Miami Tycoon Rick Ross Sticks to His Guns on the Ostentatious “Port of Miami 2”

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Whether you consider yourself an avid fan or not, chances are, if you’ve paid even the slightest attention to the hip-hop scene over the past fifteen years or so, you’ve heard the name Rick Ross tossed around on multiple occasions. The Carol City mogul has been an entrepreneur in the music industry for at least the past decade, founding his label Maybach Music in the final months of the 2000s. Since then, he has collaborated with everyone from Kanye West to Skrillex, and has recently performed guest verses on songs from rising stars and industry frontrunners alike (Denzel Curry and Drake, respectively). Needless to say, he’s a man of many connections.

While I hadn’t listened to his 2017 record Better You Than Me upon its initial release, I went back to see if I could summarize the album’s sound in a few thoughts. Overall, the project contained heavy influences from jazz music, featuring opulent brass instruments, loose percussion, and flashy piano riffs throughout the album’s runtime. Ross’s signature 3-to-8-count flow was prevalent throughout, and the album’s themes ranged from the luxuries of fame to Ross’s stature in Miami’s criminal underground. To describe it in one word, Better You Than Me was ostentatious, and I expected nothing less going into his most recent release.

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Considering that Port of Miami 2 released a whole thirteen years after the original, I wondered whether the sequel would be a throwback to Ross’s beginnings in the mid-2000s or progress towards more modern hip-hop trends. In an odd twist of events, the album gave me neither. 

Released under Epic Records and Maybach Music, the long-awaited sequel delivers 15 tracks and 66 minutes of what I would essentially consider to be more of the same from Ross’s previous releases. While this doesn’t necessarily hinder the record’s quality in itself—Ross’s past efforts have been more successful with critics than not—it stops the project from being anything more than “just another Rick Ross album.” As there are many things that work in the album’s favor, there are just as many things that work against it, all of which would be easier to explain upon analyzing the project’s flaws individually.

Luckily, the album kicks off on a high note with the rambunctious anthem “Act a Fool,” which features chopped-up synths, monstrous 808s, and a welcome feature from labelmate Wale. Ross’s confidence shines through on this track better than any other on the record, and while he reserves himself to using the same flow for a majority of the track, his assertive delivery ensures that his bars about general grandeur still pack a massive punch.

The following track “Turnpike Ike” is less admirable, as it features a handful of unbearably painful interludes where an unnamed woman is asked by Ross to remind the listeners of just how rich he is. The dialogue is stilted and completely distracted me from what would’ve otherwise been a mediocre song to begin with—not to mention that the entire concept of said interludes felt outdated and tacky.

In fact, coming off as outdated or tacky is one of the biggest struggles that Port of Miami 2 faces. Many of the sung hooks on the album fall completely flat, whether it’s due to awkward writing or melodies that feel cheap or uncalculated. 

For example, the hook sung by Sam Harvey on “Bogus Charms” has a nice sentiment to it, but the lyrics are extremely generic, and the lone piano/falsetto combination sounds as if it was ripped directly from a rejected Charlie Puth demo. Drake’s verse on the closing track “Gold Roses” is phenomenal, featuring some of his most intricate wordplay since his 2018 single “Diplomatic Immunity;” however, his hook has very little structure in regards to flow, and the tune he sings is an utterly pathetic excuse for a melody. Immensely talented vocalists like Summer Walker, Teyana Taylor, and John Legend also make guest appearances, but the songwriting gives them very little to do. 

The production across the record is also something I’m torn on. On one hand, the instrumentation is lush, monumental, and extravagant—such is the case on the flashy victory lap “BIG TYME,” which features cascading pianos and larger-than-life drum fills. On the other hand, it would’ve sounded better had this album dropped in the early 2010s. It may sound odd, but I feel that the production on most of these tracks would have fared better in another era of hip-hop music. This is especially reinforced by the fact that Ross hasn’t switched up his sound since his previous record; he doesn’t seem to be progressing forward in the same way that other rappers from his generation are.

I could go on about the record’s numerous issues, such as Ross’s famously repetitive flow (he always starts a line on the third beat of one measure and ends it on the fourth beat of the next) or the endless Maybach Music tags he forces into the production, but that would take away from the fact that this project contains some genuinely kickass moments. 

The track “Nobody’s Favorite” is one of the most menacing bits on the tracklist, and Ross sounds colder than ever as his detached inflections drift over sparse church bells and bare-bones percussion. He describes the Grim Reaper wearing a pair of black Dickies and stacking bodies, but as he does so, it’s not too difficult to imagine Ross himself as the Angel of Death. 

The track “Born To Kill” carries the album’s sound into spacier territory: sleek, layered synths build on top of one another as Ross paints a portrait of himself as a crime lord in Miami’s narcotics underground. He’s a cold-blooded figure fueled by adrenaline and notoriety, backed by bars such as “Kilo in the mornin’, skip the cappuccino / Bomb under my car like I was Al Pacino.” Ross also manages to get trap pioneer Jeezy on the cut, and the Carolina veteran delivers a verse full of cheeky quotables in his signature Southern style. 

Ross switches up the pace on “I Still Pray,” an introspective cut that was inspired by the sudden heart attack he suffered in the spring of 2018. On the track, he laments about his own personal greed, the projects of Miami, and those he has lost over the years. It’s an intriguing contrast from the rest of the record’s subject matter, and it sheds a little more vulnerability on Ross than most would expect from him. Ball Greezy delivers one of the better hooks on the project (even if it contradicts the message presented in Ross’s verse), and YFN Lucci steps up with some interesting vocals in his verse.

All in all, Port of Miami 2 is a mixed bag. It certainly has some highlights and a few standout tracks, but your enjoyment of the project as a whole will likely be linked to how much you’ve enjoyed Ross’s work in the past. As someone who has found Ross’s past features entertaining—albeit a bit one-note—I have a similar opinion of this project, and I’m left mostly impartial to it. It’s not terrible by any means, but Ross’s lack of progression from his past records means that there isn’t much here that contributes to the future of luxury rap. Hopefully, Ross will recognize this and step up his game to leave a greater legacy for Miami hip-hop.

Favorite Tracks:

Nobody’s Favorite (feat. Gunplay)

Born To Kill (feat. Jeezy)

I Still Pray (feat. YFN Lucci & Ball Greezy)

Rating: 6

Listen to Port Of Miami 2 here:

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Songs of the Week: August 11th

 
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Welcome to “Songs of the Week” a weekly segment where I highlight three of the best new songs released the week prior. To stay up to date on all new music, follow our playlist “Hot 30” on Apple Music and Spotify. “Hot 30” is updated daily to always include the freshest new music. Always 30 songs, hottest always at the top. Stream it here:

A playlist updated weekly by team members at StereoVision with the hottest new rap and hip-hop music. Always 30 songs with the hottest tracks at the top.

Songs of the Week:

“Hair Down” by SiR (Feat. Kendrick Lamar)

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Following in the footsteps of fellow TDE artist SZA, SiR just inked a new deal with RCA records and is celebrating with a new album titled Chasing Summer expected to drop on August 30th. The first single from the Inglewood native was released this week and features Top Dawg’s top dawg, Kendrick Lamar. On “Hair Down” SiR picks up where he left off on 2018’s November with a soulful and moody track that uses beautifully layered vocals to gracefully present us with important messages about self-confidence and expectations. Kendrick is himself on the second verse and enforced the image of the self-conscious superstar numb to their impressive accomplishments. All-in-all, this is an excellent song that should have hip-hop fans everywhere anxiously awaiting Chasing Summer.

Skeletons in your closet but your past don’t exist
Got a pad on your list, got a pad on your lock
Calabas’ ain’t the move, that’s where everybody live
Plus the mountain is hot, you forgot what you got, ah!
— Kendrick Lamar "Hair Down"

“White Lines” by Rick Ross (Feat. DeJ Loaf)

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This week, Rick Ross dropped his highly anticipated album Port Of Miami 2. While the whole album is solid, the vibe that the Miami rapper manages to create on the fifth track “White Lines” is unmatched. The veteran emcee raps about an excellent weed high filled with coked out girls and luxury shopping over a dreamy instrumental. This track is an automatic add to smoke sesh playlists everywhere.

I flew her here to take her shoppin’
My credit card done got it poppin’
I put that pussy in my pocket
Cartier bracelet and locket
We like to film it, then we watch it
Tell your friend come join the party
You a freak and I’m a prophet
Painted the Chevy doo-doo chocolate
— Rick Ross "White Lines"

“SoHo Freestyle” by Pivot Gang (Feat. Kota The Friend)

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Saba’s talented clan “Pivot Gang” dropped two songs this week with “SoHo Freestyle” being the clear winner out of the pair. This track is my favorite posse cut of the year and sounds like everything Revenge Of The Dreamers 3 wanted to be but couldn’t quite achieve. While all four emcee’s snap on their respective verses, Saba and Mfn Melo slightly edge out Kota The Friend and Frsh Waters but it’s very close. All hip-hop fans should find this cut fun and enjoyable encouraging us all to revisit Pivot Gang’s 2019 album, You Can’t Sit With Us.

I get paid every K, then you hatin’ and shit
Got a care on my head, but this Bape on my fit
Runnin’ laps ‘round the lands, on some Daytona shit
We fight wars with my boys, so I’m takin’ the risk
— Saba "SoHo Freestyle"

Thanks for reading, check back in next week for three new songs of the week. Make sure to follow us on Instagram and Twitter to get notified when we post:

 

Songs of the Week: June 16th

 
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Welcome to “Songs of the Week” a weekly segment where I highlight three of the best new songs released the week prior. To stay up to date on all new music, follow our playlist “Hot 30” on Apple Music and Spotify. “Hot 30” is updated daily to always include the freshest new music. Always 30 songs, hottest always at the top. Stream it here:

A playlist updated weekly by team members at StereoVision with the hottest new rap and hip-hop music. Always 30 songs with the hottest tracks at the top.

Songs of the Week:

“Down Bad” by Dreamville

Down Bad (feat. JID, Bas, J. Cole, EARTHGANG & Young Nudy), a song by Dreamville, JID, Bas, J. Cole, EARTHGANG, Young Nudy on Spotify

J. Cole’s powerhouse label “Dreamville” has been teasing their third collaborative album “Revenge of the Dreamers III” for awhile now and last Wednesday we finally got a taste of what they’ve been working on. While both songs on their EP “1-800-88-DREAM” were very good, “Down Bad” is already one of my favorite songs of the year. JID, Bas, J. Cole, and Johnny Venus, all deliver excellent verses to the point where it’s hard to pick a favorite. If I had to pick, I think JID’s verse barley edges out the other three but it is very close. This song is so fun and succeeded in adding to the excitement for the forthcoming album.

I had to tighten the fuck up, but I’m here for the crown
Board of Education vs. Brown
I was bored of education, left the town
Fuck a résumé and fuck a cap and gown
Fuck a background check back ‘round when I get the check
Nigga, that’s now
— JID "Down Bad"

“Time” by Free Nationals (Feat. Mac Miller & Kali Uchis)

Time, a song by Free Nationals, Mac Miller, Kali Uchis on Spotify

Ten months after his passing, Mac Miller’s first posthumous verse has arrived, and it’s nothing short of perfect. The track is titled “Time” and released by Anderson .Paak’s band, Free Nationals. Kali Uchis is called upon for the first verse and hook and sounds angelic over the groovy soundscape provided by Free Nationals. One minute and thirty seconds into the record, Mac smoothly makes his presence known and spits a reflective verse about the benefits of letting time run its course in a relationship. He utilizes the same flow and style that was very present in Swimming allowing every introspective bar to resonate. We miss you Mac, rest in peace.

Well, I don’t trip, but I slip, I fall
Sleep all day, maybe miss your calls
Like I been missing you
Still, I continue, tied up and tripping up
I’m making the wrong decisions and you sick of it all
— Mac Miller "Time"

“Money In The Grave” by Drake (Feat. Rick Ross)

Money In The Grave (Drake ft. Rick Ross), a song by Drake, Rick Ross on Spotify

Thursday night the Toronto Raptors won their first ever NBA championship meaning that their biggest fan and spokesperson, Drake, would be dropping new music in celebration before the weekend was over. On Friday night, the Canadian rapper dropped a two song EP titled The Best In The World Pack. The second track “Money In The Grave”  features Rick Ross, reuniting the dynamic “I’m On One/Lord Knows” duo. While the song has nothing to do with the Raptors, it’s a classic Drake freebie which always seem to go especially hard. The song features the two decorated emcees rapping about their success and how people will continue to try and feed off their image even after death.

When I die, put my money in the grave
I really gotta put a couple niggas in they place
Really just lapped every nigga in the race
I really might tat “Realest Nigga” on my face
— Drake "Money In The Grave"

Thanks for reading, check back in next week for three new songs of the week. Make sure to follow us on Instagram and Twitter to get notified when we post:

 

On “ZUU” Denzel Curry Establishes Himself as King of Miami Hip-Hop

Florida’s prodigal son has returned in dramatic fashion to grab the throne and put on for Carroll City

By Spencer Lobdell

Photo via Pooneh Ghana

Photo via Pooneh Ghana

For years the city of Miami has been looking for its rap champion. The glorious days of Trick Daddy and Trina came to an end some time ago when their crown was taken by Rick Ross. The decline of the “Port of Miami” rapper left the throne for the taking with no obvious heir. Charges and jail time made it difficult for the city to crown rappers like Bobby Shmurda, Kodak Black, or even the late XXXTentacion as their unanimous figurehead while a lack of mainstream success kept rappers like SpaceGhostPurrp or any other member of Raider Klan from seizing the position. That is until 2019, when Raider Klan standout Denzel Curry snatched the crown, accepted the responsibility, and promised to never look back.

Denzel has been quietly putting on for Miami (specifically Carroll City) for years as a solo artist and a member of the talented collective started by SpaceGhostPurrp, Raider Klan. Things really begin to heat up for Denzel upon the drop of his sophomore album Imperial which featured Joey Bada$$ and Miami legend Rick Ross. After the album’s release he was selected to be a member of XXL’s 2016 freshman class, a list that would soon lose all credibility but at the time was still a prideful achievement. After Imperial Denzel took two years off to craft what would be his fantastic 2018 release, TA13OO. The album received massive amounts of support and acclaim from fans and critics alike and sits utop many year-end lists including ours.

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While TA13OO was a creative masterpiece and the most ambitious project Denzel ever released, it didn’t sound like Miami. Denzel realized that to be considered one of the greats he would need to first acquire unconditional love and support from his hometown like all legends had before him. He took to twitter to let us know that this was his aim with his newest album ZUU which is an nickname for Carol City, the area of Miami Denzel grew up in. The rollout for ZUU was quick and clean and presented us with two excellent, excitement-building singles, “RICKY” and “SPEEDBOAT”. ZUU arrived May 31st via Loma Vista Records with a runtime of 29 minutes and six features, all of which are heavily tied to the city of Miami.

The album’s title-track “ZUU” is a perfect intro that grabs your attention and refuses to let you play anything else until the album is completed in its entirety. The song is shocking yet catchy with a fascinating woodwinds layer on the hook that makes this cut absolutely addicting.

The end of “ZUU” contains a short skit which ushers us into the albums lead single “RICKY” which is an ode to Denzel’s father. This cut will be the the pump-up song of Summer ‘19 and the accompanying music video just adds to the cinematographic element of this bop.

“BIRDZ” featuring Rick Ross is the fourth cut on this album and my early favorite. It is on “BIRDZ” where Denzel truly claims this album for Miami (Let's start it over/Eye of Jehovah/Come take a look at my city and its culture). The two already-legendary Florida emcees take us for a tour of the magic city over a rattling beat from FnZ on this hard-hitting track.

The album refuses to slow down with the next song “AUTOMATIC” produced by super-producer Tay Keith. The song gets harder and harder the deeper we go with Zel’s second verse being one of the best on the album. The verse shows the Miami rapper discarding fake love and shouting out his day ones whose names should be very familiar if you are a fan of Denzel’s music (You ain't Shane, you ain't Mook/You ain't gang, you ain't crew/See my ways hella strange 'cause I'm raised in the Zuu).

If “BIRDZ” is the track where Dezel claims ZUU for his city, “CAROLMART” is the track where he claims his city for himself (A real-ass nigga from the 305/I was raised off of Trina, Trick, Rick, and Plies). The song is a banger and could inspire an eskimo to research plane tickets to Miami.

The next song “SHAKE 88” is a club anthem and will be inescapable in months to come for obvious reasons. The song is catchy as hell and my Twitter feed has already been flooded with “SHAKE 88” twerk videos.

The album concludes with a radio skit “BLACKLAND 66.6” (a nod to SpaceGhostPurrp who had a mixtape of the same name) which ushers us into the most sinister song on the album. “P.A.T” (which stands for Project and Turmoil) is dedicated to Project Pat (the founder of Three 6 Mafia) and is overtly reminiciant of Zel’s earliest music with Raider Klan. The song is dark, grinding, and hard as hell.

Coming off his most conceptual album to date, many wondered what direction Denzel would head next. The answer to that was obvious to Curry: he would go home. With ZUU Denzel tastefully simplified his music showing us that sometimes the obvious answer can be the best answer with proper execution. ZUU is a short album with no skippable tracks. It’s abrasive and in-your-face without being inaccessible for less intense fans thanks to cuts like “WISH” and “SHAKE 88”. All-in-all, Denzel made an excellent career decision and the result is a Miami masterpiece.  

Favorite Tracks:

ZUU

BIRDZ (Feat. Rick Ross)

AUTOMATIC (Feat. Tay Keith)

Rating: 8.5

Listen to Zuu here:

ZUU, an album by Denzel Curry on Spotify

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Songs of the Week: Feb 3rd

 
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Welcome to “Songs of the Week” a weekly segment where I highlight three of the best new songs released the week prior along with one throwback song of the week. To stay up to date on all new music, follow my Spotify playlist “What I’m Feeling” which is updated weekly to always include the freshest new music. Always 30 songs, hottest always at the top. Stream it here:

A playlist updated weekly with whatever new songs I'm feeling at the time. Always 30 songs and in order with what I'm feeling the most at the top.

New Songs of the Week:

“Child’s Play” By A$AP Twelvyy

Child's Play, a song by A$AP Twelvyy on Spotify

This week A$AP Twelvyy returned to streaming services with his first major release since debut album dropped in 2017. This fast-paced cut about Twelvvy’s childhood is encompassed by an eerie bell riff which gives the song a somewhat threatening nature. This song is multidimensional, full of context, and flexes some of the most complex rhyme schemes we’ve heard this year. With “Child’s Play” being the lead single it’s impossible to not be excited for whatever Twelvyy drops.

Lie to Genesis, Resident Evil: Nemesis
Pissin’ on the premises, pissin’ off the tenements
Baby boy invented this, I used to run the syndicate
Side-to-side, Stretch Armstrong, new ventriloquist
— A$AP Twelvyy “Child’s Play”

“Locationship” By YBN Cordae

Locationships, a song by YBN Cordae on Spotify

On YBN Cordae’s newest single “Locationships” he pays homage to Jay-Z’s legendary “Girls, Girls, Girls.” In true Hov fashion, Cordae bounces back and forth between short descriptions of all his side chicks across the country. These excerpts are hilarious and are executed precisely making this bouncy bop super entertaining. Throughout his young career, my biggest concern about Cordae has been his ability to write hooks. This issue is nonexistent on “Locationships” as Cordae serves up an addicting chorus that you won’t be able to get out of your head. Lastly, the groovy S1 instrumental ties everything together and gives the song the desired mood.

I got this one chick from the Bay who always bump Mac Dre
I give her constant dick, her consciousness won’t go that way
— YBN Cordae “Locationships”

“BigStuff” By TROSSTHEGIANT

BigStuff, a song by TROSSTHEGIANT on Spotify

Here at StereoVision, we know little about SoCal rapper TROSSTHEGIANT. What we do know is that his new single “BigStuff” is one of the most fun releases of the year. This energetic beach-cut seems to instantly transport me to a sunny day on the water whenever I hit play. TROSS’s earnest confidence is palpable throughout the infectious track and it feels so good. After “BigStuff” TROSSTHEGIANT certainly has my attention and he should have yours too.

A grey check make my rep go and plummet
I break bread in Kobe’s, I’m so lovely
Hit 100k checklist, done it
Never tripped on plays, they rays kept bugging
— TROSSTHEGIANT “BigStuff”

Throwback Song of the Week:

“Lord Knows” By Drake (Feat. Rick Ross)

Lord Knows, a song by Drake, Rick Ross on Spotify

Drake’s three-minute verse at the beginning of his classic Take Care cut “Lord Knows” is the best he’s rapped in his entire career. Drizzy snaps like crazy floating between impactful two-liners which are overtly cocky in the most enjoyable way. The only way to describe this explosion of bars is Drake on his king shit. Rick Ross pulls through to deliver an always welcomed feature and the Just Blaze instrumental is just as epic as the braggadocious bars. If you like Drake, make sure you know this classic cut.

I know of all the things that I hear they be poking fun at
Never the flow though, they know I run that
Fuck you all, I claim that whenever
I changed rap forever, the game back together
— Drake “Lord Knows”

Check back in next week for three new hot songs and one new throwback! Follow us on Twitter and Instagram to get updated when we post:

 
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