that go beyond waist size are mostly ill-advised, yet Ross’ ability to imbue humor and self-deprecating nonchalance alongside darker content recalls his Brooklyn predecessor. Renzel’s incredulous swaggering is all part of a wholesome package that’s balanced by sincere recollections and somber realism.Ĭomparisons to The Notorious B.I.G. He has sporadic album host-comedian Chris Rock, who pops up twice here-introduce him on “Powers That Be” with a short monolog: “There’s not a better MC than Rick motherf**kin’ Ross.” This is despite the fact that the same track features arguably the best MC of all time, Nas, who shows he’s leagues beyond with his own dizzying verse. On the album, Rozay categorizes himself amongst Russell Simmons and Sean Combs and Shawn Carter, some of music’s most accomplished executives. “I said I was The Boss, nobody made a sound,” he boasts. His rhymes often play like embellished edits to his Wikipedia page. Lyrically, Rick Ross knows the power of writing his own realities into existence. Rick Ross Reveals 10th Album ‘Port Of Miami 2: Born To Kill’ There are still some trunk rattlers though, most notably a three-song stretch in its belly that features “Dead Presidents” and the ominous “She On My D**k,” both distinct callbacks to MMG’s trademark sound and repetition. Bink!-an overlooked name in Jay Z’s The Blueprint liner notes-composes an opulent string section for “Scientology” and chops up Thelicia’s 1970 song “Illustration” for the jazzy audio confessional “Game Ain’t Based On Sympathy.” The Stylistics’ gorgeous classic “People Make The World Go Round” gets new life as a sample for “I Think She Like Me,” one of the album’s many standout moments. The throat-clearing opener “Apple Of My Eye” sets the tone, as Ross chimes in on everything from America’s tiny-palmed president to his protégé’s love life (“I told Meek, ‘I wouldn’t trust Nicki,’” he remarks) over toasty brass. Rather You Than Me is built on these nostalgic sounds.

Same for 2011’s “B.M.F.” and “MC Hammer.” But the feather in Rozay’s cap, what’s distinguished him from peers like Gucci Mane and Jeezy, is an appreciation for instrumentation that’s as rich as his lyrical content.

Wale’s “Actin’ Up” and Ross’ “Hold Me Back,” both from 2012, are virtually the same song, for instance. An architect of the sound that defines late 2000’s trap music-plodding drums, reverbing gongs, body-shaking 808s-Rick Ross, and by extension, his MMG crew, has often drawn from the same sonic and stylistic well.

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