Whether you are an up-and-coming artist or a certified boss on the verge of becoming a mogul, all journeys in the music industry come with roadblocks and obstacles. As the leader of MMG, Rick Ross is no stranger to the ups and downs of the game, especially over the past few years. From dealing with the downward spiral of Meek Mill’s legal (and Drake) troubles to his own stint in jail, Rozay has faced a substantial level of adversity that cannot be handled via black bottles and WingStop. A high volume of output in 2014 (releasing two albums in Mastermind and Hood Billionaire) didn’t accomplish quite enough to quiet the naysayers, but some critics experienced a change of heart after Black Dollar, the well-received mixtape (released in September) that served as a prequel to Ross’s latest album Black Market. While Black Market is not a body of work powerful enough to levitate Ross back into the dominant space of mainstream hip-hop conversation he once thrived in, the album is a step in the right direction thanks to its thoughtfulness and minimal reliance on insufferable attempts at hit singles.
The first half of Black Market showcases a revitalized Ross, an artist who has always shined when utilizing his gruff delivery over smooth, luxurious production and his recent struggles seem to be directly related to this restoration. As soon as the triumphant glory of intro track “Free Enterprise” presents itself, we are greeted with the introspective version of Rozay who is open to sharing his struggles without illegitimizing the boss status which he relies upon. John Legend closes the song with a beautiful chorus and the next offering “Smile Mama, Smile” features Cee-Lo Green vocals as Ross discusses his decision to quit sipping lean with his mom’s happiness in mind. Listeners who are expecting Ross to stunt about his riches are left surprised, and pleasantly so considering Ross’s ability to showcase his hustling acumen in a more graceful manner, with the Ben Billions-laced “Silk Road” being a quality example of Rozay prestige.
Inevitably so, much of the Black Market coverage has been focused on the tracks which feature Ross taking not-so-subtle jabs at MMG opponents (50 Cent, Birdman, Drake…the choice is yours) as well as delving into this year’s trending topic of ghostwriting. And while these offerings “Color Money, “Ghostwriting”) are ideal for gossip, they are not an accurate reflection of Ross’s best efforts on the album. Despite the unfortunate title and repetition of “Dope Dick”, the chemistry between Ross and producer Jake One prevails yet again with Rozay’s surefire delivery working wonders over the glistening instrumental. Black Market may taper off a bit on the feature loaded back-half, but for every forgettable Mariah Carey/Mary J Blige collaboration there are gems such as the DJ Premier-scratched “Black Opium” and “Sorry”, a skillfully structured and mature record “Sorry” fueled by an impressively apologetic guest appearance from Chris Brown.
At this stage in his career, it is foolish to treat Rick Ross as an emcee who is going to amaze you with his lyricism and content. Black Market is not a groundbreaking late-stage moment for Ross and its impact won’t draw in great attention as time goes on. However, the album is valiant in its attempt to portray Rick Ross as an artist who can confidently rise above struggle without letting any battle wounds hinder his unwavering ambition. Rather than seeking forced radio songs and using misplaced MMG collaborations, Black Market takes itself seriously as a full collection, prioritizing consistency and hunger over fake glamour and glitz. It is tough to predict how the MMG story will unfold in the coming years, but Black Market succeeds because when a boss has his back against the wall, motivation birthed from a genuine appreciation for the art form (not the talk/headlines surrounding it) finds its way into the music and this time around, Rick Ross choose to embrace it.
Repeatable: “Free Enterprise”, “Sorry”, “Smile Mama, Smile”
Skippable: “Can’t Say No”, “Very Best”