Rick Ross’ ‘God Forgives, I Don’t’: Review Revue

On his fifth album God Forgives, I Don’t, The Bawse Rick Ross worked with top notch producers like Pharrell Williams, DJ Khaled, Rico Love and Cool & Dre, while calling upon pals Jay-Z, Dr. Dre, Ne-Yo, Drake and Wale to provide guest raps and vocals. The results, for the most part, seemed to please critics (including ourselves). The only fault some reviewers seem to cite is that it’s more of the same from Rozay — something that should at least please the rapper’s longtime fans.

Head below to sample our roundup of reviews for God Forgives, I Don’t.

:: In our own review of Rozay’s latest, we noted the following: “On this album, Ross’ ability to enliven his thudding tendencies is impressive, but the true achievement of God Forgives, I Don’t is its scope. Rozay tosses his old habits aside in favor of effervescent Miami sounds, woozy orchestras or head-bobbing soul.”

:: The Los Angeles Times find the bawse to be large and in charge: “Happily, Ross declines to downsize on God Forgives, I Don’t, which arrives following a lengthy delay, presumably attributable to the rapper’s health troubles. The new disc extends an over-the-top hot streak that began with 2009’s Deeper Than Rap and includes Teflon Don, from 2010; it’s rooted in the same lush production sound and name-checks just as many ultra-high-end luxury brands — even the Lear jet on which the second of his seizures struck.”

:: Boston.com is also full of praise: “…what makes Ross special on God Forgives is his colorful perspective. That is certainly evident on “Pirates” where he raps, “Fascination with fortune afford me mansion and Porsches, panoramas, abortions, marijuana imported, dreams of getting cream and never to be extorted, seen so many things be preposterous not to record it.'”

:: The Versed, however, finds God Forgives to be more of the same: “Lyrically, there really isn’t much to say about Ross’s effort on the album at all. But, if you’re an avid Ross listener, you probably don’t listen strictly for his lyrical sensibilities anyway. On nearly every track, his flow, lyrical cadence, and the substance in his rhymes is pretty much the same.”

:: am New York also finds fault with the MC’s latest: “Ross’ straightforward rhymes won’t send anyone racing for the repeat button, unlike some of his top-flight guests, especially André 3000, whose supple, intricate verses on ‘Sixteen’ are unmatched on the album. Though his writing has improved, Ross is still captivated by fragments of ideas (like ‘911,’ about dropping the top on his Porsche in the hereafter), and stepping back is perhaps his greatest skill.”

:: USA Today gives Rick credit for his drive: “One of his many star-studded tracks, ‘3 Kings’, features Jay-Z and Dr. Dre (is he really there already?), but he’s brazen enough to pull it off. Andre 3000 makes an always-welcome appearance on the soul-fueled ‘Sixteen’. Ross also gets plenty of help from Maybach labelmates Wale, Stalley, Omarian and Meek Mill, plus Drake, Ne-Yo and Usher. The stars are big; the Boss’ aspirations are bigger.”

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