ARTIST: Rick Ross
ALBUM: Teflon Don
LABEL: Def Jam
RELEASE DATE: July 20, 2010
The Boss Takes Over
Written by Alex Groberman
With his newest work, “Teflon Don,” Rick Ross provided fans with one of the most beautifully constructed albums of the year. What “Ricky Rozay” lacks in lyrical talent, he more than makes up for in his production choices and the ability to bring out rap’s heavyweights to join him.
In order to fully appreciate Ross, you have to understand how far the rapper has come over the last five years. Much like the original “Teflon Don,” the Miami-bred emcee has been able to deflect and avoid pitfalls that could have easily ended a lesser man’s career. From battles with 50 Cent, to a media exposed history as a C.O., Ross has suffered just about every battle and humiliation imaginable, and has seemingly come back stronger.
In this latest effort, Ross attempts to continue his rise for a mid-tier rap star to one of the game’s elite. While his three previous attempts at greatness were pleasant listens, none of them were considered all-time classics. This of course, is largely due to Ross’ average rhyming skills that he covers up with tremendous beat selection and top-of-the-line industry co-signs.
“Teflon Don” has its fair share of certified hits. “Maybach Music 3” continues Ross’ long-running musical series with TI and Jadakiss being brought along for the ride. All three rap heavyweights hold their own on the track, and Ross’ improved lyrical abilities really shine as his verse is just as good, if not better, than his counterparts. “B.M.F.” is another banger, and the bass-heavy track which features D-Block’s Styles P will no doubt be in heavy club rotation over the next few months.
Still, Ross is clearly is on a mission to prove his rapping worth on the album. On the No-ID produced “Tears of Joy,” Ross offers an introspective look at himself and his goals. Similarly, “All The Money In The World” offers listeners a bit of insight on the Miami emcee’s personal struggles after his father’s passing with verses like: “Passed in ’99, cancer all in his liver / Sh*t, difference since we last spoke your son a little richer / I’d never rap again if I could tell him that I miss him.”
While Ross has definitely come a long way from his “Trilla” days, the albums biggest shortcoming is the fact that Ross’ features at times outshine him. This is particularly evident on two tracks, “Live Fast, Die Young” with Kanye West, and “Free Mason” with Jay-Z.
On the former, West clearly gets the best of his rapping partner with a smooth re-introduction to the rap world where he confidently raps: “I’m back by unpopular demand / At least we still poppin’ in Japan / Shopping in Milan, hopping out the van, screams from the fans / ‘Yeezy always knew you’d be on top again!'”
Yet, there is no greater indicator of how far Ross still has to go to compete with rap’s legends than when he is joined on “Free Mason” with the king himself. On said track, none of his lyrics can compete with the absolute gems that Jay-Z drops: “N*ggas couldn’t do nothing with me / So they put the devil on me / I would have preferred if n*ggas squeeze the metal on me…Whole world want my demise, turn my music up / Hear me clearly, if y’all n*ggas fear me, just say y’all fear me / F*ck all these fairy tales…B*tch I said I was amazin’ / Not that I’m a Mason”
From a production standpoint, West, No I.D., the Inkredibles and the J.U.S.T.I.C.E League create a symphonic grandeur that perfectly lace Ross’ simplistic lyrics. While other emcees often fear that over-the-top production may take away from the appreciation for their actual raps, Ross embraces the idea. Rather than trying to write a book with his album that you have to study to appreciate, he creates a movie that you can sit back and enjoy.
The album isn’t without flaws, but all things considered, with “Teflon Don,” Ross has put together an effort worthy of someone that calls himself: The Boss.