“Trilla,” Rick Ross’ second album on the Def
Jam imprint, has two major advantages. The first
is thundering, speaker-crushing production from
the likes of DJ Toomp, Mannie Fresh and standout
production team J.U.S.T.I.C.E. League. The other
advantage is a leading man who has the charisma
to make the album worth listening to for more than
five minutes (which is longer than I listened to the
Shawty Lo album).
The album starts off strong with the horror-crunkinfused
single “The Boss,” which lifts a sample from
the Beastie Boys’ classic hit “Paul Revere” and features
T-Pain in rare – albeit contained – form.
Ross boasts he is the “biggest boss you’ve seen
thus far,” a theme that is increasingly prevalent
throughout “Trilla.”
More surprising are the points where Ross seems to
break away from his timeworn cycle of “gangsta-life”
boasts. He waxes nostalgic on tracks such as “Billionaire”
and “I’m Only Human,” hoping to bridge a
connection with the life he used to live and pondering
if life would have been simpler had he not taken up
an alternate lifestyle. Of course, that sentiment is
short lived-it’s a Ross album after all.
“Speedin’ ” features the almost untouchable R.Kelly
on the chorus, as The Runners once again prove they
are the go-to producers for Ross with their warpedsynth
sound complementing the out-of-control habits
of the self-proclaimed boss.
In-demand producer DJ Toomp appears on the
powerful “This Me.” Proving to have much of the
same chemistry as in Ross’ style, the epic, sweeping
horns are best fitting in a major motion picture, but
they fit this gangster-rap album, too.
The guests on the album are the rap equivalent of
a big-budget film cast. Jay-Z makes an appearance
on the amazing “Maybach Music,” out-bossing the
boss himself as he rides on the road to riches with
“better transportation” (word to Kool G Rap).
Lil’ Wayne appears alongside Trick Daddy and
Young Jeezy on the more amazing “Luxury Tax.”
Wayne shines the best,
though Trick Daddy
and Jeezy are more
than adequate. Ross did
not need to sign these
three on another posse
track-it doesn’t make
him look good.
Ross’ addiction to his tried-and-true formula serves
as probably his biggest advantage. Little has changed
since his 2006 debut, “Port of Miami,” including
his fatalist attitude. Ross’ car is bulletproof, and he’s
almost certain that his end will be the worst-as in
his own words “death doesn’t care about flesh.”
Contrary to most crack-rap artist résumés, there
is a sense of remorse here, but the CD’s success
outweighs its downfalls. Ross only can continue to
be himself. He’s too Tony Montana to hang with the
upper class, yet – much like his rapping style – he’s
too much of a boss in his own mind to change.
Sometimes life reflects art, and “Trilla” is yet
another solid chapter in Ross’ bolstering résumé.