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Those “other” songs is why I put beats in quotes. Nonetheless, I anticipate a Rick Ross release for “the other” songs. I love them jawns and they are needed, especially in the current rap environment. The thing that draws me to a Rick Ross album though is not the street anthems. In that aspect, Ross def exhibits the traits of “a boss” - buy low, sell high. That being said, I’m sure he doesn’t have to pay top price for those beats. And I’m sure that G5Kid’s “Hold Me Back” was one of his top placements as well.
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I hate to say that anyone is picked out of obscurity without knowing their full story but Luger has gone on record as saying he was ready to supplement his income with a labor intense 9–5. It’s not like these songs are produced by a who’s who of producers either. I don’t think Ross is trying to push the boundaries on these songs as much as he’s making it a point to feed the streets. Kelly (and a video that featured every damn body) - to solo songs like “Hold Me Back.” Which is a part of the Ross formula - a mix of street anthems packed with guests, look back at Trilla - “The Boss” ft the then white hot T-Pain, “Speedin’” ft R. You also have the Beat Billionaire produced “Dead Presidents” ft Future, Jeezy, & Yo Gotti & “She on My Dick” ft Gucci Mane on the street anthem tip two more songs that are earmarked for a club near you. On Rather You Than Me, Ross plucked Young Coke from the cadre of Atlanta producers for the song “Trap, Trap, Trap” which won’t be climbing up no Billboard list but will definitely rattle some car speakers this upcoming summer. Ross usually gets a pass…but we’ll get to that later.Ī Rick Ross album is always packed with street anthems. I emphasize these two more than “Hard in the Paint” because most lovers of rap are almost naturally adverse to southern rappers of Waka Flocka’s caliber. “B.M.F” and “MC Hammer” were the songs of Summer 2010. That’s certainly the case for what he did for Lex Luger who’s placement on Teflon Don was the right hook to the jab of his production with Waka Flocka. When I bring a sound, it’s not just a dope record, it’s also a sound that’ll also alter the sound of the game for that moment, for that era. So for me, that’s what’s dope about what I do. But when it is, they always are top of the line. O ne thing you will never hear anyone criticize is Rick Ross’ ability to pick ‘a beat.’ I put that word ‘beat’ in quotes because a large part of what people love about Ross’ music is that it’s not just beats. When I moved back to New York in October of 2006, “Hustlin’” was making noise there too.
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That song came out in the spring of 2006 and played damn near until the spring of 2007. According to those numbers, “Hustlin’” peaked out at 54, which to some would mean that the song was a marginal success. Just FYI for all you revisionist history writers, this is how you know the Billboard 100 numbers ain’t shit. In the midst of all that, “Hustlin’” was released. Naw, that was hood music made by people who not only were from the worst areas in Atlanta, many of these “snap” rappers had reputations that proceeded them. Contrary to prior belief, “snap” wasn’t bubble gum, happy go lucky, feel good music. I was in Atlanta that year…more importantly, I was on public transportation, and in addition to the hated “ring tone rap” there was also “snap” (which to some people, was one and the same). The catchphrase for Rap Purists wasn’t “mumble rap” as it is now, instead it was “ring tone rap” with people who loved the music afraid that their beloved genre was being overtaken by throwaway songs that only lasted until the next catchy, ring tone song came along. Young Joc’s “It’s Going Down” was the best selling Rap song back then, 2006, followed closely by Lil John’s “Snap Yo Fingers.” S eems like a few lifetimes ago when Ross dropped the song that caught most people’s attention, “Hustlin,’” and in all actuality, it was.