Rick Ross: Port Of Miami
“More Of The Same” An Album Review By Nfared
Rappers look, act and sound the same. Ions from a time when distinction and
variety meant something to hip-hop, artists are now content with doing what
everyone else is doing, and fans are none the wiser, continuing to lower the bar
by accepting the same thing with a different face. While Rick Ross has sprung a
hit with his lead single “Hustlin”, his album “Port Of Miami” is far from
groundbreaking. In fact, it’s everything we’ve heard before.

On “Boss”, Rick feels the need to clarify what it means to be a boss. His
approach is about as exciting as reading it in the dictionary as he brags, “She
ain’t got to speak/cause my speakers let her know that I’m ballin.” He goes on
with his definition, “Stuntin is boss/shinin is boss…yellow diamonds is boss.”
There is a clear definition of boss. Clear as mud. The odd sounding Akon lends
his-- vocals to “Cross That Line”. The smooth and simplistic production with its
simulated handclaps and throbbing base line is the saving grace for this track
as lyrically there is nothing new. The chorus sounds like a million other
hip-hop songs, “If you ever cross that line/I guarantee ya there’ll be nothing
to save ya/I got whole bunch of guerillas ready to pull that trigga and we out
for that paper.” The fun as usual Jazzy Pha provides production for the upbeat
“For Da Low”. Ross is predictable as ever from the start, “Candy all in the
paint/rims deep in the dirt/got a car full of
work/nigga pocket full of purp…” Flipping the style, Rick gets smooth with “Get
Away”. Unfortunately though, the song is a recipe for disaster with the
following ingredients; not able to stray away from his regular subject matter
that permeates the album, he begins this song off topic; “Sometimes I rhyme
slow/sometimes I rhyme quick/sometimes I buy blow/so I supply bricks.” Next add
a vocally untalented Mario Winans and then stir in a Rick Ross who throughout
the song calls Mario “Maryo”. Listen until irritated, or about 2 minutes. “Hit
You From The Back” is another production highlight and could become something of
a guilty pleasure with its catchy chorus, “Lemme hit you from the back (cock
cock cock ya legs)/lemme hit you from the back (cock cock cock ya legs). “It
Ain’t A Problem” leans more to the creative side. The production and chorus
blend nicely, “It ain’t a problem til I say it is/handle my problem that’s the
way it is/always talking like a bitch/that’s the way
he is/after the ride nobody will know where he is.”

Needle Meter After struggling, it is somewhat understandable that Rick Ross
would brag about his material passions. It’s different though when that is the
subject matter of, or has the greatest mention in every song on the album making
him irritaingly arrogant. Also, the average Hip-Hop fan that works either a nine
to five or a third shift probably can’t relate to all the drug trafficking and
metaphorical references to such (it’s also illegal in the U.S.) on the album.
Then there is the eerie lyrical resemblance to Young Jeezy, and the guest
appearance of Lil Wayne that is more exciting that Rick himself. With this
album, Rick has done nothing but mirror every other Hip-Hop album that has been
released within the past two years, more of the same, nothing new. The port of
Miami has a sinking ship, and unfortunately fans of Hip-Hop are buying this
album in droves, sinking with it.
Two Needles














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