This has been Ricky Rozay's summer, for certain. Teflon Don was, in short, a sparkly, magnanimously produced, well-acted-out album. By the way, let's just go ahead and keep pretending like the entire planet hasn't figured out that Ross employed a ghostwriter for TD. Hard evidence? Well, there's none. But what we do have is a monkey metaphor and a Jersey Shore reference instead, and that's pretty much just as good.
See, Ross' strength of presence has always been his go-to move; that's just who he is. Whenever he found himself in a position where he was even the least bit uncertain about what to do on a song, he'd just trample his way through it. And it mostly worked. (See: Miami, Port of.)
But on TD, which possessed the most ingenious, exceedingly dynamic production he'd ever had staring at him, he somehow matched it with wit and a confounding aura of charm via braggadocio. And the only way that happens is if he decides to let somebody else write his lyrics so he doesn't end up trying to get away with rhyming "Pacific" with "Pacific" over and over again.
Rhinos don't become monkeys overnight, is what we're saying. This whole cover-up is more egregious than the anonymous letter Sammi got telling her about Ronnie cheating on her. But whatev. Rozay has owned the summer. And Houston rappers are nothing if not trendy. Hit the jump to see five Houston rapper versions of Ross's "B.M.F.," the keynote track from TD.
You knew, knew, knew the instant this song came out that Killa Kyleon, who has built up a hearty reputation for hijacking songs from people over the years, was going to get in on it. (He seems to acknowledge it too, saying in his very first line: "Kill Billy, niggas no it's me.") And more than that, you get a better-than-average showing from label mate Marcus Manchild.
Ah, Flipperace. He's certainly lost a significant amount of his pull these past few years, but Flip is still almost always interesting in these types of situations.
Standard stuff, but included here because Thugga is probably wishing he'd taken a shot at Ross here seeing as how Ross went in at him not too long ago.
Trae offers up these types of Gmixes pretty regularly now. We first saw him uncork this one at his recent HPMA Showcase performance. He does a good job here of riding that monster of beat, rather than trying to corral it (he did the same thing on his excellent re-do of Lupe's "Beamin'"). The best line: "The king is here / The wait is over / I am the streets / tell 'em that ban is over."
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SHOW ME HOW
"I think I'm Big Moe, DJ Screw."
Excellent localized adaptation of the now classic "I think I'm Big Meech, Larry Hoover" line from the original, topped only by the "I think I'm J. Prince" line and the "I think I'm Pimp C" line that were dropped in other versions.
By the way, who had any idea that SD could be this effective? Good showing.
Double by the way, Will Lean did a version of this too, but he used the exact same Big Moe/DJ Screw line in his so we didn't include it here.