During the three-year gap separating Redman's previous album, Doc's da Name 2000 (1998), from Malpractice, the crazed New Jersey rapper became a bona fide superstar thanks to his collaboration with the ubiquitous and ridiculously recognized Method Man. It now seems that the same sort of excessively brash attitude that somewhat burdens Method Man's superstar ego has become a staple of Redman's as well. That sort of lazy overconfidence often leads to effortless redundancy -- this is a problem that creeps into Malpractice. After nearly a decade, Redman's countless skits and his ever-wacky but still-the-same antics just don't seem as fresh and amusing as they once were. Furthermore, with his newfound Method Man-like arrogance, his old tricks seem even tougher to stomach. It'd be different if Redman took a Missy Elliott-like approach to Malpractice and made an effort to continually flip styles and keep things fresh with each album. That's not the case, though. Rather, he turns in a repeat performance of his last few solo albums. Erick Sermon again crafts a number of the beats, and Redman returns to many of the same lyrical motifs that fueled his past work. So, in a sense, you can commend Redman for his consistency; after all, his rhymes are always a grin and he even produces a good chunk of Malpractice. Unfortunately, if you've heard his previous albums, this is going to feel very familiar. It's guests like George Clinton and the aforementioned Missy Elliott who keep things fresh, and there's no shortage of guests here, but even they can't salvage the record's déjà vu feeling. It's not easy criticizing Malpractice, since it is a relatively strong album with some nice moments such as the lead single, "Let's Get Dirty." But being Redman's fifth solo album, you expect a little more growth; instead you get what feels like a repeat performance.

The title notwithstanding, this debut from the former Faithless singer is pretty angelic-sounding stuff. You're bound to think of Sin�ad O'Connor, but the comparison is as misleading as it is inevitable. Granted, Dido's ethereal vocals here frequently recall O'Connor; but Dido's...