Master P has literally become the man other Rap mogul wannabes yearn to impersonate both in terms of success and wealth. Although his rapping skills were limited and his albums are practically all the same, P had limitless charisma and an undeniable charm about him.
The spare grooves provided to him by his No Limit in-house production team, Beats by the Pound, were the perfect match for his dark, starkly realistic tales of hood violence, retaliation, and coke deals.

P was not an artist that seemed destined for stardom, but with one well placed single (that single being Make lsquo;Em Say Ugh, which can also be found on this album), Percy Miller became a household name. P has crafted many an album over the years, but none have had the lasting impression akin to that of Ghetto D. Cheap, independent and possessing a superior raw power to many, Ghetto D is the indie Rap album that all other indie Rap albums have modeled their game plan after hellip; and with good reason.

P rsquo;s mid-90s albums were very raw, dense, and pessimistic; an earmark of this era for No Limit. Most of the material found on this record is either nihilistic gangsta/dope dealer rap or tells of the consequences of such a lifestyle. The dichotomy of P rsquo;s lyrics, although not necessarily the most lyrically robust, does offer up some much needed introspection in spots.

He is still a very able rapper, but it is truly his charisma and charm that carries many of the song that would otherwise fall flat. Don rsquo;t expect a lot of upbeat material closer to what P records today, as that was clearly not what he was going for when recording this album. P rsquo;s straight-up-gangsta-with-no-frills material is often the most enjoyable (and also the most plentiful) as tracks such as Let rsquo;s Get lsquo;Em, Weed Money, Stop Hatin rsquo;, Going Through Somethangs, and After Dollars, No Cents are the true highlights.

Whether speaking from experience or from a well planned fa c ade, there rsquo;s no denying the abundant entertainment value.

P also finds time to cover more heartfelt topics, such as bidding one last goodbye to his fallen brother ( I Miss My Homies ), questioning God rsquo;s existence on a sin-ridden planet ( Eyes on Your Enemies ) and even pleasing his significant other through monetary means ( Gangstas Need Love ). I rsquo;m simply scratching the surface, but it rsquo;s these moments, even if some of them are few and far in-between, that make the album as listenable as it ends up being in the end.

Although there are a couple of sex songs here and there and Make lsquo;Em Say Ugh is your typical ldquo;No Limit gets it rowdy rdquo; club joint, it all manages to work for the benefit of the album. The variety in topics is much needed at times and I certainly won rsquo;t complain about it. Again, P is no rocket scientist on the mic, but he never claims to be and, because of that, you never mistake him for one.

Many No Limit fans and followers will attest to this being Beats by the Pound rsquo;s best producing job on a No Limit record. In second place is P rsquo;s brother, Silkk the Shocker rsquo;s, sophomore album Charge It 2 da Game. The production is quite varied as the Beats by the Pound team play with various sounds, synths, and drum patterns along this indo-enhanced journey.

Many of No Limit rsquo;s future albums get criticized for sounding too much alike, but Ghetto D truly sounds like nothing else in the No Limit catalogue (and that could also be a double-edged sword). Every single one of the beats bang and, thanks to P rsquo;s production team, his generic rhymes have new life breathed into them. He truly has them to thank for the success that Ghetto D has turned into.

Very dirty, obviously low-budget, but still worth bumping, P is served the best beats of his career here.

If anyone follows No Limit, or once did, they should be well aware that they don rsquo;t skimp on guest appearances. Most of the guests are No Limit related and Ghetto D is no different.

With so many of them this will probably feel more like a compilation than a Master P solo album, but the guests were crucial to any No Limit album rsquo;s chart success. I rsquo;ll put it very plainly, some are fairly decent and some are pretty bad. Fiend, Mia Ex, Mr.

Serv-On, Pimp C, and C-Murder are names you should look out for while Big Ed is unusually weak, as is Lil rsquo; Gottie Gambino on the album rsquo;s closer ( Burbons and Lacs ). But the positive that comes from loading your album with guest appearances when you rsquo;re Master P is that some of these rappers are actually far superior than you are on the mic device. That happens to be the case here.

What can I say about Ghetto D that hasn rsquo;t already been stated by other No Limit fans? It rsquo;s crucial to your collection if you rsquo;re a No Limit fan. It captures Master P in his prime and, more importantly, captures some of the better No Limit soldiers, as well as Beats by the Pound, in their prime.

It rsquo;s an essential album and with the recent re-release, there rsquo;s no reason why you shouldn rsquo;t own it.