he Ruler is BACK! Richard Martin Lloyd Walters, or as we know him, Slick Rick, has been on hiatus for more than 25 years (as far as recording new music), coming out of retirement for a surprise release on Mass Appeal Media, Inc. and Idris Elba’s label, 7Wallace. The album is Rick’s first full-length project since his 1999 album Da Art of Storytellin’, which solidified his mastery of dense tales and his stylish flow. While he has been steadily performing live over the years, it was time for Slick Rick to bring out something new—something familiar, yet fresh.

Victory was four years in the making, with Slick Rick writing and recording the album between his birthplace of London and France. Rick explained that he didn’t want to record an album until he felt his artistic vision could be fully realized. Now, at 60 years old, he returns with a project billed as a visual and musical evolution. Rick described the title with his signature understatement: “Every story needs triumph.” For him, the victory is layered—surviving prison, circumventing deportation, navigating rap’s shifting eras, and arriving older yet better and stronger.

After the “Victory” intro, Rick dives right in with “Stress,” a hard-hitting track featuring a vintage old-school vibe. Over a dope drum beat, Slick Rick delivers an unyielding, fierce flow, using the chorus to lay out the reasons he’s mentally worn down—from loneliness to internal struggles. Giggs joins the track with his distinct style, detailing his own stress relievers, like treacherous women and high-quality Mary Jane. Together, Rick and Giggs create an honest and gritty track that perfectly balances agony and boasting.

“Angelic” follows with a sweet, chill yet upbeat rhythm, where Rick effortlessly glides over the beat. He reflects on the virtue of his youth compared to the disorder of today, while flexing on how much “La-Di-Da-Di” has been sampled and covered. Next is “Foreign,” which samples “Double Barrel” by Dave & Ansell Collins. With its upbeat tempo, Rick references the growing distance between him and his home, as well as the people who underestimated him during his absence. This leads into the “I Did That” interlude, where Rick reminds everyone of his accomplishments—he is, after all, The Ruler.

Rick switches things up with “Come On Let’s Go,” a house music track that feels slightly out of place on the album. While his lyrics and flow are solid, the song doesn’t quite hit, though it does feature a nice sample of “You Understand” by M. Rodriguez.

One of the standout tracks, “Landlord,” comes next, featuring a chill, reggae-infused beat. The riddim pulls you in, making you want to hit a cookout with jerk chicken, Jamaican patties, and Red Stripe. Rick vividly paints a picture of surviving the overpriced housing and hustle of New York City, showcasing his classic storytelling skills. The smooth blend of roots riddims and authentic storytelling makes this track a highlight.

After the “Mother Teresa” interlude, “Spirit to Cry” brings a chill beat with Rick flowing effortlessly over the top. The track briefly discusses those wishing for his downfall and features a slightly sped-up sample of Aretha Franklin’s “Land of Dreams.” The nostalgic beat and Rick’s flow transport listeners back to the ’90s.

Another favorite, “Documents,” features Nas and delivers masterful storytelling and gritty lyrical flow. The track’s production includes dramatic violin shots and rich old-school textures, sampling “Autumn Leaves” by Arthur Prysock. While Rick dominates his verses, Nas enters with a sharp, commanding verse that shifts the mood slightly but complements Rick’s style perfectly. Their collaboration is seamless, flowing over superb production.

“So You’re Having My Baby” hits with a piano-driven boom bap vibe, presenting a first-person narrative that feels like a courtroom testimony. Rick blends conversational speech with vivid, cinematic details, creating a compelling track.

The album returns to the club scene with another house music track, “Cuz I’m Here,” which samples “Ultra Violet” by Martin Ikin. Unfortunately, the track doesn’t quite fit the album’s overall vibe, and Rick’s flow feels less impactful here.

After the “Matrix” interlude, “We’re Not Losing” gets the album back on track with production reminiscent of RZA and Wu-Tang Clan. The beat is perfect, incorporating samples like “Un Mondo Di Parole” by Christophe, “Pulsar City Alarm” by Adams & Fleisner, and “Ironside” by Quincy Jones. Rick delivers a faster, harder flow, moving away from storytelling to bring raw energy.

The album closes with “Another Great Adventure,” a funky homage to Rick’s beginnings, produced by Q-Tip. The track has a classic A Tribe Called Quest vibe, sampling “If You’ve Got It, You’ll Get It” by The Headhunters. Rick shows a different side of himself here, mixing resilient cadences with unexpected subject matter about his daughter’s disability. His dark humor and realistic, idiomatic terms intensify the tension between empathy and discomfort, making this track a powerful closer.

The songs are relatively short, and the album is a quick listen, but one thing is certain: Slick Rick still delivers great storytelling and rhymes throughout this journey. Artists making a comeback often fall into pitfalls like long runtimes, drastic style changes, or excessive cameos, but Victory avoids all of these. Rick keeps the listener entertained and engaged.

The production, primarily handled by Rick himself, blends old-school hip-hop, house, funk, reggae, and boom bap with themes of imagination, perseverance, storytelling, and evolution. He doesn’t try to fit into today’s modern hip-hop trends; instead, the production feels like it was pulled straight from his era. Both seasoned fans and newcomers will appreciate this album as Rick channels his vibrant, relaxed charm and legendary storytelling.

The Ruler is truly back!

One Love – Todd M. Judd