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. ~ Stephen Thomas Erlewine, All Music Guide