I’m not convinced by ‘Tina Snow Interlude’, as it suddenly detaches from the majorated, sexy framework of the compilation by going in-your-face serious, but I’m all for the ‘flow and cadence’ reel of ‘Megan’s Piano’ – “don’t call me sis, ‘cause I’m not your sisterrrrr” – along with the Pokemon references and solid cypher spitting of ‘Tuned In Freestyle’, and the oddly technical mix of animated rapping and soulful singing belonging to ‘Pipe Up’ she trades them off with stamina and enthusiasm. Particularly, ‘Megan Monday Freestyle’ is a bloody, sonorous vocal/beat romance reminiscent of Kendrick Lamar’s ‘Backseat Freestyle’.Īnd while ‘Kitty Kat’ is a glamorous banger – pimped-up synth rap, all adrenaline – much of the mark-making stems from Megan’s emcee chops and crafty one-liners, summed up by the “half of ya’ll don’t know if y’all don’t fuck with me or if you wanna fuck me” refrain of ‘Southside Forever Freestyle’. Many of these beats are booty-popping matters of self-confidence akin to Megan’s free-spiritedness. ‘Outta Town Freestyle’ is a fine example, with a little extra idiophone-y sampling, though the beat is all there is to it sporadically, the tracks are far from fully-cooked, though that is part of the compilation’s intent. Whilst succumbing to some modern trends, 808s, clever samples and cypher beats are applied as if produced by Rick Rubin in 1986. Secondly, the production is better than what one may expect from a project of this ilk. The track will evoke many an “oh my”, potentially on par with ‘WAP’ as Megan smothers the listener with the gooey, slimy carrion of her hedonism – “eat it ‘til I faint / kick you out, here’s a towel, wipe your face”. I’m not sure which track is the steamiest, but ‘Eat It’ is clearly up there. ‘Warning’ keeps up by following with next-level venereal – I’m cool with it, but I won’t quote the lyrics. I love how Megan struts into view, rapping “I got bluefaces, credit cards, wire transfers / logging in his bank accounts, got the passwords” alongside a rising drum fill. It’s her calling, alongside a brow so low it may as well be a moustache.ĭespite being a compilation, ‘Something for Thee Hotties’ is surprisingly cohesive, firstly due to the frequency of Megan’s trademark steamy lyricism, writing about saving seats on faces on ‘Opposite Day’, providing the soundbite “one for the money, two to take these panties off” on ‘Freakend’, and fanning herself with the gaze of others on the short-but-sensual ‘God’s Favourite’ – “my favourite clothes my birthday suit, they love when I get naked”.Īdvents of want and freakiness boil over into ‘All of It’. The single ‘Thot Shit’ is also included the truest Megan self-portrait – she’d write the foreword of her own autobiography just to repeat the words “hands on my knees, shakin’ ass, on my thot shit” in one wild display of confidence. She thanks all of her hotties to conclude compilation ‘Something for Thee Hotties’, which is principally comprised of freestyles and other previously-unreleased material.
Over the years, many of her freestyles have found themselves uploaded to YouTube and have been gawked by hotties – Megan’s fans – everywhere. Megan Thee Stallion initially gained traction in the mid-2010s, going viral through aberrant battle raps and Instagram-uploaded freestyles. ‘Something for Thee Hotties’ is far more cohesive than your average ‘bits and pieces’ compilation.
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