Rick Ross - God Forgives, I Don't

There are few more polarising figures in the world of hip hop than Rick Ross. Some see him as a fraudulent, pathological liar occupying a false position at the head of the hip hop table while others admire his quality output, unafraid to praise the self proclaimed 'Bawse' of the rap world. Whichever opinion the listener possesses, it is clear that God Forgives, I Don't is one of the most anticipated rap releases of the year. Delayed from the intended December release date, Ross has kept his fans waiting. Instead, his Maybach Music Group label has released several well received projects, both solo and compilation based. Now it is finally time for the label head to step out on his own, ready to further capitalise on an already successful year.

Opener 'Pirates' finds Rick Ross in subdued, relaxed mode. The topics are the same; drugs, money and women, but the execution is different to previous releases. Rather than the bombastic production favoured in the MMG umbrella releases, Ross chooses to soothe the listener as he waxes lyrical about his luxurious lifestyle. The technique places the Miami native firmly in the tradition of the Mafioso sub genre of rap, a rebuttal to the familiar criticism that Ross profits from the fantasy life imagined in his rhymes. Rozay is showing the listener that he is fully aware he is not what he says he is, rather he is a performer and entertainer first and foremost.
This theme is explored further in the conciliatory 'Ashamed', Cool and Dre providing a soulful backdrop for the MC to explain why he took to selling drugs:
"I needed some change, Momma needed a raise/ She stayed in a rage, hated minimum wage/ I'm feeling the same, all these criminals paid/ Wearing Bally's and gold, I'm selling dope shameless to say."
A critical listener may point out that a rapper that has based an entire career on glorifying drug dealing is coming in a little late apologising on his fifth album, but it is clear from the outset that God Forgives, I Don't is the account of Rick Ross the MC and entertainer, not William Roberts the man. The latest entry in the 'Maybach Music' series of track included on every studio album since Trilla is similarly a triumph, stripping the guest spots and leaving a soulful Neyo hook to lull the listener over signature J.U.S.T.I.C.E League instrumental.

Less successful, however, is the bloated, star studded '3 Kings'. Featuring a Dr Dre verse but not his production proves to be a mistake as the legendary beat maker struggles through his Jay Z ghost written rhymes. Hova himself makes an appearance, sleep walking through his bars and going back on his promise to no longer use the word 'bitch' in his songs. The album picks up on the Andre 3000 featured 'Sixteen'. Lamenting the fact 16 bars is sometimes not enough to express an idea adequately, Ross designates a full 8 minutes to explore his notion. 3000 continues his recent trend of scene stealing guest appearances with a simply astonishing virtuoso demonstration of free association rhyming.

If there is one thing about Rick Ross that is impossible to deny, it is his consistency. The Floridian reverts to type in the middle section of his album, returning to the thumping, trunk rattling beats that characterise the Dirty South. 'Hold Me Back' is catchy, if a little repetitive, while '911' is too lengthy for its threadbare subject matter. 'So Sophisticated', however, places Ross firmly in his comfort zone. Enlisting MMG stalwart Meek Mill, the track is a perfect example of why the group currently occupies such a lofty position in mainstream rap.
The LP soon moves into R&B territory, with mixed results. 'Ice Cold' is lifted above the ordinary by an impassioned hook from a rejuvenated Omarion, but the Usher assisted 'Touch 'N You' is a disaster from start to finish. Uninspired production fails to mask a lamentable chorus, in which the legendary R&B crooner is reduced to whispering "fucking you, fucking you" over and over. Firmly between the two in terms of quality is the curious 'Diced Pineapples'. Wale treats the listener to a spot of spoken word poetry about oral sex before the song begins proper. The track makes utilises the often neglected singing voice of Drake to good effect, but it is hard to find a use for the song outside of the bedroom.

Track by Track:

1. Pray For Us (Intro) 
2. Pirates 7/10
3. 3 Kings feat. Dr. Dre & Jay-Z 6/10
4. Ashamed 7/10
5. Maybach Music IV feat. Ne-Yo 8/10
6. Sixteen feat. André 3000 8/10
7. Amsterdam 6/10
8. Hold Me Back 7/10
9. 911 5/10
10. So Sophisticated feat. Meek Mill 8/10
11. Presidential feat. Elijah Blake 7/10
12. Ice Cold feat. Omarion 8/10
13. Touch ‘N You feat. Usher 4/10
14. Diced Pineapples feat. Wale & Drake 6/10
15. Ten Jesus Pieces feat. Stalley 6/10

The Verdict:

By delving deeper into the mafioso sub genre, Rick Ross has produced arguably the most solid album of his career. Tentative experimentation generally comes off well, without forgetting the foundations that have made him one of the most consistent and popular rappers in the game. Despite the negative opinions that typically colour discussions of his work, the music itself continues to defy his critics. 

7/10

Wale - Ambition

Washington born MC Wale has had an interesting year. Removed from the Interscope roster after poor sales of debut Attention Deficit, the rapper was offered a second chance in the form of a place on Rick Ross' Maybach Music Group label. The compilation album of the same name found Wale rhyming with fellow XXL Freshmen alumni Meek Mill and Pill, as well as Ross himself. Though the LP was generally well received, Wale was criticised for seemingly changing his content and flow to fit in with his new label mates. 6 months later, the MC returns with his first MMG solo release: Ambition.


The first notable feature of the tracklist is the lack of MMG support. Meek Mill appears once, while Rick Ross guests twice. In theory, this allows Wale to stretch his wings, affording him an opportunity to experiment. The first four tracks, however, find the rapper stuck in familiar territory. 
Album opener 'Don't Hold Your Applause' finds a laid back Wale taking the MMG trademark boastful approach to his wordplay: "Tired of making money/ I'm more than making history/ Fuck how they feel I keep it realer than a documentary". 'Double M Genius' and 'Miami Nights' take on a similar theme, but it is the sombre 'Legendary' that properly kicks off the album as the MC wearily dissects the price of fame: "Fuck fame/ Fuck money/ Fuck anything anyone can take from me/ It aint hard/ To make money/ We young niggas just tryna' be legendary".


The LP has a prominent R&B streak running through the track list. The best of these are the Miguel assisted 'Lotus Flower' and 'Sabotage', featuring Lloyd. The former is an exercise in smooth seduction, while the latter is a smart examination of destructive relationship behaviours. 'White Linen', with Neyo on the hook, fares less well, the song tipping the balance of the album over to blatant attempts to expand the female fan base. The rapper starts 'Illest Bitch' by proclaiming that "I was going to write you a poem today/ But fuck it, I was feeling myself...". He should have stuck with the poem.


The stronger tracks on the album are where Wale takes himself out of his comfort zone. 'Focused' utilises the left-field  stylings of Kid Cudi to great effect over a synth heavy, spaced out beat. Similarly experimental is the Diplo produced 'Slight Work'. Sirens wail in and out of a looping drum beat as Wale and Big Sean showcase their quick time flows. Title track 'Ambition' is a subdued, poignant collaboration between MMG stalwarts Mill and Ross, the song demonstrating that there is more to the group than money, bitches and cars.


Track by Track:

1.	"Don't Hold Your Applause" (6/10)
2.	"Double M Genius"  (7/10)
3.	"Miami Nights"  (6/10)
4.	"Legendary"  (7/10)
5.	"Lotus Flower Bomb"  (7/10)
6.	"Chain Music"  (6/10)
7.	"Focused" (8/10)
8.	"Sabotage" (7/10)
9.	"White Linen (Coolin')" (5/10)
10.	"Slight Work" (9/10)
11.	"Ambition" (7/10)
12.	"Illest Bitch"  (5/10)
13.	"No Days Off"  (5/10)
14.	"DC or Nothing" (6/10)
15.	"That Way" (6/10) The Verdict: When listening to Ambition, it is hard to shake the feeling that Wale is out of his comfort zone on his new label. The album lacks the consciousness, emotion and razor sharp wordplay found in both the mixtapes that brought him to national attention and his debut effort Attention Deficit. Signing with MMG has become both a blessing and a curse. 6/10