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Ghetto Postage
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| Ghetto Postage | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | November 28, 2000 | |||
| Recorded | 1999–2000 | |||
| Genre | Gangsta rap | |||
| Length | 73:38 | |||
| Label | ||||
| Producer | Master P (exec.), Donald XL Robertson (exec.), Carlos Stephens, Ke'noe, Myke Diesel, Sugar Bear, Ezell Swang | |||
| Master P chronology | ||||
| ||||
Ghetto Postage is the ninth studio album by American rapper Master P. It was released on November 28, 2000, on No Limit Records and Priority Records in the United States. This is Master P's last album to be distributed by Priority. The album features Snoop Dogg, Silkk the Shocker and Tamar Braxton. The album included the singles "Bout Dat" featuring Silkk the Shocker and "Souljas". The album was mostly produced by Carlos Stephens and Donald XL Robertson along with Myke Diesel.
Critical reception
[edit]| Aggregate scores | |
|---|---|
| Source | Rating |
| Metacritic | 57/100[1] |
| Review scores | |
| Source | Rating |
| AllMusic |   [2] |
| Entertainment Weekly | C+[3] |
| HipHopDX | [4] |
| RapReviews | 6.5/10[5] |
| Rolling Stone | [6] |
Ghetto Postage garnered mixed reviews from music critics, who were divided over the production and Master P's musical performance. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 57, based on 6 reviews.[1]
Steve 'Flash' Juon of RapReviews gave note of the album's in-house production providing catchy bangers, sparse list of guest artists and Master P adopting different personas and limiting his "guttural moan of ghetto pain" on each track, concluding that "P sticks to themes and with 19 songs on the album, he has more than enough chance to get hot; he catches that heat on more than half. It's not a risky or an innovative album, but the fans of the Tank will keep rollin."[5] AllMusic's Jason Birchmeier felt the record had an overlong track listing with many duds but found it much better than Only God Can Judge Me, giving praise to "Bout Dat", "I Don't Give Ah What" and "Souljas" as highlights and the framing of Master P in a more likable role, concluding that "[T]his doesn't necessarily make for good music, but it's one of the album's nicer qualities."[2] Evan Serpick of Entertainment Weekly called the album an "overwrought gangsta package" for containing "stale rhymes and grooves", a lengthy hip-hop checklist, and all too brief bursts of humor to give the listeners relief from Master P's litany of lyrical assaults against former labelmates.[3] A writer for HipHopDX criticized the record's production team for creating underwhelming beats that lack the punch found in Ghetto D and Master P's performance feeling uninspired and only there for both the gimmicky title and name value, concluding that, "Although some fans will surely enjoy Master P's newest it seems more likely that Ghetto Postage will only cause his fanbase to dwindle even further than it already has. He must be kicking himself at about this time, if only he hadn't dumped his old producers."[4]
Commercial performance
[edit]The album found decent success with the single "Bout Dat" featuring Silkk The Shocker, which made it to number eleven on the US Hot R&B/Hip Hop Singles & Tracks. It sold 93,000 copies in its first week.
Animation
[edit]The music video for "Souljas" was the first fully animated Hip Hop music video ever which became a huge success for No Limit.
Track listing
[edit]| No. | Title | Producer(s) | Length |
|---|---|---|---|
| 1. | "Intro" (featuring Erica Foxx) | Carlos Stephens | 1:41 |
| 2. | "Bout Dat" (featuring Silkk The Shocker) | Carlos Stephens | 3:21 |
| 3. | "Don Is Back (Skit)" | Carlos Stephens | 0:28 |
| 4. | "Doo Rags" (featuring Short Circuit) | Donald XL Robertson | 3:09 |
| 5. | "Bitch I Like" | Ezell Swang | 3:12 |
| 6. | "My Three Uncles (Skit)" | Carlos Stephens | 1:17 |
| 7. | "Golds in They Mouth" (featuring C-Murder) | Ke'Noe | 4:15 |
| 8. | "Problems (Skit)" | Carlos Stephens | 2:25 |
| 9. | "Poppin' Them Collars" (featuring Snoop Dogg & Kokane) | Fredwreck | 4:47 |
| 10. | "I Don't Give Ah What" | Carlos Stephens | 2:41 |
| 11. | "Twerk That Thang" | Carlos Stephens, Myke Diesel | 2:55 |
| 12. | "Life I Live" (featuring Slay Sean) | Myke Diesel | 4:14 |
| 13. | "Souljas" | Carlos Stephens, Ke'Noe, Donald XL Robertson, Suga Bear, Ezell Swang, Myke Diesel | 3:32 |
| 14. | "The Real Nigga (Skit)" | Carlos Stephens | 1:42 |
| 15. | "Pockets Gone' Stay Fat" (featuring Magic) | Suga Bear | 3:41 |
| 16. | "My Babooski" (featuring Tamar Braxton) | Suga Bear | 3:36 |
| 17. | "Still Ballin'" (featuring Krazy & Slay Sean) | Carlos Stephens | 3:18 |
| 18. | "Soulja Boo" (featuring Erica Foxx) | Donald XL Robertson | 3:48 |
| 19. | "Hush" (featuring Krazy & Slay Sean) | DJ Ron | 3:57 |
| 20. | "Roll How We Roll" (featuring Afficial) | Donald XL Robertson | 2:52 |
| 21. | "Would You" (featuring Suga Bear & Krazy) | Suga Bear | 3:11 |
| 22. | "It Don't Get No Better" (featuring Black Felon) | Donald XL Robertson | 2:42 |
| 23. | "Always Come Back to You" | Ezell Swang | 3:45 |
- Notes
- Track 4 is incorrectly listed as "featuring Slay Sean".
- Track 12 is incorrectly listed as "featuring Slay Sean, Krazy, & Short Circuit".
Charts
[edit]Album
[edit]|
Weekly charts
|
Year-end charts
|
Singles
[edit]Bout Dat
| Chart (2000) | Peak positions |
|---|---|
| ERROR in "Billboardhot100": Invalid position: -. Expected number 1–200 or dash (–). | |
| US Hot R&B/Hip-Hop Songs (Billboard)[11] | 46 |
| ERROR in "Billboardrapsongs": Invalid position: -. Expected number 1–200 or dash (–). |
Souljas
| Chart (2000) | Peak positions |
|---|---|
| US Billboard Hot 100[12] | 98 |
| US Hot R&B/Hip-Hop Songs (Billboard)[11] | 35 |
| US Hot Rap Songs (Billboard)[13] | 1 |
Certifications
[edit]| Region | Certification | Certified units/sales |
|---|---|---|
| United States (RIAA)[14] | Gold | 500,000^ |
|
^ Shipments figures based on certification alone. | ||
External links
[edit]
References
[edit]- ^ a b "Ghetto Postage by Master P". Metacritic. CBS Interactive. Archived from the original on February 19, 2023. Retrieved April 8, 2012.
- ^ a b Birchmeier, Jason. "Ghetto Postage - Master P". AllMusic. Archived from the original on October 3, 2022. Retrieved February 19, 2023.
- ^ a b Serpick, Evan (December 15, 2000). "Ghetto Postage". Entertainment Weekly. Archived from the original on February 19, 2023. Retrieved February 19, 2023.
- ^ a b "Ghetto Postage - Master P". HipHopDX. Cheri Media Group. January 4, 2001. Archived from the original on June 30, 2022. Retrieved February 20, 2023.
- ^ a b Juon, Steve 'Flash' (December 5, 2000). "Feature for December 5, 2000 - Master P's "Ghetto Postage"". RapReviews. Archived from the original on May 20, 2022. Retrieved October 5, 2011.
- ^ Hunter, James (November 21, 2000). "Master P: Ghetto Postage". Rolling Stone. Wenner Media. Archived from the original on October 1, 2007. Retrieved October 5, 2011.
- ^ "Master P Chart History (Billboard 200)". Billboard. Retrieved July 27, 2019.
- ^ "Master P Chart History (Top R&B/Hip-Hop Albums)". Billboard. Retrieved July 27, 2019.
- ^ "Top Billboard 200 Albums – Year-End 2001". Billboard. Archived from the original on October 7, 2020. Retrieved August 27, 2020.
- ^ "Top R&B/Hip-Hop Albums – Year-End 2001". Billboard. Archived from the original on November 24, 2020. Retrieved August 27, 2020.
- ^ a b "Master P Chart History (Hot R&B/Hip-Hop Songs)". Billboard. Retrieved July 27, 2019.
- ^ "Master P Chart History (Hot 100)". Billboard. Retrieved July 27, 2019.
- ^ "Master P Chart History (Hot Rap Songs)". Billboard. Retrieved July 27, 2019.
- ^ "American album certifications – Master P – Ghetto Postage". Recording Industry Association of America.
Ghetto Postage
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Background and development
Conception and recording
Ghetto Postage represents Master P's ninth studio album, conceived amid a turbulent transition for No Limit Records spanning late 1999 to early 2000, as the label confronted mounting challenges including oversaturation of releases and waning commercial viability following its explosive mid-1990s run.[10] The label's distribution partnership with Priority Records, which had facilitated No Limit's independent rise through an advantageous 85-15 profit split, provided the commercial backbone for this project but highlighted the need for revitalization as sales for prior albums like Only God Can Judge Me began to dip.[11][12] After shifting emphasis toward entrepreneurial pursuits and briefly stepping back from frontline rapping, Master P resolved to reengage with solo rap to steer No Limit through its difficulties, motivated by the imperative to sustain the label's cultural and financial relevance in a competitive hip-hop landscape dominated by emerging Southern acts.[13] This decision was shaped by the broader context of No Limit's challenges.[14] Recording sessions for the album occurred throughout the summer and fall of 2000, culminating in its completion ahead of the November 28 release date, with Master P emphasizing a return to the label's rowdy, collaborative ethos in promotional discussions.[15] In a late 2000 appearance on BET's 106 & Park, he portrayed Ghetto Postage as a high-energy collection designed to rally fans, featuring contributions from No Limit affiliates such as Silkk the Shocker alongside guests like Snoop Dogg and Tamar Braxton, underscoring his intent to blend business acumen with artistic output.[15]Production team
The production of Ghetto Postage was led by executive producer Master P, who oversaw the album's creative and technical direction as the founder of No Limit Records.[16] Donald XL Robertson served as co-executive producer, contributing to the project's strategic oversight.[1] Following the departure of the production team Beats by the Pound in 1999, the album relied on new in-house producers affiliated with No Limit Records, reflecting the label's adaptation during a period of declining influence.[10][8] The primary producers included Carlos Stephens, Ke'noe, Myke Diesel, Suga Bear, and Ezell Swang.[16] Carlos Stephens provided beats for several tracks, notably the lead single "Bout Dat," which featured Silkk the Shocker.[3] Ke'noe handled production on multiple tracks, including "Souljas," bringing a signature Southern sound to the project.[3] Other key contributions came from Suga Bear on tracks like "I Don't Give Ah What," Myke Diesel on "Golds in They Mouth," and Ezell Swang on "Doo Rags."[3] Mixing and engineering occurred at various No Limit-affiliated studios, leveraging the label's internal resources amid financial constraints that limited external collaborations.[3] The album's estimated low-budget approach emphasized cost-effective, rapid production typical of No Limit's model during its late-1990s challenges.[8] Final mastering was completed at Bernie Grundman Mastering in Hollywood, California, ensuring polished audio quality for distribution.[3]Musical content
Style and composition
Ghetto Postage embodies the gangsta rap genre with prominent Southern hip-hop influences, particularly the Dirty South sound emblematic of No Limit Records' output during the late 1990s and early 2000s.[17][3] The production emphasizes heavy bass lines, synthesizer-driven melodies, and drum machine rhythms, creating a gritty, street-oriented sonic palette typical of the label's approach.[18] The album comprises 23 tracks spanning a total runtime of 69:11, yielding an average track length of roughly 3:00.[3][19] Tempos across the record vary to suit its mood, with many introspective selections operating at slower paces of 80-95 BPM, including "Doo Rags" at 74 BPM and "Bout Dat" at approximately 72 BPM.[20][21] Musically, Ghetto Postage blends West Coast G-funk elements—showcased in the Snoop Dogg-assisted "Poppin' Them Collars"—with No Limit's distinctive bounce style, characterized by upbeat, rhythmic grooves rooted in New Orleans bounce traditions.[18] This fusion underscores the album's cross-regional appeal within hip-hop.[17] Notable sonic hallmarks include eerie, harmonized vocal layers in tracks like "Souljas," which add an atmospheric depth to the otherwise bass-heavy compositions.[18]Lyrics and themes
The lyrics of Ghetto Postage predominantly explore themes of street survival, hustling, family loyalty, and a pointed critique of the music industry, all deeply informed by Master P's upbringing in New Orleans' impoverished neighborhoods.[18] These motifs portray the struggles and triumphs of ghetto life, with Master P positioning himself as a resilient figure navigating systemic challenges and personal betrayals.[7] The album's central "ghetto postage" metaphor, introduced in the opening track, symbolizes delivering raw messages and success from the hood to the world, akin to mailing unfiltered truths stamped with street authenticity. Tracks like "Souljas" blend gangsta bravado with a military-chant style chorus emphasizing regional unity among souljas ready to ride, evoking the intensity of urban warfare and the cost of survival. In "Bout Dat," featuring Silkk the Shocker, the focus shifts to authenticity amid challenges, calling out those not "bout dat" and reinforcing family dynasty ties through brotherly collaboration.[18][22] "Bitch I Like" addresses relationships in street environments, highlighting loyalty amid hardship. Guest appearances further enrich these narratives; Snoop Dogg's verse on "Poppin' Them Collars" infuses West Coast flair into themes of street style and success. Meanwhile, Silkk the Shocker's contributions, such as in "Bout Dat," amplify family loyalty motifs, portraying the No Limit collective as an unbreakable unit—"Me and my brother, we run this"—against industry disloyalty. Overall, these elements critique exploitative industry dynamics, as seen in interludes decrying former associates' betrayals, while celebrating New Orleans-rooted grit as a pathway to empowerment.[7][18]Release and promotion
Singles
The lead single from Ghetto Postage was "Bout Dat" featuring Silkk the Shocker, released in 2000 as a CD single and promo vinyl.[23] It peaked at #46 on the Hot R&B/Hip-Hop Songs chart, contributing to the album's promotional push despite limited mainstream breakthrough. The single was issued on No Limit Records and Priority Records, including remixes, a cappella versions, and a radio edit running 3:21 in length.[24] "Bout Dat" was featured in previews for No Limit's 2000-2001 tour dates, helping to build anticipation among fans, though its explicit lyrics restricted major radio airplay.[10] The second single, "Souljas," was released in late 2000, reaching #35 on the Hot R&B/Hip-Hop Songs chart. Also released on No Limit/Priority, it included similar formats with remixes and a cappella tracks, and gained attention for its animated music video that depicted street life in a stylized manner.[25] Like its predecessor, "Souljas" emphasized the album's core themes but saw modest chart impact amid the shifting landscape of early 2000s hip-hop.Marketing and distribution
The distribution of Ghetto Postage was managed by Priority Records through its longstanding joint venture with No Limit Records, which allowed No Limit to retain full ownership of its masters while leveraging Priority's infrastructure for nationwide release.[3] Physical formats, including CD and cassette, became available in stores beginning November 28, 2000, targeting core hip-hop audiences in major urban centers.[26] Marketing efforts emphasized grassroots and media-driven strategies amid No Limit's evolving business model. Master P promoted the album through personal appearances, such as his 2000 visit to BET's 106 & Park, where he discussed the project's themes of resilience and ghetto life while urging viewers to support the lead single "Bout Dat" via online voting on BET.com to boost video airplay.[15] The campaign included a dedicated TV commercial highlighting the album's tracks and collaborations, aired to generate buzz ahead of launch.[27] Partnerships with BET facilitated targeted exposure on urban networks, aligning with No Limit's focus on direct fan engagement over broad advertising. No Limit's promotional approach drew on its signature low-cost tactics, including street-level outreach in key Southern cities like New Orleans and Atlanta, though scaled back from earlier tank-roll campaigns due to tightening finances. A limited budget constrained traditional TV advertising, shifting emphasis toward cost-effective channels like artist tours—announced during the 106 & Park appearance for a January 2001 run featuring Snoop Dogg, Silkk the Shocker, and C-Murder[15]—and early online interaction via BET's platforms. Direct sales were supplemented through No Limit's official website, reflecting the label's pivot to fan-centric distribution as physical retail waned.Reception
Critical reception
Ghetto Postage received mixed reviews from music critics upon its release, earning an aggregate score of 57 out of 100 on Metacritic based on six reviews.[28] Positive reviews highlighted the album's energetic production and Master P's confident delivery within the gangsta rap framework. AllMusic awarded it 80 out of 100, describing it as "a simplistic tour de force through a myriad of proven gangsta rap motifs," with Master P "performing with an aura of confidence and poise."[28] Similarly, Wall of Sound gave it 68 out of 100, calling it "P's best effort yet, a 70-minute affair with not quite as much filler as he's weighed in with on past projects."[28] Rolling Stone praised the unconventional yet direct musical approach, noting that "the music is screwy yet brutally to the point, unpredictable yet never flighty."[28] Critics were more divided on the lyrical content and overall innovation, often pointing to repetition and a reliance on familiar No Limit tropes. Entertainment Weekly rated it 58 out of 100, observing that "the occasional touch of humor offers too-rare relief from stale rhymes and grooves."[28] Other outlets criticized the lack of fresh ideas and subpar collaborations, with one review stating that "Ghetto Postage suffers from a lack of something... most of the collaborators here are scrubs," while another deemed it "illustrat[ing] P's unwillingness to learn from past mistakes... as tiresome and unrewarding as ever."[28] Reviews frequently compared the album to Master P's dominant 1990s output, viewing it as a competent but unoriginal continuation of his established style.[18]Commercial performance
Ghetto Postage debuted at number 26 on the US Billboard 200 chart in December 2000, selling 93,000 copies in its first week.[29][30] It also entered the Billboard Top R&B/Hip-Hop Albums chart at number 2.[10] The album appeared on the year-end 2001 charts at number 173 overall.[6] On May 16, 2001, the Recording Industry Association of America (RIAA) certified Ghetto Postage gold for 500,000 units shipped, though it did not achieve platinum certification.[6]Visual media
Album artwork
The album artwork for Ghetto Postage was designed by Pen & Pixel Graphics, Inc., a Houston-based firm renowned for producing bold, digitally rendered covers that captured the extravagant and colorful aesthetic of Southern hip-hop during the 1990s and early 2000s, particularly for No Limit Records releases.[16][31] The front cover incorporates a postage stamp motif featuring Master P, aligning with the album's title and conceptual theme of disseminating narratives from urban life. This visual approach symbolizes the metaphorical "postage" of ghetto experiences to a wider audience, complementing the record's exploration of street stories and resilience.[2]Music videos
The music videos accompanying the lead singles from Ghetto Postage highlighted Master P's commitment to dynamic visual storytelling, blending live-action grit with experimental animation to promote the album's themes of street resilience and No Limit solidarity. The video for "Bout Dat", featuring Silkk the Shocker, was a live-action production directed by Master P and Aaron Courseault, shot on the streets of Los Angeles to capture raw, confrontational energy between the artists amid urban backdrops. Released in November 2000, it debuted on BET, emphasizing the track's aggressive bounce and loyalty motifs through high-tension scenes of posturing and camaraderie.[32][33] In contrast, the "Souljas" video marked a bold departure as the first fully animated production in hip-hop history, directed with innovative 3D techniques by the team at Computer Animation Technology (CAT) in Dallas, utilizing NewTek's LightWave software on Pentium PCs alongside Vicon motion-capture systems for lifelike character movements. The three-minute clip depicts Master P as a commanding general rallying cartoonish No Limit soldiers in stylized ghetto warfare, complete with military drills, Mardi Gras revelry, over 100 animated figures including replicas of artists like Snoop Dogg and Mystikal, and homages to fallen comrades such as Master P's late brother—elements that would have been infeasible with traditional keyframing within the tight timeline. Production spanned several months, with motion capture alone requiring three days across eight cameras, on a modest budget reflecting No Limit's resourceful ethos; it premiered on MTV in January 2001 and later aired on BET's 106 & Park, enhancing the album's visibility among younger audiences despite critiques of its stylistic execution. This pioneering animated format, blending hyper-realistic facial animations with fantastical battle sequences, predated and influenced the surge of cartoon-influenced visuals in 2000s rap videos, such as those using The Sims or similar tools for low-cost creativity.[34][35]Track listing and credits
Track listing
The track listing for Ghetto Postage consists of 23 tracks with a total runtime of 70:29.[3] There are no variant editions, and all tracks are original to the album.[3]| No. | Title | Featuring | Duration | Writer(s) | Producer(s) |
|---|---|---|---|---|---|
| 1 | Intro | Erica Fox | 1:41 | P. Miller | Carlos Stephens |
| 2 | Bout Dat | Silkk the Shocker | 3:21 | P. Miller | Carlos Stephens |
| 3 | Don Is Back | — | 0:28 | P. Miller | Carlos Stephens |
| 4 | Doo Rags | Slay Sean | 3:09 | P. Miller | XL |
| 5 | "B" I Like | — | 3:12 | P. Miller | Ezell Swang |
| 6 | My Three Uncles | — | 1:17 | P. Miller | Carlos Stephens |
| 7 | Golds In They Mouth | — | 4:15 | P. Miller, C. Miller | Ke'Noe |
| 8 | Problems | — | 2:25 | P. Miller | Carlos Stephens |
| 9 | Poppin' Them Collars | Snoop Dogg | 4:47 | P. Miller, S. Broadus | Fredwreck Nassar |
| 10 | I Don't Give Ah What | — | 2:41 | P. Miller | Suga Bear |
| 11 | Twerk That Thang | — | 2:55 | P. Miller | — |
| 12 | Life I Live | Slay Sean | 4:14 | P. Miller, Slay Sean | Myke Diesel |
| 13 | Souljas | — | 3:32 | P. Miller | Ke'Noe |
| 14 | The Real | — | 1:42 | P. Miller | Carlos Stephens |
| 15 | Pockets Gone' Stay Fat | Magic | 3:41 | P. Miller, M. Miller | Suga Bear |
| 16 | My Babooski | Tamar Braxton | 3:36 | P. Miller | Suga Bear |
| 17 | Still Ballin' | Krazy, Slay Sean | 3:18 | P. Miller | Carlos Stephens |
| 18 | Soulja Boo | Erica Fox | 3:48 | P. Miller | — |
| 19 | Hush | Krazy, Slay Sean | 3:57 | P. Miller | DJ Ron |
| 20 | Roll How We Roll | Afficial | 2:52 | P. Miller | XL |
| 21 | Would You | Krazy | 3:11 | P. Miller | Ezell Swang |
| 22 | It Don't Get No Better | Black Felon | 2:42 | P. Miller | XL |
| 23 | Always Come Back To You | — | 3:45 | P. Miller | Ezell Swang |