About a year and a half ago, Rick Ross was literally fighting for his career. At his throat was G-Unit’s 50 Cent, who recruited Ross’ son’s mother for a series of over the top and embarrassing viral clips. And there were still the credibility issues from summer 2008, when Ross’ past as a corrections officer still threatened to collapse his drug kingpin persona. It was a similiar personal exposure that had been a death knell to 90’s emcee Boss, and also obliterated the career of a contemporary in Alfamega.
But through the controversy Ross was able to persevere through the quality of his music. 2009’s Deeper Than Rap earned the Miami rapper his third consecutive #1 album. With his visibility at its peak following the Albert Anastasia mixtape, Rick Ross seeks to prove his music is truly untouchable with his fourth opus, Teflon Don (Def Jam).
Ross has a habit of starting off his albums with menacing but energetic tracks (“Trilla Intro,” “Mafia Music,”), and that tradition continues with “I’m Not a Star.” Ross crafts a picture of wretched excess, detailing his extravagance with black cards, drug shipments, and nightlife. The J.U.S.T.I.C.E. League know Ross well from their previous memorable efforts, and craft a beat highlighted by triumphal synths that raise the song to a prideful anthem.
Jay-Z and John Legend guest on “Free Mason,” are unique combination where the two rappers address the persistent Illuminati conspiracy theories in Hip-Hop. Ross takes a more subtle approach by proclaiming he is one step ahead of any supposed “agents” or “masons.” His verse is noted for allusions to the pyramids of Giza, King Solomon, and some deft wordplay on John F Kennedy’s assassination. Jay-Z takes a more direct approach, and uses his verse as a platform to ridicule claims that he himself is a part of a grand worldwide conspiracy. He cunningly crafts the allegations as the result of the accuser’s irrational fear, and declares his achievements to be divinely ordained (“Hear me clearly if y’all niggas fear me/Just say y’all fear me/Fuck all these fairy tales/Go to hell this is God’s engineering/This a hail Mary pass/Y’all interfering.”). John Legend is relegated to background crooning, but with the guitar rhythms it’s highly effective in creating an appropriate blues and gospel-fused atmosphere.
Rick Ross has received his own pointed criticism for his adoration of Mafia figures like John Gotti and Albert Anastasia, who held nothing but disdain for people of color. On “Tears of Joy” he samples a Black Nationalism speech to lead into verses chronicling his ascent to stardom. Musically, Cee-Lo adds tremendously in giving the song genuine soul, as Ross’ veneration of Emmitt Till comes off flat sandwiched between shots at DJ Vlad and overindulgence in material wealth.
The Maybach series gets another strong entry with T.I., Jadakiss, and Erykah Badu blessing “Maybach Music 3.” T.I. is in regal form depicting a playboy life that goes perfect the dreamy, riding ambiance of the song. Badu’s delicate phrasing provides good transitions between the verses, and Ross gets a more urgent beat variation to close matters. Kanye West and No I.D. share production duties on “Live Fast, Die Young.” Clocking in at over 6 minutes, the pair layer the production with a nod to old school beats (the James Brown “Funky President” vocal sample), and rolling drums that suit Kanye’s self-indulgent braggadocio ( “And we about to hit Jacob the Jeweler/So I can be like Slick Rick and rule ‘ya…”).
The garish “No. 1” is the first step in down in quality for Teflon Don. The obnoxious chorus, arrangements, and stilted Diddy verse give it the feel of a DJ Khaled B-side. The street energy of “MC Hammer” and B.M.F. (Blowin’ Money Fast)” get the album refocused. Surprisingly, it’s NY’s Styles P who does well over the southern-styled, synth heavy production while Gucci Mane’s meandering rhymes suck the life out of “MC Hammer.”
The J.U.S.T.I.C.E. League steals the show again with their work on “Aston Martin Music.” The lavish melodies have a 90s R&B tint to them, and Chrisette Michele and Drake could both easily carry the track solo. Their contrasting, back-to-back choruses dominate and make Ross’ job easy.
The pace picks back up on “All the Money In the World.” Again Ross gives his R&B collaborator, this time Raphael Saadiq, free reign to work the track after finishing up two verses in less than two minutes. The track is hurt only by Ross deciding he could trade notes with Saadiq. Thankfully, Rozay’s shower-singing is in spurts and doesn’t completely ruin the song.
Teflon Don represents an improvement over last year’s Deeper Than Rap with Ross realizing that less can be more. Outside of “No. 1,” gone are the filler tracks like “Lay Back” and “Face.” At less than 50 minutes, Teflon Don is an enjoyable, succinct listen which shows that Rick Ross has mastered his lane.
Beats, Boxing and Mayhem 