Rick Ross

Rick Ross really is “Mr. Miami.” With

a body mass matched only by his enormous

charisma and raspy, throbbing

baritone, it’s easy to make comparisons

to other notorious biggies, like Fat Joe or

Big Pun. But before I commit hip-hop

heresy and put Ross in the same ranks

as Christopher Wallace, it’s important to

acknowledge a whopper of a difference

between the two. While Ross may have

the size and the fan appeal, he lacks the

lyrical ability and thematic diversity of

his heavy predecessor. Then again, “Trilla”

is only Ross’s second album, so he

still has time to grow into the enormous,

double-wide shoes he’ll have to fill if

wants to be “the biggest boss that you’ve

seen thus far.”

“Trilla” is everything you’d expect

from a big budget, highly anticipated record—

the beats are fantastic, the guest

appearances are high profile and numerous,

and the production is top notch.

Contributions from the likes of Lil’

Wayne, Nelly, R. Kelly, Jay-Z, and Young

Jeezy help provide some of the diversity

that Ross lacks in his raps. These typically

center on the drug game, money, bitches,

and generally living the good life.

Cuts like “The Boss (ft. T-Pain),”

“Speedin’ (ft. R. Kelly),” and “This Is The

Life (ft. Trey Songz)” provide “Trilla” with

more than its fair share of bona fide club

burners that will inevitably hit big on the

radio and the dance floor. Meanwhile, features

with Jay-Z (“Maybach Music”) and

Lil’ Wayne (“Luxury Tax”) sound more

mellow, but still exhibit Ross’s star power

and ability to adapt his flow to any type of

track. Still, they also point out his inability

to hang with the best in the game.

Despite the veritable cartel of hip-hop

superstars, Ross dazzles even on his solo

tracks. The first such song, “We Shinin’,”

is backed by a swinging soul sound that

complements Ross’s booming voice

nicely. With lines like “I’m looking for the

next top model / Give me head on You-

Tube and then pop bottles,” Ross presents

the usual fare, but does so in a playful and

exuberant way.

Another solo song, “Billionaire,” might

be one of the album’s best cuts were it not

outdone by final track “I’m Only Human

(ft. Rodney).” Ross’s voice soars over an

organic synth melody and subwooferworthy

bass. The gnomic chorus perfectly

sums up his mentality at this point in his

career: “If it ain’t ’bout cash / I don’t really

care / I’m straight ’bout cash / I’m a hood

billionaire.”

“I’m Only Human (ft. Rodney)” is

the album’s standout track. Opening with

the wail of an electric guitar, the track is

made unique by its content and Rodney’s

repentant and heartfelt confession on the

chorus: “I’m only human / I’m a man, I

make mistakes.” Here and here alone does

Ross deign to talk about anything other

than that rap trifecta of money/cash/hos.

Instead, he recalls his “deadbeat dad” who

“never knew chocolate milk make you fart

real bad,” his struggle coming up, and his

own problems with his children and his

baby’s mama. With this one track, Ross

discloses a touchingly human side that

has remained buried until now. The fact

that this is the album’s closer only leaves

the listener hungrier to find out what

gems Ross’s future records will reveal.

Rick Ross’s “Trilla” is an absolute

banger of an album with a little something

for everyone. Between club tracks,

ridin’ tracks, mellow tracks, and songs

for the ladies, Ross covers it all. The highlight

of “Trilla,” though, is not what Ross

covers, but what he eventually uncovers,

what makes him who he is—his comeup,

his family, his human side. And while

he sometimes gets lyrically outclassed by

his featured collaborators, this humanizing

first glimpse of Rick Ross as more

than drug dealer and Miami strongman

makes up for his slight lyrical deficiency.

—Reviewer Joshua J. Kearney can be

reached at kearney@fas.harvard.edu.