Fat, black and full of facial hair is one way to describe William Roberts Jr. Another, more accurate to his career, would be an incredible rapper with an ear for great beats. The three #1 albums in four years will back up the previous sentence. With a plot of assassination on his career in 2008 when details surfaced about being a former C.O. in the late 90’s, he pulled through it, fighting G-Unit as well. The fourth album jet back to his original rap name, Teflon Don and follows the same tactics that lead him to success thus far.
The Miami native’s fourth offering is clouded by a massive amount of features. Out of 11 songs, 10 have someone else on it with him. If it was his debut album, it’d back fire without question. Since he’s proven himself though, it plays as more of an arm flex to show the power of Rozay. Take “Maybach Music III”’s movie like production provided by the J.U.S.T.I.C.E. League and, sticking to the script of previous installments, featuring T.I., Jadakiss & Erykah Badu. It’s a huge power move on his behalf.
For having such a street inspired title, the majority of the album is very mellow. The street side of things comes from two tracks that just happened to buzz enough off Albert Anastasia and make it on. The only addition to “MC Hammer” is Gucci Mane. If he was aiming for the streets to embrace it more, he does succeed. In terms of a good Gucci verse, that’s questionable. “B.M.F.” has the most infectious chorus of 2010 so far. “I think I’m Big Meech/Larry Hoover whipping work/Hallelujah” is such a genius, but simple line.
Whenever, for the most part, you hear a feature on Teflon Don it fits into the equation. It’s not just another thrown together song. The Kanye produced and featuring “Live Fast Die Young” works well because of Ye’s chorus and the whole structure of the record. Despite it being one of the least favorite tracks, “Super High” is meant for the mass appeal and grabs Ne-Yo for such a cause. “Tears Of Joy” gets personal and adds one of the most controversial aspects to the album. Not only does his call himself “Biggie Small in the flesh” but throws a clear shot toward DJ Vlad over the punch incident that happened a few years ago.
You can say what you want about his credibility but the music can never be attacked in any way. He knows how to make one hell of an album even with a massive arsenal of features. It doesn’t take away from the actual Rick Ross verses but enhances everything from start to finish. Subject matter it’s one of his most diverse albums and not just a Kilo fest. It’s not album of the year but it’s a definite contender. Bawse.
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