"Maybach Music IV", the album's fifth track, is the fourth song of a series which began on Ross' second album, Trilla (2008), and has since featured artists such Kanye West, T.I. and Erykah Badu.[29] Unlike the previous entries in the series, the song contains only a single guest, singer-songwriter Ne-Yo, who performs the song's chorus.[33] Production group J.U.S.T.I.C.E. League, who have worked with Ross many times in the past, created the song's production; it contains "spiraling" electric guitars and synth sounds,[26][34] and bears similarities to the previous entry of the series, "Maybach Music III", particularly in the elements of jazz fusion both songs incorporate.[29] L.A. Reid, the chief executive of Def Jam, also makes an uncredited appearance on the song.[29] Ross supposedly "laughs in the face of death", according to Drew Beringer of AbsolutePunk, with the lyric "get a blowjob, have a seizure on the Lear", which is a reference to the two near-fatal seizures Ross suffered in 2011.[27] Beringer cited the song as an example of Ross balancing the reflection and more indulgent themes he frequently employs on the album to give "stellar tracks", going on to call "Maybach Music IV" and the following song "Sixteen" a "stunning one-two punch" of such balance execution.[27] "Sixteen", the longest song on the album at eight minutes and sixteen seconds, is also produced by J.U.S.T.I.C.E. League.[35] The elegant, "smooth as silk" backing track also contains influences of jazz, as well as cymbal downbeats, saxophone sounds, string instruments and a guitar solo, performed by fellow rapper Andr 3000, who also provides vocals on the song.[27][34][35][36] The backing track bears stylistic similarities to Andr 3000's own single "Prototype" (2004).[35] The song's title alludes to the idea, discussed by both Ross and Andr 3000 in their lyrics, that a traditional sixteen bar verse is not long enough to get across the ideas they wish to.[27][36]

Mikael Wood of the Los Angeles Times called the album "commanding" and "complicated", and wrote that "he's succeeded by becoming too big to fail."[70] Rick Florino of Artistdirect praised the album as "gritty", "guttural", and "cinematic", and found Ross to be "on par with Nas and Biggie Smalls."[76] Jonah Weiner of Rolling Stone complimented Ross' "unburdening rap from the tyranny of realness" and commented that "there are times when God Forgives is as engrossing and surprising as rap can be."[72] Slant Magazine's Jesse Cataldo commended Ross for surprisingly "continuing to find new ways to describe his largesse", and characterized the album as "silly, completely gauche, and still pretty impressive ... [a] massive exercise in excess."[73] Consequence of Sound's Mike Madden commented that the album "adds fascinating realism and reflection to Ross' usual over-the-top gusto."[34]

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In a mixed review, Louise Brailey of NME found the album's tone too "serious" and wrote that "only '911' continues the gilded legacy of Teflon Don".[71] Jon Caramanica of The New York Times criticized that "Ross goes for grand gestures that don't serve him well" and called it "his least tonally consistent album, both in music and in content. An aimlessness and lethargy seeps into too many of these songs".[77] Evan Rytlewski of The A.V. Club felt that Ross "comes across as a softened version of his usually unrestrained character" and that the album "rarely shocks or excites."[69] Jordan Sargent of The Village Voice called the album an "inarguable misstep" and commented that it "indulges [Ross'] worst tendencies, in the process rewinding time back an era when Ross was merely a big presence with bigger guests and even bigger beats."[78] Pitchfork's Jayson Greene observed some "higher-profile misfires" and commented that the album "feels depressingly earthbound" in comparison to his previous albums.[29]

Still, in the past few years (in my mind at least), Ross has come to represent hip-hop's bloated hair metal era, in which top-tier producers and guest vocalists are called in to ensure that an album is too big, too star-studded, appealing to too many demographics to fail. Ross's Mastermind featured 17 different producers and 11 guests, while God Forgives had 15 producers and 11 guests. His straight-ahead basso profundo rarely wavers, seldom deviating from its stated mission of telling the listener about his outlandish wealth, how hard he hustled to get it, and the degrees to which he will lavish women and eviscerate the men who stand in his way. But this is 2015, hip-hop's grunge era, in which idle talk and flash are pass. We want the hermetically sealed worlds of Kendrick Lamar and J. Cole, the rawness of Future, the slipperiness and unpredictability of Young Thug.

Ross' new chapter officially started in 2017 with the number three entry Rather You Than Me. It continued in 2019 with Port of Miami 2. The sequel to his debut continued his career-long streak of Top Ten albums and was his most personal recording yet, reflecting upon the death of longtime associate and manager Black Bo and a personal health scare, two major setbacks he had experienced the previous year. The album's Drake-assisted single "Gold Roses" scored a nomination for Best Rap Song in the 2020 Grammy Awards. Several collaborations marked Ross' output that year including "Entanglement" with August Alsina and "Pinned to the Cross" featuring Finn Matthews. 0852c4b9a8

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