Gunna – “Drip Season 4” review

This is the 5th mixtape from College Park rapper Gunna. Coming up in 2013 off his debut mixtape Hard Body, he would eventually catch the attention of local phenomenon Young Thug just 3 years later would go on to sign to his 300 Entertainment imprint YSL Records. However it wasn’t until the release of his debut EP Drip or Drown & his 4th mixtape Drip Season 3 in late 2017 & early 2018 respectively where Gunna’s profile increased significantly. Drip or Drown 2 though was a mediocre full-length debut & W.U.N.N.A. (Wealthy Unapologetic N***a Naturally Authentic) wound up being one of the best trap albums of 2020, but is kicking off 2022 by dropping Drip Season 4.

“private island” kicks the whole tape off with an acoustic trap instrumental from Wheezy talking about living it up whereas the violin-infused “pushin’ P” with Future & Young Thug finds the trio talking about percs. “poochie gown” then sees the So Icey Boyz mixing some piano chords & heavy bass talking about having a bad bitch in his penthouse & pathetically trying to throw a jab at Freddie Gibbs, but then Thugger returns for the thunderous “mop” going back & forth with one another very well.

Meanwhile on “thought i was playing”, we have 21 Savage tagging along on top of an entrancing Mike WiLL Made-It beat going at those who don’t take them seriously leading into “how you did that?” showing Turboworking in some keys & a flute to talk about the famous lifestyle even though Kodak Black’s parts don’t hold up to Gunna’s at all. “alotta cake” has these amazing harps from Metro Boomin’ getting materialistic just before “livin’ wild” shows off a well used Keith Sweat sample talking about going through changes.

“you & me” goes into a more sexual turf as Taurus samples Jon B, Chris Brown & Bri Steves all together while “south to west” once again gets boastful on top of a theatrical trap beat. Lil Baby comes into the picture for “25k jacket” going back to a more violin-influenced vibe talking about going back to back even though I wish it was a little bit longer than just 2 minutes while “too easy” with Future brings back the harps detailing how simple this rap shit is to them.

“idk that bitch” has a more cavernous sound to it as he & G Herbo call out those marrying women they don’t even know whereas “flooded” goes into a more guitar-driven direction talking about his ice. Nechie drops the worst feature verse on “life of sin” even though I really like the overall vibe of it, but then “die alone” with Chris Brown & Yung Bleu comes off as a painfully bland romance ballad.

The track “missing me” has a more cloudier vibe to it instrumentally addressing a woman who left his heart aching while the final actual song on the album “so far ahead > empire” starts off as a piano ballad talking about making it, but switches into acoustic turf expressing a desire to build an empire. As for the “too easy” remix with Roddy Ricch, I could’ve done without it.

For this to be the conclusion of the Drip Season series, I’d have to say it’s my 2nd favorite installment right behind the 3rd one. His production choices are continuing to get better with each project he puts out & the same applies to his performances, but overdid it on the features much like Thug did on Punk back in the fall.

Score: 3.5/5

Megan Thee Stallion – “Something for thee Hotties: From thee Archives” review

Megan Thee Stallion is a 26 year old rapper from Houston, Texas who rose to prominence in the spring of 2019 with the release of her debut mixtape Fever. I myself was very impressed with how it displayed Megan’s knack for catchy songwriting, dirty south/Memphis inspired production & a unique personality. Her popularity began to rapidly increase last year off her 3rd EP Suga & the full-length debut Good News but in light of Megan on the verge of graduating from Texas Southern University with a bachelor’s degree in health administration, she’s compiling together a bunch of old freestyles & some unreleased joints to celebrate.

“Tuned In” sets the compilation off with a bouncy Juicy J & OG Parker instrumental clapping back at those speaking ill of her name whereas “Megan Monday” takes a more rubbery approach rightfully flexing her spot as the illest female rapper in the mainstream (not the illest overall, don’t get it twisted). After the “Trippy” skit, “Southside Forever” eerily details her famous lifestyle just before “Outta Town” works in a xylophone & some snares telling people to call her Dr. Miami the way she bodies cats.

Meanwhile on “Megan’s Piano”, we get a fitting keyboard loop throughout with a bass-line on top of it & Megan talking about making moves in silence leading into the “VickeeLo & DinoBtw Skit”. Following this is the kinky “Eat It” with a bombastic Murda Beatz instrumental & then Buddah Bless works in a chipmunk soul sample for “All of It” talking about wanting a scammer.

“Warning” thunderously cautions all the broke dudes out there while “Kitty Kat” almost takes a funkier approach & even though I appreciate the message behind it calling her haters pussies, the hook is annoying. After the “Tina Snow” interlude, “God’s Favorite” admirably weaves in a down-tuned guitar instrumental despite sounding underwritten & the DJ scratches throughout the grimy “Lemme See It” are really cool talking about being a female pimp.

I think the vocal sample throughout “Opposite Day” really enhances the energy of it saying she likes making bitches mad & “Freakend” gets back on the raunchy shit with a bit more moodier sound. “Bae Goals” is a touching dedication to her boyfriend Pardison Fontaine, but then “Pipe Up” melodically talks about both of them making their own paper & being in love.

The track “Bless the Booth” brings in an airy backdrop & a rubbery bass-line calling out those who see her as a threat while the final song on the comp “Thot Shit” is a decent little strip club banger. But to end the entire thing, “To Thee Hotties” comes through with a spoken word outro thanking all of her fans for sticking by her throughout all these years.

I still maintain my claims that Megan is the illest female rapper in the mainstream right now but truth be told, I wasn’t really expecting much from this compilation to begin with. Lo & behold: I’m kinda on the fence with it. I think the freestyles are a reminder of how lyrically skilled she is, but the outtakes have slightly more hits than misses.

Score: 3/5

Young Thug – “P*nk” review

This is the sophomore album from Atlanta, rapper & singer/songwriter Young Thug. Hate him or love him, but the man has proven himself as a modern trap icon from dropping classic mixtapes like Barter 6 & JEFFERY to starting up his 300 Entertainment imprint YSL Records & even the clothing line SP5DER. He finally dropped his full-length debut So Much Fun a couple summers back & not only was it executive produced by J. Cole, but it also ended up being the best trap project of that entire year. So given that, I was very excited going into P*nk over here.

“Die Slow” is a bare acoustic opener sending a warning to anyone who goes against him, but then the T-Minus produced “Stressed” feels like a J. Cole song featuring T-Shyne since there’s barely any Thugger presence & Cole’s flow is just so hilariously awful. Metro Thuggin’ return for “Stupid” which once again takes the bare acoustic route calling out an idiot just before “Asking” switches into some keyboards & snares getting romantic.

Meanwhile on “Recognize Real”, we have Gunna tagging along on top of a low register guitar tone talking about not being victimized leading into “Contagious” touchingly calls for more loyalty. BSlime & Future come into the picture for the piano-tinged “Peepin’ Out the Window” talking about doubling up in life whereas “Rich N***a Shit” works in a bass-heavy Pi’erre Bourne beat as Thugger & the late Juice WRLD get on the materialistic tip.

A$AP Rocky hops on the stripped back “Livin’ It Up” to help talk about how they’re doing good in life now while “Yea Yea Yea” has a danceable Wheezy instrumental expressing his gratitude. “Insure My Wrist” has a lavish [Taurus] beat as Gunna returns to look back on going from being broke to rich in a span of a decade, but then the Lil Double 0-assisted “Scoliosis” seems like a parody of “Hot”.

“Bubbly” starts out with Thugger & Travis Scott bombastically speaking on their career blasting, but I felt like the beat switch from Cardo during [Drake]’s verse was a bit unnecessary. “Road Rage” takes a cloudier turn talking about chasing those millions while “Faces” vulnerably opens up about his heart being gone because of a ratchet double crossing him.

I think Turbo’s production on “Droppin’ Jewels” is perfect as Thugger spits some real life shit while “5th Day Dead” hazily addresses those who hate seeing you racking. “Icy Hot” is a romance duet with Doja Cat that has nothing going on instrumentally, but then “Love You More” kinda seems underwritten despite it’s positive message & more poppier sound.

The penultimate track “Hate the Game” takes it back to the acoustic direction addressing all the people who’ve talking down on him throughout his career & “Day Before” with the late Mac Miller finds them on top of a sample of “charlie brown” by Verzache speaking on how they don’t need a lot, but have a lot.

Now this album isn’t as great as [i]So Much Fun[/i], but I still ended up enjoying it. I think it’s pretty cool that he kinda takes it back to the BEAUTIFUL THUGGER GIRLS says in terms of sound as well as fusing elements of alternative R&B, but just wish he’d kinda tone it down with the features a little bit.

Unfoonk – “My Struggle” review

Unfoonk is a 31 year old rapper from Atlanta, Georgia notable for being the brother HiDoraah, Dolly White & trap trailblazer Young Thug. He was sentenced to life in prison in 2008, but was released 11 years later with Thugger’s help & was given a deal with YSL Records pretty much immediately. However that doesn’t mean Unfoonk is new to making music, as the dude already has 4 mixtapes under his belt since 2019. But after his fiery performances on Slime Language II a couple months back, it’s only right for Thugger to put him at bat for a full-length debut.

“Temperature” is a short yet emotional opener about how Unfoonk has a lot to lose whereas the piano-tinged “Trial” addresses the charges that he was facing 13 years back. Lil Keed tags along for the celebratory, trap rock infused “Bait ‘Em In” just before Gunna tags in on the wavy, braggadocious “I Had”.

Meanwhile on “Private”, we get some keys & guitar with Unfoonk telling this woman he don’t do second chances leading into him saying how everything ain’t what it seems on the jangly “Smoke n Mirrors”. As for “Hit Different”, I like the sample but FN da Dealer easily has the weakest feature on the entire album. Fortunately for us, Future makes up for it on the exuberant yet self-explanatory “Running Out of Patience”.

“911” featuring Young Thug continues to build off the chemistry of “Real” while the wavy “Ape Shit” with G Herbo opens about some people they happen to know. The penultimate track “Streets Don’t Love Nobody” with Lil Duke finds the 2 talking about how cold it is in the hood over a spacious instrumental & then the album ends with “My Pain”, which is Unfoonk at his most vulnerable.

And that pretty much sums up my thoughts on this album, I liked this more than I thought I would. The dude gets a lot off his chest through the pen & I like how detailed the production is rather than being a clone of his brother. If he keeps it up, he could probably reach the same level of popularity as Gunna & Keed.

Score: 3.5/5

YSL Records – “Slime Language II” review

This is the 2nd showcase compilation from Atlanta record label YSL Records. Founded in 2010 by trap trailblazer Young Thug & having been distributed by 300 Entertainment since 2016, the label has built up quite a promising roster within the last 5 years. Their most notable acts being of course Gunna & Lil Keed. The crew’s first showcase compilation Slime Language came out in 2018 to mixed reviews & as the 3 year anniversary of that original project creeps up this summer, Thugger & the gang are taking another jab at it on Slime Language II.

“Slatty” is a great way to kick off the comp as Young Thug, Gunna, Yak Gotti & Lil Duke get together over a siren induced beat from Southside whereas “Ski” shows off the chemistry between Thugger & Gunna over a string-heavy instrumental from Wheezy. The duo’s dominance continues as they pair up with Travis Scott on “Diamonds Dancing” to show off their expensive lifestyles over a piano trap fusion from Turbo, but then Drake & Gunna get together for the spacious party anthem “Solid”.

Meanwhile on “Came & Saw”, we have Young Thug bringing Rowdy Rebel on for a short verse & a lengthy hook to speak on how “you can’t put dirt on someone that’s clean” on top of a Viking-esque instrumental. He later goes on to to trade bars charmingly back & forth with Gunna on the dystopian-sounding “Paid the Fine”, but the Lil Baby verse at the beginning starts it off strong & YTB Trench’s finishes it off mediocrely.

“Proud of You” is clearly a remixed leftover from the Eternal Atake sessions that I actually enjoy up until the hearing Yung Kayo verse at the end, but then Thug & his brother Unfoonk hop on the country trap-flavored “Real” to talk about seeing their haters on the sideline. Karlae & Coi LeRay join forces for the cloudy R&B-tinged “I Like”, but then Lil Keed & T-Shyne manage to get Big Sean on the mystical-sounding “Warriors” to proclaim themselves as such.

“Pots & Pans” has a synth-heavy instrumental that I really enjoy & Lil Duke really shines on here, but NAV comes in & delivers a flat robotic verse that throws the vibe off. The song “WokStar” goes into a more ominous direction as Strick & Skepta speak on their celebrity status, but then “Superstar” marks Young Thug’s return as he & Future talk about how everyone wants to be famous these days over an acoustic instrumental with some rubbery bass.

“Came Out” incorporates a xylophone in the production as Gunna & Keed vaunt but then YNW Melly, BSlime & FN DaDealer come together on “Really Be Slime”, which is easily the most generic song on the entire compilation. “Take It to Trial” was a fun choice for a lead single & I like it even more in the context of the album, but then “Trance” by Karlae & Yung Bleu is a super redundant sex tune.

“G.F.U. (Get Fucked Up)” by Sheck Wes, Yak Gotti & Yung Kayo deliver some underwhelming bars about drug/alcohol usage on top of a Taurus instrumental with a bit of a chopped & screwed influence to it, but then the psychedelically-produced “Moon Man” finds Thugger & KiD CuDi getting together to compare life to a buffet.

“Como Te Llama” is a HiDoraah solo track that I much prefer over the one she had on the first Slime Language as she melodically goes into detail about wanting to know more about her partner, but then the Dolly White solo cut “Reckless” is even better as she goes into a more grittier direction both lyrically & sonically for 92 seconds. The penultimate track “That Go” by Meek Mill, T-Shyne & Young Thug is a hedonism ode with some prominent synthesizers & the album ends with a boring remix to “My City” by YTB Trench.

I was hoping for Slime Language II to be a step up above the predecessor, but it’s just as mediocre. Despite the label’s roster growing & improving, there are a handful of songs that should’ve been left on the cutting room floor. If YSL ever decides to do a Slime Language III at some point down the road, I hope it’s more well-curated.

Score: 2.5/5

Megan Thee Stallion – “Good News” review

This is the full-length debut from Houston superstar Megan Thee Stallion. Rising to prominence last May with the release of her debut mixtape Fever, I myself was very impressed with how it displayed Megan’s knack for catchy songwriting, dirty south/Memphis inspired production & a unique personality. She just dropped an EP at the beginning of 2020 called SUGA but almost 9 months later, were finally being treated to Good News.

The album kicks off with “Shots Fired”, where Megan puts the final nail in the coffin in regards to Tory Lanez shooting her in the foot earlier this year over a Buddah Bless instrumental sampling “Who Shot Ya?” by Biggie. The next song “Circles” talks about her haters over a chipmunked-soul sample provided by Cool & Dre while the track “Cry Baby” with DaBaby sees the 2 getting on some Bonnie & Clyde shit over a spooky beat. The song “Do It on the Tip” with the City Girls finds the trio of course talking about sex over a knocking instrumental from Lil Ju while the track “Sugar Baby” talks about being just that over a Helluva beat clearly inspired by Mannie Fresh.

The song “Movie” with Lil Durk finds the 2 getting together for a strip club anthem backed by a nocturnal Tay Keith instrumental while the track “Freaky Girls” talks about being kinky over a glossy beat from juicy J. The song “Body” talks about being thick over some moaning & heavy bass and even though the track “What’s New?” talks about giving the middle finger to her haters, the instrumental on here might be my least favorite on the entire album.

The song “Work That” talks about riding it like a rodeo over a playful beat while the track “Intercourse” with Popcaan needs no further explanation over a moody DJ Mustard instrumental. The song “Go Crazy” with Big Sean & 2 Chainz sees the 3 talking about wilding out over a hyphy instrumental from J.R. Rotem of all people while the track “Don’t Rock Me to Sleep” talks about wanting her man to tell her what he really means over a funky ass beat.

The song “Outside” talks about she ain’t for the streets over an instrumental perfect to cruise down too while the next track with Beyoncé is a sequel to “Savage” that’s just as hard as the original. The penultimate song “Girls in the Hood” talks about being a hit girl over a Scott Storch instrumental sampling the Eazy-E classic “Boyz-N-the-Hood” & then the closer “Don’t Stop” with Young Thug finds the 2 getting braggadocious over an industrial beat.

I’ve been saying for quite a while now that Megan Thee Stallion is the illest female spitter in the mainstream right now (with Rapsody being the illest female spitter right now PERIOD) & if this album doesn’t further prove my point, I don’t know what will. On all fronts from the catchy songwriting to the versatile production, it’s pretty much her equivalent to So Much Fun.

Score: 4/5

Yak Gotti – “Gotti Outta Here” review

Yak Gotti is a 27 year old rapper from Atlanta, Georgia who I first caught wind of by hearing his feature on “Dream” off of Young Thug’s Barter 6 in 2015. He eventually put out his debut mixtape Mind of a Maniac later that year but after a stint in prison & officially signing to YSL Records at the beginning of 2020, the man is ready to drop his full-length debut.

The album starts with “Chrome Heart Wave”, where Yak Gotti talks about his newfound success over a triumphant trap beat from Wheezy. The next song “In the Coupe” talks about cruisin’ in Cali over a druggy instrumental from Taurus & Turbo while the track “Rock Solid” with Demon Child sees the 2 talking about how they never crumble over a cloudy beat. The song “Slatt Walk” talks about still being with the shit despite being wealthy now over a violin-inflicted instrumental while the track “Lemonade” with Lil Duke sees the 2 flexing over a rambunctious beat.

The song “Truly Be Missed” talks about a friend of his since 9th grade over an oddly amusing instrumental while the track “Free the Goat” with Shad da God finds the 2 talking about living large over an acoustic-trap beat. The song “Friends with Benefits” is a painfully robotic love ballad despite the futuristic production while the track “All Day” with Lil Gotit & Lil Keed sees the 3 boasting over a bassy beat.

The song “Still Spazzin’” prays to God over a lively instrumental while the track “Super Slimey” talks about being down by law over a beat that’s ripping off Pi’erre Bourne. The song “Biggest Opp” with Real Talker, Yung Mal & 5th Ward Greedy is a decent moshpit starter with a horn-inflicted beat while the penultimate track “Down Bad” talks about loyalty over another acoustic trap-beat. The album ends with “Finally Free”, where Yak talks about getting out of prison over a keyboard-inflicted instrumental & why Thugger is credited as a featured artist on the official YouTube upload of the track when he doesn’t even appear on it? I don’t know.

I was curious to hear how this album would turn out but at the end of the day, it’s just mid. Half of these songs are really catchy & fun, but the other half is just generic & boring as Hell. Hopefully his next effort is more consistent.

Score: 2.5/5

Tee Grizzley – “The Smartest” review

Tee Grizzley is a 26 year old rapper from Detroit, Michigan coming up as a member of the quartet ASBH. However, it wouldn’t be until 2016 where he would blow up off his first solo single “First Day Out” & earn a contract with 300 Entertainment. His profile would continue to grow by dropping projects like My Moment, Activated, Still My Moment & the Timbaland exec-produced Scriptures. But just a few days ago, it was announced that Grizzley would put out his 3rd mixtape just in time for Juneteenth.

Things kick off with the title track, where Grizzley talks about family over a DJ Mustard instrumental with some luxurious keyboards. The next song “I Apologize” takes a look at the real side of him over a ghostly beat from Hit-Boy while the track “Trenches” with Big Sean sees the 2 talking about people praying on their downfall over a piano-inflicted trap beat. The song “Rap a Lot” makes a bunch of clever references to famous hip hop icons over a intergalactic-sounding beat whereas “The Funeral” talks about ratchets & I really dig the atmosphere that longtime collaborator Helluva provides in the instrumental.

The song “Lions & Eagles” with Meek Mill finds both MCs flexing over a gritty beat while the track “No Witness” sends a warning to people not to play with him over a bouncy instrumental. The song “Picture of My City” talks about growing up in The 313 over a more West Coast instrumental from none other than Scott Storch instrumental while the track “COVID” with Lil Baby sees the 2 talking about being quarantined over an energized beat

The song “Timeless” continues to brag over yet another instrumental with a West Coast feel to while the track “Slime” with Lil Keed discusses brotherhood over a spacious beat. The song “Everything” reflects on his younger days over an eerie instrumental while the track “Double Standards” talks about catching a bad bitch over a moody beat.

The song “Daylight” talks about trappin’ over a somber instrumental while the track “Winning” talks about going for yours over an abrasive beat. The song “Satish” is a tearjerking tribute to his aunt/manager JB & even though I found the George Floyd tribute “Mr. Officer” to be decent at first because literally everyone’s doing it right now, it does stand out a lot more to me in the context of the album.

Tee Grizzley is one of the best MCs to come out of my hometown in recent memory & I really think this could be the best thing he’s ever put out. The production continues to get better overtime & we get to hear the man at his most mature yet.

Score: 4/5

Gunna – “W.U.N.N.A. (Wealthy Unapologetic N***a Naturally Authentic)” review

Gunna is a 26 year old rapper from College Park, Georgia that got his start in 2013 with his debut mixtape Hard Body. He would eventually catch the attention of local phenomenon Young Thug in 2016, who take Gunna under his wing & sign him to his 300 Entertainment imprint YSL Records that same year. However it wasn’t until the release of Drip or Drown & Drip Season 3 in late 2017 & early 2018 respectively where Gunna’s profile increased significantly. Last we heard from him was a little over a year ago with the disappointingly mediocre full-length debut Drip or Drown 2 but after doing a shitload of features since, he’s ready to deliver a sophomore effort.

The album kicks off with “Argentina”, where Gunna tells the story of 2 women following him to the studio over an acoustic-trap instrumental from Wheezy. The next song “Gimmick” speaks on being loyal over a slow yet intoxicating beat while the track “M.O.T.W. (Money On The Way)” talks about his new lifestyle over a piano & some snares. The song “Feigning” talks about partying over a Tay Keith instrumental with some orchestral loops while the track “Dollaz on My Head” with Young Thug sees the 2 getting materialistic over a cloudy beat from Mike WiLL Made-It.

The song “Addys” with Nechie is a tedious tribute to the drug adderall with a decent instrumental from Turbo & while I wasn’t too crazy on the vaportrap-flavored lead single “Skybox” at first, it has slightly grown on me in the context of the album. The titular song is a boring sequel to “Speed It Up” off of Drip or Drown 2 while the track “Blind Fold” with Lil Baby sees the duo flexing over a nightly instrumental.

The song “Rockstar Bikers & Chains” talks about what it’s like for him being on top over an incredible trap rock instrumental while the track “Met Gala” talks about having the finest clothing & I absolutely love how kaleidoscopic the beat is. The song “Nasty Girl / On Camera” is a raunchy 2 parter that works into one another fantastically while the track “Cooler Than a Bitch” with Roddy Ricch sees the 2 talking about how awesome they are over a Tre Pounds beat with a nice guitar loop.

The song “I’m On Some” opens up about people trying to leach him for his wealth over a spacious beat while the track “Top Floor” with Travis Scott is an infectious party starter with an instrumental kin to “Hot” off of Young Thug’s So Much Fun. The song “Don’t Play Around” talks about how he doesn’t have time for B.S. over an electronic-tinged beat while the penultimate track “Do Better” is a emotionally profound motivational anthem with a beat with a trippy atmosphere to it. The album finishes with “Far”, where Gunna & Thugger discuss how they didn’t think they’d get to the point where they are now over a woozy beat.

This is A LOT better than Drip or Drown 2 was & I’ll even say it’s the best thing that Gunna‘s put out since Drip Season 3. Couple of weak features, but most of them come together nicely. However, what I really enjoy the most about this album is how it sounds much more focused & consistent than it’s predecessor from the catchy songwriting & performances to the vigorous production.

Score: 3.5/5

Megan Thee Stallion – “SUGA” review

Megan Thee Stallion is a 25 year old rapper from Houston, Texas who rose to prominence last May with the release of her debut mixtape Fever. I myself was very impressed with how it displayed Megan’s knack for catchy songwriting, dirty south/Memphis inspired production & a unique personality. However despite being entangled in a lawsuit with 1501 Certified Entertainment earlier this week, I was still very curious & excited to see what she would do on her 3rd EP over here.

The album kicks off with “Ain’t Equal”, where Megan talks about how she isn’t like any other over a cloudy yet dark trap beat from Helluva. The next track “Savage” talks about how wild she is over a J. White instrumental with a keyboard lead similar to that of the Star Trak days while the song “Captain Hook” finds Megan over some bass lead by the sound of a sword being pulled out as well as some pots & pans. The track “Hit My Phone” with Kehlani is your usual bedrocker tune while the song “B.I.T.C.H.” interpolates 2Pac’s Ratha Be Ya Nigga” over a classy sample of Bootsy Collins’ “Rather Be With You”.

The track “Rich” talks about her newfound wealth over a quirky instrumental & speaking of Star Trak, the song “Stop Playing” is one of 2 cuts on the album produced by The Neptunes. This first one has a nightly yet calming vibe to it whereas Megan & Gunna both declare that they ain’t messing around. The penultimate track “Crying in the Car” is pretty much Megan melodically firing back out at those who’re mad at her elevation over a more lusher instrumental from Pharrell & Chad Hugo then the closer “What I Need” gets more flirtatious over a sensual Timbaland beat.

For a while I’ve been saying that Megan Thee Stallion is the best female rapper in the mainstream right now (with Rapsody being the best female rapper right now PERIOD) & this just proves my point. There are a few weak spots, but the catchiness of Fever is being quadrupled on here with her best songwriting & instrumental choices to date.

Score: 4/5