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'I'm gonna keep it all-the-way hood; I been livin' in my third childhood lately/ Smokin' a lot of spinach lately, hanging out at the strip club lately.' Said this on 2010's, from his massive Revenue Retrievin' double album, and the line's a clue to the tremendous life force powering his miraculous late-career renaissance. There's a lot in it: rueful, grown-folks honesty, a helpless embrace of sensual pleasures. But mostly, there is irrepressibility, a simple inability to stop. For most artists, the 42-song salvo of Revenue Retrievin' would have been a once-in-a-career indulgence.

For E-40, it was a throat-clearer: he dropped 44 more songs in 2011. A few weeks ago, he made 60 more-- three full albums-- available to his audience with The Block Brochure: Welcome to the Soil. His appetite for life, as for rap, appears to be fearsomely bottomless. Let's start with the obvious question: do you need all this? E-40 is a personal favorite of mine, and upon hearing The Block Brochure's length, my heart lifted and my stomach sank simultaneously. It was like learning that your best friend is coming to stay with you for three consecutive weeks. You might want to sit down for this, but not all sixty of these songs are equally good.

The middle third bogs down. 'Mary Jane' is a rote weed tribute; the song with Twista and T-Pain is forgettable. The inspirational joint 'Be You' with Too $hort never needed to be recorded, nor did his 'kids these days' rant 'What Happened to Them Days'.

But here's the astonishing truth: Not only are none of these songs bad, two-thirds of them range from good to mind-blowing. The production on The Block Brochure series roams a little wider and farther than the Revenue Retrievin series did, which helps when approaching such a seemingly undigestible block of music. E-40's stable of producers, which includes his son Droop-E, continue spit-polishing the sounds of Bay Area hip hop so that they gleam fresh. Droop-E's talkbox-heavy beat for 'Bust Moves' sounds like a DJ Quik production being boiled to a reduction sauce. The civil-disturbance-creating 'Slummin' is like three beats arguing with each other, a collision of tubas, robot voices and choirs. The snare clap on 'Outta Town' hits like a handful of stones splashed in a creek.