My Ghetto Report Card＜限定盤＞

Sleazy West Coast meets the slickest Dirty South on E-40's My Ghetto Report Card, the slang-slingin' rapper's first album for the Warner Bros. family and his first with Lil Jon's Atlanta-based BME crew. With past appearances on Master P and Eightball & MJG tracks, E-40 and the South have always been cool, and while Report Card has Lil Jon written all over it -- literally and figuratively -- E-40 isn't going to forget his beloved Bay Area and its ultra-enthusiastic audience. Actually, Lil Jon seems to be adapting to the Bay more than E-40 is going South. The hooky thumper "Tell Me When to Go" is a great example, with Jon's minimal club track getting Bay Area slanguage spit all over it by 40 and the gravel-voiced great Keak da Sneak. The way the track slides into "Muscle Cars" -- which sounds like a dubbed "Tell Me When to Go" with a Bay-loving freestyle over it -- is Lil Jon in album-building mode. That's his biggest contribution to the rapper's career, giving the E-40 discography the rare solid album without trying to reinvent the man. Tying things to the past, longtime E-40 producer Rick Rock gets plenty of airtime, including the opening "Yay Area," which brilliantly uses a tightly looped sample of Digable Planets' "Rebirth of Slick" to get this quirky, sleazy party started. Oh yes, it is sleazy, with unmentionable but entirely fun tracks keeping things moving in the album's forth quarter. Too bad the maudlin yawner "Happy to Be Here" closes the album, too bad Mike Jones uses his guest shot just to announce the street date of his next album, and too bad "White Gurl" is as much an ode to pushing cocaine as it is to the suburban ladies. The street-loving Bay Area faithful will probably complain more about the sheen Lil Jon lays on some of the club tracks or that "U and Dat" is just Ciara's chart-conquering "Goodies" all over again, but My Ghetto Report Card is hardly a sellout and a little chart ambition can do a fellow like E-40 some good. He's come up with an amazing set of wry, snide, and provocative rhymes for the album, and even if he gives Warner Bros. a shout-out on "Gouda," he's as unrestrained as ever -- if not more so -- everywhere else. First words out of his mouth on the album: "I got my second wind, pimp!" Indeed. ~ David Jeffries

ベストを挟んで約3年ぶりとなったE-40の新作は、過去最高の仕上がりと断言しよう。リル・ジョンと手を組み、〈ハイフィー〉と形容されるベイエリア産のクランクを完全確立した本作では、ファンクを下地に空間を有効活用した、膨張性と反響性のあるトラックが全編に渡って印象的だ。鳴りのキャッチーさでアピールするのではなく、ラップの展開次第でいかようにも変化する作りのビートに、フロウ巧者のE-40ががっぷり組むことで、トラックとラップの共存性を強固に保った破壊力抜群の内容だ。お馴染みリック・ロックの手による“Yey Area”や“Go Hard Or Go Home”あたりの壮絶なまでにファンクを感じさせるビートをはじめ、スタジオ・トーンの手によるトラックも強力にハイフィー。豪華なゲストたちも霞むほど場を自在に操る、主役の揺るぎない存在感にも改めて驚かされる。これは2006年を代表する重要な一枚となるかもしれない。
bounce (C)高橋 荒太郎