Lil Keed – “Keed Talk to ‘Em 2” review

This is the 6th & final mixtape from late Atlanta rapper Lil Keed. Emerging in 2018 off his first 2 mixtapes Trapped in Cleveland & Slime Avenue, it was enough to catch the attention of local trap pioneer Young Thug & sign him to Thugger’s very own 300 Entertainment imprint YSL Records shortly after. Keed eventually made his YSL debut with his 3rd mixtape Trapped in Cleveland 2 & & eventually landing a spot on the label’s Slime Languagecompilation that summer. The follow-up Keed Talk to ‘Em on the other hand is undeniably his best tape & Long Live Mexico wound up being a decent full-length album albeit being his only one, but Trapped in Cleveland 3 & even 3.5 were mediocre to say the least. But as I like many others were hoping that he would bounce back last spring, Keed unfortunately passed away of eosinophilia at the age of 24.

“Go See” opens things up with a sample based-trap instrumental as Keed talks about those who thought he was a disgrace were amazed how far he came until his untimely passing whereas “Bags to the Sky” has a more tropical quality to the beat thanks to JetsonMade touching on going from Ralph Lauren to Gucci. NAV tags along for the hypnotic, Bollywood inspired “Muso Kuso” talking about the type of swag they got leading into Keed’s brother Lil Gotit joining him for “SRT” admitting that neither of them wanna fuck over some strings & hi-hats.

However, “Hottest” with Big Sean seems to be an attempt at a spiritual successor to “Hot” by Thug & Gunna down to the instrumental that falls flat on it’s face until the Offset-assisted “How Many” picks things back up with it’s orchestral beat & the lyrics pondering the amount of bitches they took. “Get Money” with Trippie Redd has some more rage vibes surprisingly as they touch on their respective hustles, but then “Think About It” comes through with a heartfelt trap ballad touching on the paranoia that he was feeling.

“Long Way to Go” is a pop rap jam that I think YSL made the right choice of making the lead single as Keed admits that he was feeling like he was closer than ever while “Can’t Fall Victim” comes through with an acoustic trap fusion touching on him feeling the symptoms of being rich. Big Slime dominates “All I Wanna Know” for a compelling ballad produced by London on da Track asking if anyone’s rocking with them as his fallen protege only pops up for the final verse while “Lost My Trust” with Cordae finds the 2 over some woodwinds & hi-hats calling out hoes for sleeping with their homies.

Moving onto “Hitman”, we get a trap beat with some heinous piano melodies & lyrics about how his assassin never takes days off while “Betty Boop” with Karlae comes through with a pop rap/trap crossover providing a strip club ballad for all the baddies out there. Lil Jairmy comes through with one of the weaker feature performances on “Off Land” despite the Einer Bankz instrumental & the themes of stepping on shit like soldiers prior to the Wheezy-laced “Big Bag” with Thugger & Dolly White picking it up with a harp/trap hybrid about wealth.

StickBaby’s verse on the bassy “Kick Back” is underwhelming although I love how the Render brothers were both thuggin’ à la the greatest Grand Theft Auto game of all-time San Andreaswhile the song “Self Employed” was my favorite single that was released leading up to the tape with a touching pop rap cut talking about the self paid life that he was living. The penultimate track “Love Me Again” reaches the climax of the tape on an emotional note showing off how young, fly & flashy he was with the gospel flavored closer “Thank You Lord” enhancing the bittersweetness up to 11.

Despite everything that’s been going on with YSL for the past 10 months, Keed Talk to ‘Em 2 is surprisingly the best thing to come from the label since then & a solid sendoff for Keed. The production’s better, the dosage of features are just right although there are only a couple of them who missed the landing & you get a good look as to where here was at in his life before God abruptly decided to call him home. If this is the last time we’ll get a project from him, then they did him right.

Score: 3.5/5

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Megan Thee Stallion – “Traumazine” review

This is the surprise sophomore album from Houston rapper Megan Thee Stallion. Rising 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 off her 3rd EP Suga & the full-length debut Good News, but Something for thee Hotties: From thee Archives was a bit underwhelming in my opinion. However, I was optimistic going into Traumazine over here given how much I genuinely enjoyed the singles she’s dropped recently.

“NDA” is a horn-laced opener asking where the real bitches at whereas “Ungrateful” with Key Glock calling out the fake shit over a piano/trap hybrid from BandPlay, which is just mild in my personal opinion.. “Not Nice” takes a cloudier route getting on her fuck you shit just before Latto tags along for the OG Parker-produced “Budget” talking about upping their prices.

Meanwhile on “Her”, we have Megan embracing a dancier sound thanks to CashMoneyAP & YoungKio acknowledging that she’s pretty as fuck leading into “Gift & a Curse” weaves some keys back in provided by Murda Beatz talking about how fuckin’ with her is both a gift & a curse at the same time. “Ms. Nasty” is a cloudier cut declaring herself as such, but then the Pooh Shiesty-assisted “Who Me” has a more nocturnal trap vibe talking about fucking.

“Red Wine” shoots for a sensually glossy aesthetic asking to give her some time while “Scary” with Rico Nasty finds the 2 best females in the mainstream right now (not the best right now overall period. That would be Rapsody) over a spooky instrumental sending shots to the hoes they got beef with & even though “Anxiety” is a bit oxymoronic given the playful production & Megan’s lyrics about having bad days too, it’s good.

Moving on from there, “Flip Flop” throws in an incredible sample in the mix going on that she’s fightin’ tears behind her smile while “Consistency” with a clever Isley Brothers flip from Bongo getting romantic. “Star” is a funky ballad rightfully rubbing her superstar status in the noses of everyone while “Pressurelicious” has a weirdly mixed verse from Future despite the Memphis rap undertones & the subject matter about their affluence & shared toxicity.

The song “Plan B” weaves a killer JoDeCi sample into the fold to deliver an passionate female empowerment anthem which is needed because of the Roe vs. Wade overturning while the Juicy J/Mr. Lee-laced “Southside Royalty” freestyle with Big Pokey, Lil’ Keke & Sauce Walka is an immaculate ode to H-Town. “Sweetest Pie” however ends the album on an Atlanta Bass note promising the ride of her man’s life.

If you were disappointed with Something for thee Hotties like I was, then I definitely think you’re gonna like Traumazine a bit more. The production is just as varied as Good News was almost 2 years ago at this point & how Megan decided to move on from the whole Tory drama to remind everyone that she’s gonna win regardless.

Score: 3.5/5

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Karlae – “Enter” review

Karlae is a 28 year old rapper from Atlanta, Georgia who happens to be the fiancée of trap pioneer Young Thug. She eventually got into making music when YSL Records put out their very 1st showcase compilation Slime Language a day before their founder’s 27th birthday & considering that Strick just dropped his 6th mixtape The Machine 3 a little over a month ago, Karlae’s finally stepping up to the plate next with a debut tape of her very own.

“Chit Chat” is a cutthroat opener talking about not being with the bullshit whereas “Gotta Get Touched” with the late Lil Keed takes a cloudier route getting raunchy. Dess Dior tags along for the bell-infused “Cap Ain’t Nothing” to remind everyone that they know how they come, but then “Respect” with Gunna shoots for a cloudier aesthetic talking about coming out the mud.

Meanwhile on “My Type”, we have Karlae & Yung Mal on top of an acoustic trap instrumental describing their preferences in partners leading into the jangly “Someone Like Me” pondering what others think when they see her. “Ballet” has an industrial trap flare to it as she & Yak Gotti talk about dancing on bitches, but then “Wishful Thinking” comes through with a decent 2-minute R&B ballad.

“Last Goodbye” weaves some rock influences to confess that she feels lonely after being broken up while “Bad” mixes some horns & handclaps talking about going bad because she’s bad as fuck herself. “Boondocks” has to be my least favorite cut in the album from the uneventful production to the award chemistry between Karlae & Bhad Bhabie, but the Sonyae-assisted “Left” picks it up with it’s cloudy beat & the subject matter of everything being litty.

Following that, “I Like” with Coi Leray was a decent cut off YSL’s final showcase compilation to date Slime Language II that makes it’s way onto here while the song “Blind” with Lil Yachty embraces a more playful tone talking about being blinded by love. The penultimate track “Did That” samples Kool & the Gang showing off her wealthy & “On You” ends the album on a cavernous note as she & Thugger profess their love for one another.

I’ve been wanting this chick to put out a project from the moment I first heard her spitting on “U Ain’t Slime Enough” off Slime Language & now that we finally got it, I’m a little torn on the finished product. She’s not a bad songwriter or performer by any means, but a couple of the features underperformed & a good portion of the production doesn’t really have that many interesting ideas to me.

Score: 2.5/5

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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