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.
This is the 2nd showcase compilation from Atlanta, Georgia 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 & Pvlace whereas “Ski” shows off the chemistry between Thugger & Gunna over a string-heavy instrumental from Wheezy & Outtatown. 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” that Cubeatz helped put together, 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 Bugz Ronin handles that I actually enjoy, 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 ΠΔV 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 even with Dez Wright behind the boards.
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 during “G.F.U. (Get Fucked Up)”, but then the psychedelically-produced “Moon Man” finds Thugger & KiD CuDi getting together to compare life to a buffet. I prefer HiDoraah’s solo track “Como Te Llama” over the one she had on the first Slime Language as she melodically goes into detail about wanting to know more about her partner & 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. The deluxe run makes up for it starting with “Slam the Door” by Young Thug & Gunna talking about the millions coming with a name while “Litty” by Young Thug & DaBaby proves to be less exciting even with the reference to WWE Hall of Famer, 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion, WWE Hardcore Champion, IWGPヘビー級王座, the inaugural 6-time TNA World Champion, TNA X Division Champion & 2-time TNA World Tag Team Champion Kurt Angle.
“No Slime” by Young Thug, Don Toliver & BSlime warns that the trio might get too comfortable although they assure everything will be ok while “Mil in Vegas” by Young Thug & ΠΔV offers a glimpse of both artists’ respectively lavish lifestyles. “Explosion” by Gunna, FN da Dealer & Yak Gotti acknowledges that everyone in their city knows that’s exactly what they be dropping while “Yessirskii” by Thug’s daughter Mego talks about fashion. The final bonus track “Mack Truck” by Young Thug & Jim Jones unites the ByrdGang & YSL for a generational trap heater spittin’ that g shit.
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.
This is the full-length debut from Houston, Texas 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 d.a. got that dope 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.
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, but it’s odd.
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.
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.
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 from Outtatown. 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” produced by Taurus 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 sequences into one another solidly 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.
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” featuring Kehlani is your usual bedrocker tune with Jake One behind the boards 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.
Lil Keed is a 21 year old rapper from Atlanta, Georgia that first gained attention when he landed a contract with Young Thug’s 300 Entertainment imprint YSL Records last year, eventually landing a spot on the label’s Slime Language compilation that summer. He eventually made his YSL debut with his 3rd mixtape Keed Talk to ‘Em which was alright, but I was REALLY curious to hear what he was gonna do on his full-length debut over here.
The opener “Ride the Wave” is a hilariously delusional way to start off the album, especially since he’s talking about how he’s paved the way for today’s hip hop landscape when he literally just started. The next song “Oh My God” talks about his come up over a bland beat while the song “Anybody” with Gunna & Lil Duke talks about how they came a long way over an instrumental kin to BEAUTIFUL THUGGER GIRLS. The track “Rockstar” with ΠΔV is a vapid look into the titular lifestyle with a generic beat while the song “Million Dollar Mansion” with Young Thug sees the 2 charismatically boasting over an bass-heavy Pi’erre Bourne instrumental.
The track “H.B.S. (Hood Baby Shit)” is a decently druggy brag while the song “Tip Top” by Guap Tarantino & MSA PG feels totally out of place since Lil Keed has little to no presence at all despite the soothing Turbo instrumental. The track “Child” with Moneybagg Yo sees the 2 talking about their hustling days over a horror-esque trap beat while the song “Snake” is a diss towards an unnamed person over Pyrex Whippa & Cubeatz instrumental that has a bit of a country twang to it. The track “Pass It Out” with Lil Gotit is a party anthem with a Godly instrumental from Metro Boomin’ while the song “Pull Up” with Lil Uzi Vert & YNW Melly talks about their new lifestyles over a vibrant instrumental with a prominent woodwind.
The track “Real Hood Baby” with Stickbaby talks about growing up in the gutters over a nondescript instrumental while the song “Fear of God” talks about loyalty over a spacious beat. The track “Make U Proud” is a playful love tune while the song “On Everything” talks about this freaky chick over a luscious beat, although it’s less effective as the previous cut. The track “Dragon” with Roddy Ricch sees the 2 is a generic braggadocious cut while the song “Higher N Higher” with Karlae triumphantly talks about their success over a buttery instrumental.
The track “Ride wit You” is an annoyingly repetitive romance cut with a beautifully synthesizer-heavy instrumental while the song “Just a Dream” is actually a pretty cool continuation of the last track with an atmospheric beat. The album then finishes off with “Proud of Me”, where Keed & Young Thug pay an endearing tribute to the legendary Gucci Mane over a piano-inflicted trap beat.
Overall, this was just ok. The beats are slightly better than last time & even though I feel like Lil Keed is showing his potential a little bit more, he’s also still living in the shadows of his mentor. Hopefully he’ll come more into his own on the next project, because he’s definitely one of the best YSL signees currently.
Gunna is a 25 year old rapper from College Park, Georgia who signed to Young Thug’s 300 Entertainment imprint YSL Records in 2016. He’s released his Drip Season trilogy of mixtapes over the course of those 2 years, with the first 2 from 2016 & 2017 respectively being average & the latest installment Drip Season 3 that came out at the beginning the year easily becoming Gunna’s best work yet. Lil Baby on the other hand is a 23 year old rapper from Atlanta, Georgia who signed to Quality Control Music, Motown Records & Capitol Records while releasing 3 mediocre mixtapes just last year: Perfect Timing, Harder Than Hard & Too Hard. He even released his surprisingly consistent full-length debut Harder Than Ever just this past May & after a handful of collabs with Gunna over the past year, the 2 have decided to take it to the next level with a full-length collab mixtape.
The tape opens with “Off White VLONE”, where the duo link up with Lil Durk & ΠΔV to deliver a boring sequel to “Chanel (Go Get It)“ off the recent YSL compilation Slime Language. The next track “Business is Business” sees the 2 talking about how they better get paid an eerie trap beat from Turbo & Internet Money Records founder Taz Taylor while the song “Belly” talks about how they have women like Taral Hicks’ character in the titular movie over an instrumental kin to Young Thug’s BEAUTIFUL THUGGER GIRLS. The track “Deep End” is a Lil Baby solo cut talking about how he has a gang feeling in him over a nondescript instrumental that doesn’t enhance the vibe at all while the song “World is Yours” is a Gunna solo cut talks about being a rockstar over a slow, laidback trap beat from Wheezy.
The track “Underdog” sees Gunna & Lil Baby reuniting to talk about how they feel like the titular idiom in today’s hip hop landscape over a spacey trap beat while the song “I Am” talks about they’re stuck in their own lanes over some piano keys & skittering snares. The track “Seals Pills” is a moody drug anthem while the song “My Jeans” talks about money over a bland Wheezy beat he made with Ging & I’m actually REALLY disappointed that Thugger only handles the hook on here. The track “Style Stealer” is another Gunna solo cut albeit being about biters over a trap beat with an alluring woodwind in the background while the song “Close Friends” is a Lil Baby solo cut about how this woman became her girlfriend over a mellow beat.
“Drip Too Hard” gets braggadocious over a moody, bass-heavy trap beat & then the closer “Never Recover” with Drake continues the vibe of the previous joint except with a more sinister atmosphere to the Tay Keith production.There are some highlights on here, but it just comes off as a poor man’s SUPER SLIMEY. The production, the duo’s chemistry, their similar styles, nearly everything just comes off as VERY average at the end of the day.
Young Thug is a 27 year old trap rapper who started out in 2011, but rose to popularity in 2014 with the release of the track “Stoner”. He has continued to constantly release music since, the most recent project of his being 1st EP “Hear No Evil” back in April & the Slime Language compilation from his 300 Entertainment imprint YSL Records last month. However, he’s dropping his 2nd EP in light of his recent arrest for 8 felonies.
The EP begins with the titular track, where Thugger talks about taking out cops over a moody trap beat from longtime collaborator London on da Track. The next song “Icey” of course boasts about the rich life over a bouncy trap beat with a quirky synth lead while the track “Climax” with 6lack is a decent love tune with a BEAUTIFUL instrumental. The song “Sin” is a club banger that gets constantly ruined by the Jaden Smith feature while the penultimate track “Real in My Veins” is a clap-back at his naysayers over a druggy trap beat. The closer “High” with Elton John of all people is a weed anthem with a piano, chilling background vocals & rattling hi-hats.
Even though it’s only 20 minutes, this is definitely an improvement over Slime Language. The first 2 features could’ve been much better & I wish he added 4 or 5 more tracks, but the production is a lot better as & Thugger’s vocal inflections continue to be one of a kind.
Young Thug is a 27 year old trap rapper who started out in 2011, but rose to popularity in 2014 with the release of the track “Stoner”. He has continued to constantly release music since, the most recent project of his being 1st EP “Hear No Evil” back in April & the Slime Language compilation from his 300 Entertainment imprint YSL Records last month. However, he’s dropping his 2nd EP in light of his recent arrest for 8 felonies.
Legends Will Never Die 