Album Reviews

Ross throws his weight around with the best of them. A rotund Miami spitsmith, Ross borrowed his name from a real life South Florida drug kingpin and has emerged as one of the preeminent "Hustlers" in this post-Jigga world. Today, he's the archetype for throngs of not-a-rapper-but-a-trapper capitalists, less concerned with flow, than bringing love of street dough to an all-time high. Authenticity aside (have you seen a rap sheet?), on his debut, Port of Miami, Ross put forth a big, imposing image, with meaty hooks to match his frame, and list of big names behind the boards and tables. His latest, Trilla, is more of the same. There's boasts for days, and beats for even more. And while Ross might not be the most limber emcee, his guests help shoulder the load. T-Pain's turn on "The Boss" is a guaranteed strip club anthem. Elsewhere, Lil Wayne, Young Jeezy and Trick Daddy turn "Luxury Tax" into a classic posse cut, and Ross's idol Jay Z's additions to "Maybach Music" won't get added to HOV's canon anytime soon, but as far as covering for Ross, they go quite a long way. Going even further is the production of J.U.S.T.I.C.E. League (on the horn-heavy, soul thumper "Luxury Tax"), The Runners (on the chunky synth anthem "Speedin"), and Drumma Boy (on the thug&B jam "Here I Am"). Throughout, the beats seethe, alternating from majestic to menacing, Southern gothtronic to post-crunk. No, Trilla doesn't further anything that Ross began on Port, but he's a businessman. After all, if it ain't broke (his debut is platinum), why fix it?

—Robbie Mackey
03.28.08