On the surface, Ghetto D may look like another piece of product from Master P's No Limit empire, and there's a certain amount of truth to that. Master P is a master marketer and knows how to create demand for his product, which means informing the public that it is out there. He spreads the word about future No Limit releases throughout Ghetto D: artwork for forthcoming albums forms 90 percent of the album's artwork, and No Limit artists rap on the record as much as Master P himself. As a result, Ghetto D plays much like one of the West Coast Bad Boyz discs -- it sounds like a various-artists sampler. And not only does it sound like a various-artists record, it also sounds like a virtual catalog of '90s rap styles, from wimpy Bone Thugs-n-Harmony ballads ("I Miss My Homies") to Wu-Tang craziness ("Let's Get 'Em") to G-funk ("Weed & Money"). Master P is a consummate rip-off artist, capable of copying any number of popular records and styles with flair. He's done this on almost all of No Limit's records, but what makes Ghetto D different is the ease of the whole thing. Master P is using better equipment this time around, which helps him make better, more seamless records, thereby making his facsimiles sound similar to the originals. The shameless rip-offs make Ghetto D an entertaining listen -- it's fun to guess who the No Limit crew is ripping off now -- yet it's hampered by its ridiculous 80-minute running time. Theoretically, it gives you more bang for your buck, but by the ninth song, "Captain Kirk," the album seems endless. However, that overindulgence is a hallmark of Master P and No Limit, and that's what makes Ghetto D his definitive statement.
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AllMusic Review by Stephen Thomas Erlewine
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