For one, Mafia Music was the perfect intro to show that Ross was now official with the rapswhat vibe was that,...picking up where the female boss caught flack amd rapped and more convincing than this wack biter nikka.
please give us a rant and qualifies it more than the negatively positive rolling stones bullshyt reviews and paid pr.
art barr
I guess Id say its more of a personal classic and Id attribute alot of that to the production. Kinda like how Blueprint started a movement sonically, even though the soul samples had been used similarly before
The album kinda paints a picture of a Miami night-off from the picture of a "boss, kingpin druglord" type of dude. Of course that image has been manufactured, exposed and the like, but the concept still works for me
The rich, theatric stuff Justice League gave him was pretty revolutionary. Not many beats outside of 2001-era Dre had that type of big-budget cinematic excellence
For the most part, the album picks a laidback-type theme and sticks to it. Teflon Don was good but also a mess because it tried too many things at once. Telfon DOn is when he started ODing on those played-out Lex Luger beats with the "insert-name-drop-here" choruses. With DTR, Ross moved away from being a cartoonishly ignorant "trap" rapper to a full-fledged hip-hop artist with his own sonic identity. Lyrically he stepped up 200%, and hes far from "elite" now, but he found a flow and delivery that works for him