admit that the Soopaman Luva songs on this album are way better than whatever the fuck he was doing on number 4 off Doc's Da Name 2000. This is just part one of the song, and on it's own isn't too interesting - Red is simply trying to find out who "stole his mojo" by asking everyone he knows, and over a smooth, R&B-style beat from Erick Sermon - but said beat is pretty good, and while the female singers at the end are corny as hell, the callback to "Whateva Man" is highly appreciated. This is a good song, but only stands strong thanks to what comes next...

22. Soopaman Luva 5 (Part II) (prod. Da Mascot)

Part II of this Soopaman Luva stands as easily one of the best songs on this album, thanks to Redman's revitalised performance on the mic that is thematic and well-written, and also the beat that is as grimy and gritty as anything, and sounds great. This song feels like the first on the whole album where Red manages to balance humour and seriousness well, and the rapping is just perfect for this instrumental, as Red tells a great story with twists and turns ending with a pretty intriguing cliff-hanger that may or may not be explored in the next one in the series. This track is fantastic, and one of my favourites on this whole album. Where's this Reggie been through Malpractice?

The following song is listed as a bonus track, and I'm really not sure why, as it's very clear this was intended as the final song, and there definitely aren't any pressings of the project without it. Some of these record labels really were on something back in the day...

23. Smash Sumthin' (feat. Adam F) (prod. Adam F, add-prod. Ross Emmins alias DJ Destruction)

The other single from this album wasn't as big of a hit in the US as "Let's Get Dirty", but it did gain some airplay over here in the UK, most likely thanks to it's production being handled by Adam F and DJ Destruction - and this track certainly is a departure in sound from the other songs on here. It's kind of like "I Got a Seecret" from the last album, which was also an experiment in drum-n-bass, only this one is much louder and more dramatic. And while some people think this single is a bit weird for Redman, I for one am a big fan of it, and I do actually think it's one of his best songs - or at least it's one of my personal favourites. I love Adam F's intense production work, and the operatic breaks in there are perfectly implemented too. But it's Red who really makes this what it is, with a great, aggressive flow and a bunch of memorable lyrics. "I made you retire, hung your shoes from a telephone wire" - I mean, this shit is just dope. Hate on Malpractice all you want, but you can't deny that it ended strongly. This shit is just straight up fire. What a banger. 

Malpractice is a strange album. It's got everything that Redman's best work had - skits running through, production mostly from Erick Sermon and himself, funny ad-libs, lots of homage-paying and samples... and yet for some reason this album just doesn't work too well front to back. At first, you think you're in for another entertaining if not classic album, kind of like Doc's Da Name 2000, but soon enough you'll begin to become bored with the production, which is very samey throughout the project, and also the rapping, which never appears to be about anything, and also rarely brings through many lines of note. You've also got some very repetitive choruses, and quite a few songs where even the verses feature played out and incredibly boring flows that really bring the songs down. There's a lot to criticise here, and with songs like "Muh-Fucka" and "Dat Bitch" you're looking at the absolute worst Reggie had to offer up to that point in his career. It seems like he really went for the Doc's Da Name 2000 formula here, but a lack of ambition held him back from creating a truly satisfying body of work. I mean, just listen to "Uh-Huh". Does that sound like the music of a man with something to say? Or does it sound like a man who's already regarded as a legend coasting since he knows he can? Still, I don't hate this album - in fact, I quite like it, even though I'll say it's very flawed. There are plenty of fun, bouncy songs to be found that do work well, like "Lick a Shot" and "Da Bullshit", and occasionally you'll come across a really interesting, ambitious song, most notably "Enjoy da Ride", "Soopaman Luva 5 (Part II)" and "Smash Sumthin'". It's just a shame that Reggie felt the need to bog down this album with some very obvious album filler, and some of the least funny skits of his entire career. There's a decent short album in there, but that early 2000s need to fill the disc to the brim really held him back here. This is a tiring listen, and one I completely understand some of the animosity towards. Still, I won't lie and say I really dislike it, because I do think it is enjoyable - and on the relisten it didn't disappoint me too much.

What this album did do, though, is cause Redman to become quite irrelevant, and this was kind of the last album he released to actually be important in the genre. It was six years until he released a follow up, and by then we had some new, more severe problems to deal with...

Join me next time for that. Or don't. Do whatever you want. Just don't listen to the skits on this album. Definitely don't do that. 

Best Tracks: Diggy Doc, Lick a Shot, Real Niggaz, Da Bullshit, Enjoy da Ride, Bricks Two, Soopaman Luva 5 (Part II), Smash Sumthin'

Worst Tracks: Uh-Huh, Muh-Fucka, Dat Bitch

Catch up on the many more Redman reviews I've done over here