Rick Ross has distinguished himself as a workaholic, committing to an ongoing grind that has paid off and established the Maybach Music Group’s brand within the streets, clubs and radio stations. His slow rise to glory can be largely attributed to strong production and over the top boasts to match his often shirtless massive frame, amounting to one of present Hip Hop’s most engaging freak shows. Capitalizing on the wildfire success of this summer’s God Forgives, I Don’t (certified Gold in under three months time), The Black Bar Mitzvah aims to extend Ross and MMG’s reign through 2012’s fourth quarter.
Having built a name amongst the long list of rappers turned moguls, Rick Ross’ necessity towards creating The Black Bar Mitzvah stems from good business sense rather than the market needing more material (this being his third project since last December). Throwing his hat in the ring to further partake in the industry’s reindeer games, mixed results arise as the toasts to the prosperity of his organization are reliant on the current hits of his contemporaries. Despite Rozay bringing his typical vibrance to tunes such as G.O.O.D. Music’s smash “Mercy” and Juicy J’s “Bandz A Make Her Dance,” he falls short of breathing new energy into the unofficial remixes crafted.
While Rick Ross sounds at home over Chief Keef’s “I Don’t Like” (a track derived from formerly frequent collaborator Lex Luger’s blueprint), this effort suffers from excess that eventually becomes overkill. The omnipresent 2 Chainz is heard on four separate selections including “Birthday Song,” and Cruel Summer’s“Clique” expanded into seven minute extravaganzas featuring the lavish Diddy and magnet for trouble Gunplay respectively. Also, the numerous appearances from less than stellar newcomer Rockie Fresh feel forced and the tape is weighed down by off-putting advertisements where Ross constantly reminds listeners of MMG upstart Meek Mill’s soon to be released debut and the crew’s upcoming tour.
The outlandish Black Bar Mitzvah celebrates Rick Ross and his twisted religion of raunch, violence and materialism, as he subversively uses the work of his peers to outshine them. Though not original enough for critically discerning ears, this latest glimpse at the life of a boss should provide fascinating entertainment for mainstream Rap enthusiasts, given its minor upgrades to that which they’re already immersed. In the end, it stands to be debated whether this promotional tactic by Ross wisely takes advantage of today’s spotlight or if it is a useless byproduct of his carefree nature lacking in modesty and self-awareness.
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