With his ninth effort, Rather You Than Me, Rick Ross has revealed yet another telling chapter in his growing legacy. After several health scares, some of which put his life at serious risk, he adopted a new approach, one that expressed a deep appreciation for all that he had accomplished. Facing mortality made him that much more cutthroat when it came to preserving his legacy, and Rather You Than Me is a fusion of both perspectives; as humble as it is relentless.
The beats are all over the place, from trap and pop to straight up g-funk. What remains the same is the mild pace, which suits Ross’ slow, husky delivery. His ability to traverse many different landscapes is a testament to his versatility. His guests who include Raphael Saadiq, Chris Rock, Young Thug, Future and Meek Mill to name a few, all add an element to the equation, proving that Ross can adapt with the best. It’s a strong showing from a lyricist with no quit.
‘Apple of My Eye‘
Sentimental musings right off the bat, a song laced with newfound insights. Success has come at a steep price, but he wouldn’t want it any other way. He’s reeling off all the lessons he’s learned as an international superstar; some small and day to day others profound and esoteric. R&B phenom Raphael Saadiq adds a silky smooth touch that compliments the brute force of Ross’ delivery: [LISTEN]
‘Santorini Greece‘
The slow groove continues, swirling in the air like smoke. The velvety touches are accented by chopped vocal samples, creating a moody atmosphere for Ross to play with. The approach is reminiscent of Dilla, dark and soulful with guts to boot. He explores part of his life like he were going through an old photo album, happy one moment and deeply contemplative the next. A stroll down memory lane: [LISTEN]
‘Idols Become Rivals‘
Chris Rock opens with a diatribe that only he can pull off, his rage both comical and stinging. It’s a marathon long song as far as Ross is concerned but one penned with a very specific person (and motive) in mind. Birdman and the Cash Money empire was an inspiration, but over the course of his career he discovered that it was all a lie. It boils down to real versus fake and Ross is unconvinced: [LISTEN]
‘Trap Trap Trap‘
Rick Ross spits a quick verse and then quickly hands the keys over to his contemporaries. The name says it all, a trap song with all the trimmings. The hi-hats skip across the thick bass framing a simply-worded declaration of wealth and power. He’s flexing hard, showing the world that he too knows how to handle the tough jobs. But in the end it’s Young Thug‘s show, a trendy song that says little: [LISTEN]
‘Dead Presidents‘
The long winded monologues begin to weigh down the momentum, slowing what was a blazing start. He forgoes the progress made, and resorts back to his lame dog and pony show; bass heavy beats that go nowhere and familiar verses that hold no weight. He’s in essence making way for Future, Yo Gotti and Jeezy who end up carrying the song. It’s supposed to be a posse cut, but lacks authenticity: [LISTEN]
‘She on My Dick‘
Wealthy beyond measure and as gaudy as wearing cheap fur to a funeral. The beat sounds like a warship crashing upon the shore; ready to pillage and conquer. He’s praising his wealth like a greasy preacher, preaching to the congregation that if you’re rich women will fall at your feet too. Gucci Mane pokes his head in and spits yet another mediocre verse. Two kingpins framing their obscene wealth: [LISTEN]
‘I Think She Like Me‘
Sampling The Stylistics‘ “People Make The World Go Round” sets a proper mood. It’s a suave portrayal of an easy life; gratitude for all the luxuries that have come with superstardom. With Ty Dolla $ign in the backseat it’s almost a given that this is an anthem penned exclusively for the ladies. Strip joints around the world can rejoice, knowing that it has a surefire bomb on its hands: [LISTEN]
‘Powers That Be‘
Chris Rock returns as the official hypeman of the album, a better person to do it than Ross himself. Nas is the featured gladiator on the track, which means that Ross had to sharpen his pencil to make sure he’s on point too. That type of mutual respect speaks volumes for both sides, and each paint a portrait with their own distinct flavor; Ross more gritty and forthright, Nas as cryptic as ever: [LISTEN]
‘Game Ain’t Based on Sympathy‘
Ross sounds off on government cheese. He hates the sight of it, a long cinder block of yellow clay. The image is a stark reminder of how far he’s come, the sacrifices he’s made and the hard work put in. At this point he’s earned it, and with that in mind he reels off his verses like it were barbershop talk; at ease and with no desire to show out. Another song rooted in genuine appreciation: [LISTEN]
‘Scientology‘
The weeping strings act as a warning, a musical reminder that it all can disappear in a heartbeat. With a few health scares of his own, he’s paying particular attention to the frailness of the body. It reminds him that no matter how much money he makes none of it will buy a clean bill of health. And when you go, it certainly can’t come with you. A humbling moment in the face of mortality: [LISTEN]
‘Lamborghini Doors‘
Knowing that life is fleeting has him feeling somber on one hand and cutthroat on the other. In order to maintain his way of life he needs to be ruthless, cunning and without mercy. Talking about Meek Mill puts it all into perspective. He has a target on his back and the more powerful he gets the bigger the target becomes. The beat is crystalline and melodic, a shiny frame to house the shot: [LISTEN]
‘Triple Platinum‘
Willowy piano licks saturate the song, leading to an open book confessional. Lessons learned underline each moment, but just when things are about to get over sentimental he hits you with an old standard. There’s still a relentless hustler in him, but now he’s giving way to ideas with more substance. His life is on display and his comfort in the limelight is becoming one of his biggest assets: [LISTEN]
‘Maybach Music V‘
Like the Fast and the Furious series there just seems to be no quit in the Maybach brand. And like the Fast and the Furious Vin Diesel knew when to step aside for Dwayne Johnson, a willing passing of the guard. Rick Ross is a cordial host, stepping aside and letting DeJ Loaf rain thunder on a meaty, bass heavy beat. It’s not a usurpation, but Ross putting a firm down payment on the future: [LISTEN]
‘Summer Seventeen‘
Not one to be misrepresented, Rick Ross closes his confessional out with a slammer. It rains fire from the opening note and doesn’t relent, as fiery and destructive as an angry stream of lava. He wants doubters to know that he hasn’t gone soft and that he still knows how to bring the heat when needed. It’s classic Ross and a sign that he still plans on moving forward, haters be damned: [LISTEN]
