To rightfully misquote one of Rick Rossâ earliest supporters, the Miami rapper has largely shed his initial caricature as a dope boy to become not simply a businessman, but a business [man]. In the process, he has ascended into Hip Hopâs top tier, a calculated move that comes deservedly given successful growth not only from a financial standpoint, but also as an artist. God Forgives, I Donât reflects this progress, in a manner that only Rozay could provide.
One couldnât speak of his latest effort without first mentioning âSixteen,â an eight-minute escapade that features the elusive yet incomparable presence of Andre 3000. Over smooth, melodic synths, Ross reveals bars of a better life while Three Stacks serves up three verses worth of contemplation that will have your head on a lyrical swivel. Intricately ignoring the standards of a formulaic Rap record, itâs a riveting performance that would make even the biggest Ross skeptic give an approving nod. A man whoâs known for great excess, âPresidentialâ focuses on his penchant for self-worth and the women who benefit from it. With Pharrell Williams lending his signature Neptunes sound and Elijah Blake handling falsetto duties admirably, Ross is on cloud nine as he glides through the opulent production with a girl in one hand and a rack in the other. Still, even as Ross builds his stock portfolio brick by brick, heâs comfortable and (more importantly) sincere enough to revisit his past with clarity. On the soulfully somber cut âAshamed,â he raps;
âWent from walking on gravel, now Iâm riding on vogues / 50 Mâs in the bank, I get me 200, Iâm gone / Still so close to the hood, Iâm ashamed to say / All the money in the world canât take this pain away / Itâs just another story at the campfire / Court side seats with the franchise / I think about my niggas doing 25 / Shining bright, who am I for you to criticize?â
AD LOADING...
Highlights aside, Rozayâs most dependable assets on God Forgives, I Donât fittingly become his Maybach Music Group cohorts. Whether itâs Wale partnering on the sexually connotative yet provocative âDiced Pineapples,â or Omarionâs bellowing hook throughout the distant âIce Cold,â their unique approach compliment Rossâ grandiose style. With that said, by no means are these records made in the same vein as the Self Made compilations, as Ross firmly takes the reins in each instance. Such is the case with âSo Sophisticated,â which sounds like a beat tailor-made for Meek Millâs shout-first delivery, and he boastfully delivers accordingly. However, his verse pales in comparison to Rossâ as he verbally rips on foes who could only dream of his stature (âYou wanna be the hottest, but that shit get complicated / I pull your card, I know youâre pussy by your conversation / Show you the safe youâll have to kill me for the combination / Made another two milli just off the compilationâ).
For those following Rossâ career since his earlier days, the âMaybach Musicâ series has been a staple for flashy features met with prolific production, a combination no self-respecting Rap fan could resist. Flipping the script this time around, Ross tackles the fourth installment solo (with Ne-Yo as his hook wingman), meddling with J.U.S.T.I.C.E. Leagueâs marvelous backdrop like it was his birthright. Ironically, the go-to track for star power on God Forgives, I Donât turns out to be impressive in name only rather than in execution. Aptly titled â3 Kings,âRoss, Jay-Z and Dr. Dre churn out arrogant verses that feel carelessly put together, with Hov needlessly rambling about his daughter at the end of the record (any guesses as to who wrote Dreâs?). Alas, Jake Oneâs magnificent production goes unfulfilled. Things hit a wall sonically on âHold Me Backâ and â911.â The first detraction is the vast similarities in the sound of the production; â911â essentially comes off as a stripped-down version of its predecessor, which wasnât impressive in the first place. Next up is the lyricism, with pompous lines like, âHow we rose from the sewers / Funny now Iâm the shitâ and âIf I die tonight I know Iâm coming back nigga / Reincarnated, big black fat niggaâ awkwardly settling in, as if heâs actually impressed by his wittiness. Ross definitely stepped up his rhymes for this album, but these records would have you think otherwise.
Bold and indulgent, God Forgives, I Donât embodies why Rick Ross has become a fixture that listeners can depend on, as well as an executive who can strategize success for not only himself but others around him. âIt takes a boss to know a boss,â L.A. Reid states at the end of âMaybach Music IV.â Five albums in, thereâs no disagreement here.