Rick Ross’ 2006 studio debut Port of Miami is best remembered for “Hustlin’,” a hit song that elevated Ross from being a side act on Trick Daddy’s Slip-N-Slide Records to an on-the-rise player: The song landed him on Def Jam’s roster, drew the likes of JAY-Z and Young Jeezy for the remix, and gave Ross a spot on the charts. But it wasn’t until his follow-up, 2008’s Trilla, that he began to establish his role in trap music beyond his breakthrough single. Ross and Young Jeezy were two of the preeminent coke rappers of the mid-2000s and 2010s—and if Young Jeezy made music that served as the motivational grind to get through the work week, Ross’ music had the exhilaration of the weekend or a championship parade. Trilla standouts like “The Boss” and “Speedin’” showcase the high-flying, fast-living lifestyle he had begun to establish on his debut, with Miami-ready synths and catchy hooks by T-Pain and R. Kelly. But perhaps more importantly, Ross’ sophomore album allowed him to double-down on the sound that’d become a staple of his career: Velvety productions that served as the perfect foil for his gruff voice, giving an air of luxury to the fruits of his street pharmaceuticals. “Here I Am” finds him spoiling a woman with vacations and jewelry, over a two-step-ready piano medley with cameos by Nelly and R&B hookman Avery Storm. And a suite of productions by J.U.S.T.I.C.E. League finds Ross flexing his lyrical muscle over lush, extravagant live instruments that sound just as expensive as the images he paints. He confidently stands toe-to-toe with JAY-Z on “Maybach Music”; jubilantly gloats his success on “Billionaire”; and calls on fellow Southern titans Lil Wayne, Jeezy, and Trick Daddy for “Luxury Tax.” With a sound all his own and the proven ability to hang with other rap greats, Rick Ross proved that he wasn’t leaving anytime soon.