Rick Ross’s deep, assured voice is the rare instrument that simply sounds like it belongs to a rich guy. “The devil is a lie,” he proclaims, “I am the proof.” By contrast, Ross casts Lucifer out the way he sees it, his charmed existence “sipping Bordeaux out in Bordeaux” was ordained by the almighty. Jay often views God and the devil as two sides of the same coin, both lingering in every D’usse bottle and business transaction. The ways they weave in these references throws their respective worldviews into sharp relief. Two of Rick Ross’s best songs with Jay-Z, “Free Mason” and “Devil Is A Lie,” employ heavy religious and biblical imagery to describe how these two men defied overwhelming odds to find great success. Arguably the defining verse of his career came while he rode shotgun on “Devil in a New Dress,” on West’s My Beautiful Dark Twisted Fantasy. In this sense, some of his best work has come through collaboration with big names – in particular, Kanye West and Jay-Z. He builds worlds where boss-talk and displays of envious wealth are the lingua franca. Rick Ross’s guest verses are always in-demand not only because of his consistency, but also, more importantly, because the luxurious aroma of his raps naturally seeps into his collaborators’ verses. Ross was eating, in every sense of the word. In the video for “MMG Untouchable,” from his sublime 2012 mixtape Rich Forever, it’s unclear which is the more monumental flex – the scenes where he wears a giant fur coat, or the ones where he goes shirtless and flaunts his ample chains and belly meat. On “I’m Not a Star,” another exquisitely diabolical Luger collab from Teflon Don, Ross raps about black cards and pinky rings with the bluster of a Category 5 Hurricane. (Blowin’ Money Fast),” he delivered the single most iconic line of his entire career: “I think I’m Big Meech – LARRY HOOVER.” Where he had once bragged about simply knowing Pablo Escobar, he now placed himself squarely within the pantheon of America’s most infamous druglords. Backed by the titanic beats of trap pioneer Lex Luger, on “B.M.F. This development culminated with the 2010 magnum opus Teflon Don, in which he ascended to the level of supervillain – an untouchable on par with Escobar – by recording some of the most breathtakingly arrogant bars ever laid on wax. He had become not only richer, but meaner, cockier, and better at rapping. On “Mafia Music,” the lead single from his 2009 album Deeper Than Rap, he eats crab meat with one hand and raises a defiant middle finger with the other. With increased popularity came increased scrutiny, and when some questioned the authenticity of Ross’s larger-than-life yarns, Rozay simply doubled down. Ross did the same in the opening chapter of his career his 2006 album Port of Miami debuted at No.1, with 187,000 first-week sales.īy 2008, Rick Ross had solidified his status as a hip hop heavyweight. In that scene, Montana was practically minting money. Ross’s follow-up single “Push It” explicitly invokes Scarface through its sample of “Push It To the Limit,” the song that plays during the montage that chronicles Tony Montana’s swift rise to the pinnacle of the South Florida underworld. Rick Ross’s career exploded in 2006 when he released his debut single “Hustlin’.” Though he proclaims Miami a “playboy’s paradise” at the outset of the “Hustlin’” music video, the song is really about the work ethic and nerve required to conquer the drug trade.
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