29 Songs, 1 Hour 46 Minutes

Download MP Da Last Don (Explicit) by Master P at Juno Download. Listen to this and millions more tracks online. MP Da Last Don (Explicit).

1. With Master P, John Marlo, Silkk the Shocker, Boz. Nino never wanted the life of a gangster, but when his father, Don Corleone is gunned down in the street, he must answer the call for revenge. Now Nino is Da Last Don and the family business is in his hands.a world of deceit, back room deals and crooked cops that threatens to destroy.
2. View credits, reviews, tracks and shop for the 1998 CD release of MP Da Last Don on Discogs.

EDITORS’ NOTES

Da Last Don represented Master P’s No Limit empire at its absolute zenith. With a guest list that showcases almost all of the label’s heavy hitters, P’s double-album colossus also serves as a primer for a label riding a creative surge in 1998. Produced almost entirely by No Limit’s in-house production team of KLC, Mo B. Dick, and Craig B, the best songs —“Hot Boys & Girls,” “Eternity,” “So Many Souls Deceased,” and “Let My 9 Get ‘Em”— showcase a biting claustrophobia that was a direct reflection of life in the New Orleans ghetto. There are moments of striking, if pessimistic, lucidity like P’s verse on “Black & White:” “And tell me Hilfiger discriminate and sell us clothes / But we can't blame him ‘cause we don't support the black stores.” Though P’s sometimes-wearisome flow might be a bit too derivative of Tupac, the album is amazingly focused and consistent, especially considering all the criticism that has been thrown at No Limit over the years. With appearances ranging from the Midwest (Bone Thugs-N-Harmony) to the West Coast (Snoop Dogg, E-40) to Texas (UGK), Da Last Don proves that for a fleeting moment, No Limit wasn’t just an influential label but a nationwide movement.

EDITORS’ NOTES

Da Last Don represented Master P’s No Limit empire at its absolute zenith. With a guest list that showcases almost all of the label’s heavy hitters, P’s double-album colossus also serves as a primer for a label riding a creative surge in 1998. Produced almost entirely by No Limit’s in-house production team of KLC, Mo B. Dick, and Craig B, the best songs —“Hot Boys & Girls,” “Eternity,” “So Many Souls Deceased,” and “Let My 9 Get ‘Em”— showcase a biting claustrophobia that was a direct reflection of life in the New Orleans ghetto. There are moments of striking, if pessimistic, lucidity like P’s verse on “Black & White:” “And tell me Hilfiger discriminate and sell us clothes / But we can't blame him ‘cause we don't support the black stores.” Though P’s sometimes-wearisome flow might be a bit too derivative of Tupac, the album is amazingly focused and consistent, especially considering all the criticism that has been thrown at No Limit over the years. With appearances ranging from the Midwest (Bone Thugs-N-Harmony) to the West Coast (Snoop Dogg, E-40) to Texas (UGK), Da Last Don proves that for a fleeting moment, No Limit wasn’t just an influential label but a nationwide movement.

• 29 Songs, 1 Hour 46 Minutes
• Released: Jun 2, 1998
• ℗ 1998 Priority Records, LLC

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The double-CD set that No Limit godfather Master P envisioned as his final solo album, MP da Last Don was greeted with reams of press clippings by the media and open arms by the public, who sent it to 112 on the charts, the week before it was scheduled to be released. All this means is that Master P's master business plan worked -- he was able to position himself as the leader of the underground just to sell records. And there's no other way to view MP da Last Don; it's nothing but product, albeit well-made product. Spanning two CDs and 29 songs, the album is more of an advertisement for upcoming No Limit releases than a last will and testament. All of the No Limit roster appears somewhere on the disc, and info about upcoming releases (some of which have been in development for a year and a half) litters the liner notes. Master P himself makes his presence felt only because the formula MP da Last Don follows is one he invented. If you've ever heard a No Limit record, you'll know what to expect -- cribbed hooks, predictable bass grooves and drum loops, the standard gangsta lyrical clichés. The law of averages dictates that there will be a few passable tracks on an album this size, but there is no variety here at all -- you could start the album at any point and feel like you've heard it all before. So, Da Last Don isn't a grand final statement from Master P, though its crass commercialism and blatant hucksterism offer as accurate a summation of Master P's career as anyone could hope.

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