Earl Stephens, known professionally as E-40, stands out as one of the most unique and inventive rappers in the history of the genre. A legend from the Bay Area, his off-kilter flow and inventive, language-bending vocabulary are often imitated but never truly replicated. His authenticity and charm have granted him remarkable longevity, allowing him to adapt seamlessly to the sounds and trends of any era. However, with his latest release, “Rule of Thumb: Rule 1”, it becomes apparent that while his uniqueness is a strength, it also poses a challenge, as 26 albums in, many of these songs begin to feel like reruns.
This project is a feature-heavy, overstuffed collection that, while not bad or subpar, struggles to justify its existence beyond catering to E-40’s most dedicated fans.The four-year gap since his last album, “Practice Makes Paper”, was necessary given his prolific output in the 2010s. Unfortunately, this return highlights that E-40 doesn’t have much new to say, despite his still-sharp skills. Clocking in at just over an hour and containing 23 tracks, the album suffers from a bloated tracklist and a mixed bag of instrumentals. Most of the beats attempt to emulate the Hyphy sound that E-40 helped popularize but often come off as formulaic and shallow imitations. The standout low points are “Bay Warren Buffett” and “Billionaire Dreams,” both of which feel so uninspired that they could have felt stale 15 years ago. These tracks seem to replicate the BPM of mid-2000s E-40 classics like “Yay Area” while stripping away the charm and energy that made those songs memorable.
The weakest moment is “Pressure,” which veers away from the Hyphy sound in favor of a chaotic mix of clashing percussion and a hook where Bossko repeatedly utters the word “pressure” through a vocoder. Instead of being a refreshing change, the jarring instrumental is so distracting that it overshadows E-40’s contributions.There are a few bright spots, particularly when features alleviate the burden on E-40. Tracks like “GPS,” featuring Larry June and Clyde Carson, and “Lemme Go,” with long-time collaborator Too $hort and Mista F.A.B., stand out as major highlights. “GPS” showcases one of the album’s best hooks from Clyde Carson, with a dynamic interplay between E-40’s bouncy flow and Larry June’s laid-back delivery. Meanwhile, “Lemme Go” serves as a reunion of key figures from the Hyphy movement, celebrating their respective careers.
“Off Dat Mob” highlights one of E-40’s more intriguing performances on the album. The hook sees him oscillating between a deep growl and a higher-pitched inflection, breaking up verses that feature his cleanest delivery on the project. His flow is smooth, creating a rhythmic pocket that feels almost like an extra layer of percussion, allowing him to rap in a more conventional manner while still staying true to his style. Unfortunately, the lack of quality control prevents “Rule of Thumb: Rule 1” from reaching its full potential. Several tracks come off as throwaways that could have been excluded. While E-40 continues to drop gems and exude his signature swagger, the repetitive nature of the content and the instrumental misfires detract from the overall experience. It’s disappointing that after a lengthy hiatus, “Rule of Thumb: Rule 1” feels somewhat inconsequential. Nonetheless, it manages to avoid tarnishing E-40’s legacy, offering enough solid moments to keep it from being a blemish on his extensive discography.
English