tags: rick ross, Rick Ross album review, Teflon Don, Teflon Don review
William “Rick Ross” Roberts is the most polarizing and interesting man in rap right now.
The same colossal ball of baritone who not too long ago seemed exiled to the most doomed of rap’s realms – that of lost credibility – has proven that good music does in fact trump all.
With his fourth album, Teflon Don, Ross has created a poignant eleven-track escapade doused as much in bombastic beats and bravado as it is in thought provoking, focused storytelling.
Enlisting a slew of heavy-hitting guest appearances (Jay Z, Kanye West, T.I, and Erykah Badu are just some of music’s elite featured), Grammy-worthy production from producers The J.U.S.T.I.C.E. League, No I.D., Lex Lugar, and the Olympicks (to name a few) Ross has served a magnum opus, worthy of the hype.
Teflon Don, no doubt a reference to Robert’s ability to dodge credibility issues (Ross entered shaky ground when two years ago, despite his insistance on his drug-trafficking past, a Smoking Gun photo showed him in a Miami-Dade county correctional officer’s uniform).
The real treasure of Teflon Don is its cohesiveness. The features, though aplenty are expertly placed and Ross holds his own with the game’s best. On what is probably the best song on the album, Ross stands fearlessly toe-to-toe with Hov on Free Mason. Another gem, the Bobby Seale introduced Tears of Joy, sees Ross poignantly telling of the dual side of fame and it’s trappings (I wanna walk in the image of Christ/but damn that bitch Vivica nice) as Cee-Lo croons a painfully palpable “I ask when someone wants to be me, why?/ My God, I’m scarred…”
Live Fast and Die Young with West drips of a self-destructive braggadocio that brings out the best in both artists, creating a rarity –a hip hop song that not only tells a story, but is sure to set the dancefloor ablaze.
The album then takes a change of pace with the airy No. 1, a jam though well intentioned, is an ultimate train wreck. Ross loses the depth of the album’s first half and dabbles in the forgettable. That is until the two biggest songs of the summer, MC Hammer and B.M.F. (Blowin’ Money Fast). Despite a ridiculous Gucci Mane verse, the songs that have sparked more ad libs (I think I’m Big Meech! Larry Hoover!) than any other in recent memory, are unforgettable and necessary.
Chrisette Michele provides the album’s biggest surprise as she enchants on the smooth Aston Martin Music with new rap superstar Drake. It is however, the album’s last great song as All the Money In The World, with Raphael Saadiq is another well-intentioned song lacking little punch.
Since his 2006 Port of Miami debut, Rick Ross has continuously improved as an MC. He’s constantly getting better, and he knows it. He’s the man of the hour, and he knows it. He speaks, and we listen intently; and he knows it. Teflon Don is a exceedlingly solid album signaling Ross’ ascension to rap’s big leagues. Is it this year’s best? Not quite. Most intriguing? Most definitely.










With his romantically charged lyrics and smooth production
All’s fair in love and war? Right? Well,
Who: Trey Songz

Aaron



