Megan Thee Stallion stays true to herself in “MEGAN.”

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STREAM

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TOP 5 SONGS

Honorable Mention. HISS

This is the track that had Nicki Minaj going wild.

In “HISS,” Megan The Stallion calls out the folks who are obsessed with her, one of her enemies who made an R. Kelly song go viral (???), her ex who apparently can’t put it down in the bedroom, and the gangstas who are afraid to check her. She also proclaims herself to be Teflon in the courtroom. Interestingly, Megan says no names in the track…

94% of the reason you will enjoy “HISS” is because of the juicy lyrics that Megan Thee Stallion dishes out. Besides that, I think the song is OK. It features a simple, menacing beat and what I would call fast-paced flows that aren’t too hard to emulate. I do like how aggressive Megan’s tone is (She sounds like an angry customer for whom a cashier should immediately call their manager).

5. Where Them Girls At

If you gotta ask, “Where them girls at,” you are at the wrong club, playa.

I hate to be that guy, but “Where Them Girls At” reminds me of “FTCU.” At the end of the day, both tracks are hits, so what’s the problem? Anywho, in “Where Them Girls At,” Megan Thee Stallion does work over this booming club beat that’s designed to get strippers shaking their asses and so-called players spilling their Casamigos shots. Lyrically, Megan talks about being spoiled, hated on, and envied for having first-round pick-type talent. Do I love her verses? No. But I absolutely love everything else (especially the hook).

4. Miami Blue (Ft. Big K.R.I.T. & Buddah Bless)

Megan Thee Stallion deserves mad brownie points for adding Big K.R.I.T. to this album.

“Miami Blue” is my favorite track on this album, primarily due to Big K.R.I.T.’s contributions. I love the hook he lays down and how he effortlessly rides the menacing club beat. Don’t sleep on Megan’s contributions, though. Her tricky, fast-paced flow and her declaration of being unfuckwittable in every way add to the track’s appeal. All in all, this is a really good collaboration.

3. B.A.S. (Ft. Kyle Richh)

Damn, Megan Thee Stallion called the man she’s f**king a bidet.

In “B.A.S.,” Megan Thee Stallion and Kyle Richh go back and forth on some extra toxic relationship s**t. Specifically, they talk about lying, stepping out on, and potentially giving wedgies to one another. But on the low, it seems like they enjoy their toxic situation.

To me, the best thing about “B.A.S.” is the beat. It’s sly, has some good bass, and a small hint of Jersey club vibes. I also appreciate that Kyle Richh meets Megan at the rim with his own ferocious rap style.

2. Spin (Ft. Victoria Monet)

If your girl is good at working a pole, I’m not sure that’s a great thing.

Not even a smooth R&B beat can temper Megan Thee Stallion’s commanding presence. In “Spin,” set against a smooth R&B beat, Megan delivers aggressive bars, asserting her prowess as a formidable figure who can captivate any man. Hey, some may prefer it intense in the bedroom. Meanwhile, Victoria Monet shines with her slick, intoxicating hook, truly stealing the spotlight on this track.

I love Victoria Monet.

1. Accent

I’m taking Megan Thee Stallion and Glorilla in a 2 v 3.

With the release of “Accent,” Megan Thee Stallion and GloRilla go 2/2. I love the track’s Three Six Mafia-like beat, catchy hook, and the fact that the two rappers pay homage to their strong accents. I also enjoy the consistent flows and urgency Megan and Glo rap with as they denounce women who think they are on their level and men who think they can control them. This is definitely a hit.

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SONG-BY-SONG RATING

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RGM RATING

(C+)

I think we need to stop acting like Megan Thee Stallion isn’t a force to be reckoned with. In MEGAN, she shows more dominance than the 2024 Boston Celtics.

Megan Thee Stallion’s connection with her beats is excellent. In a good majority of MEGAN, she raps over hard-hitting trap beats designed to intimidate, but knowing she cannot be intimidated, she throws haymakers non-stop, and it definitely works. On the flip side, on tracks that are a little less powerful, her style can sometimes jump off the page, resulting in something that sounds a little uneven. However, this doesn’t happen often.

From a content standpoint, Megan Thee Stallion delivers her signature extra-confident lyrics. Throughout MEGAN, she talks about destroying her competition, not being a slave to men, and reaching her prime as a rapper. Though often vulgar, Megan’s lyrics should empower all the strong black women out there in the world, which is definitely a good thing. I do wish she did get a little more personal on this album like she did on “COBRA,” which happens to be a song that I don’t like at all (I ain’t s**t).

Let’s be honest: Megan Thee Stallion is 100% a one-dimensional rapper. She has one gear, and that’s a 100MPH one. But here’s the thing: people are in the Hall of Fame for being one-dimensional, so what’s the problem? That said, in most of MEGAN, you get explosive raps from the Texas rapper. When she does some singing, like in “Find Out,” I think she does pretty well. Don’t change, Megan; Ben Wallace didn’t.

Megan Thee Stallion has a lot of enemies, so I’m not surprised that there are only a few B- and C-list features on this album. The good news is that these artists maximize their appearances. Kyle Richh is fantastic in “B.A.S.,” Victoria Monét provides some great R&B vibes to “Spin,” and Big K.R.I.T. is a super pleasant surprise in “Miami Blue.”

I’ve said it before and’ll say it again: Megan Thee Stallion consistently delivers with her projects, and MEGAN is another success. It flows well, is highly entertaining, and reaffirms her dominance in the female rap genre.

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What Grade Do You Give "MEGAN?"

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