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Rick Ross flashes street cred on ‘Trilla’

In the past year, Miami has become one of the hottest cities in the music industry.

Courtesy Photo — Def Jam.

Filled with nightlife, blazing heat and celebrity favoritism (Diddy, Fat Joe), Miami has churned out several hip-hop artists and producers from DJ Khaled to the cleverly named Flo Rida. It has also brought about the return of Miami’s finest, Rick Ross, and his latest album, “Trilla.”

Since his first album, “Port of Miami,” the heavy-set, bearded Ross has advertised and boasted about his hustling abilities (see “Hustlin’”). On his second LP, he creates a duplication of sorts, adding a few guest appearances to help polish his sound.

Musically, Ross sports a definitive, unique sound that strays from a typical Trina or Trick Daddy song. The heavy, rough beats throughout the album pair with drawn-out “Boss” and “Yayo” callings alongside a few orchestral tinges and blowing horns.

Lyrically, Ross shows off a few one-liners to show his charismatic side, but on the surface, his content is overused and predictable.

His first single, “Speedin’,” features R&B singer-turned-gangsta, R. Kelly. Kelly uses his alter ego, Kells, to fit the cocky, overblown illustration of living life in the fast lane. Ross uses this heavily synthesized track to showcase his posh lifestyle and to let listeners know about his coke-dealing days, while adding a sympathetic line to express his fear of losing his deserved wealth.

The album doesn’t stray too far from the “I’m So Hood” and “Get Money” complex; it’s a shared ethos for some artists. And to bring some authenticity to the Miami streets, Ross tries to cover every aspect of street life on this album, mentioning expensive cars, drugs and police brutality, as well as the problems of trying to be successful in a tough industry.

“Street Money,” a street-released track that, though single-worthy, did not make the album cut, portrays the drug trade with a glamourous streak. Flo Rida makes a guest appearance, singing the chorus over a roaring, bass-heavy track.

Channeling Fergie, Ross takes time to spell out his name and delivers his rhymes with a certain ferocity that makes him look less like a black Pillsbury dough boy and more like a scary Mr. T. Ross flows, “Started flat broke / Now I’m poppin’ rubber bands / I know I’m the shit, I done ate a ton of spam.”

In his second released single, “The Boss” featuring T-Pain, Ross claims, “I’m the biggest boss that you’ve seen thus far.” Ross rumbles over the track with organ-infused sounds and spookish back-vocals while T-Pain delivers a memorable, hit-making chorus.

The rest of the album takes a nose dive with more odes to bottle poppin’ and nice whips. Still, it benefits from a verse or two from mega-artist Jay-Z in “Maybach Music,” a sleek, laidback track that could have complemented to the “American Gangster” album.

More guest appearances from Lil’ Wayne, Young Jeezy, Mannie Fresh and Trey Songz give the album a much-needed lyrical boost to counter the thundering heavyweight.

Ross does get a little sentimental on the last track of the album, “I’m Only Human,” but it would make for a better track if he had just stopped trying.

“Trilla” is quick to fall into repetition and slow with creativity. Ross needs to tackle some other issues such as. Still, you can’t fault him for his street credibility or knock his hustle.