Hot! Or Not?: So Much Fun Album Review

Young Thug Album Review

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Angie Garay Robles

Nick Lopez Del Pino, Editor

Atlanta born rapper Young Thug aka Thugger recently dropped an album, So Much Fun, full of features and that classic, hard to pin down, versatile Young Thug sound. With features from Future, MGK, Gunna, Lil Baby, Lil Uzi Vert, Lil Duke, 21 Savage, Lil Keed, Quavo, JuiceWRLD, Nav, J. Cole and Travis Scott the album is full of the Atlanta sound but has many exceptions that make Young Thug who he is. The album’s first track “Just How It Is” is the perfect start to such a diverse album, uplifting the listener. Then Thug hits us with a banger with Gunna, “Hot!”. With a flute and horns to carry the beat and an insane flow, Thug encapsulates with the listener, drawing them closer and closer with every adlib. The song of the album, IMO, comes next. Light It Up is the bounce song of the album. The beat bops you up and down while Thug effortlessly carries flows from one to the next, switching flows every 16 bars. Then the Thug and Gunna duo dropped another hit with “Surf”, produced by Pierre Bourne, riding each others style perfectly. It holds Thugger’s hardest verse that highlights his versatility. 

Thug always finds a way to keep the sound fresh, whether that be with a new flow, adlib, or melody. He follows his hard verse with a hard feature in the next track, “Bad Bad Bad” featuring a protege of Thug, Lil Baby. Most songs on the album with a feature are good. Lil Uzi’s track “What’s The Move” is a great example with a great Uzi verse, although MGK’s song is a weaker song on the album. While the features are great, Thug remembered to showcase his own talent in “Jumped Out The Window”. A hard hitting song, the bass and electronic tones catapult the listener into a world of beautiful chaos. Another of Thug’s proteges is on a slapper on the album, “Big Tipper” ft. Lil Keed. The catchy chorus and solid bars accompanied by the up-beat chords in the beat combine to make a great song for the aux. Another song perfect for aux on the album is Circle of Bosses with Quavo. The bass heavy beat with Thug’s melodic singing compliments Quavo’s verse and chorus perfectly. Before ending the album, Thug made sure to remind listeners of their place with the song “P***sy”. With its careless lyrics and random insults, it makes you wonder; is he serious? Does he even care about his audience? And I think that’s what Thug wanted. He doesn’t. He doesn’t care about his audience because he just makes what HE wants, what HE thinks is good, and lets his audience decide if they agree. That’s why it’s ok that he has bad songs along with his good, because with his heterogeneity and undeniable musical talent, the next song might be. It’s also the reason that he can showcase his wide range of styles and sound, refusing to be tied down to any category, other than the sounds he likes. He follows the melodic insult of a song with a feature from Nav on the next track. In it Nav and Thug follow the mainstream technique of rapping about their riches and success. It’s the classic rags-to-riches song found on so many rappers discography nowadays. It still sticks out because of Thug’s capability to turn anything fresh again and Nav’s knowledge of the game from A to Z with the verse “Your shoe tongue ain’t got no C’s All my diamonds cold, on freeze Got designer A to Z I know B’s and I know C’s”

Finally, Thugger ends the album with its lead single track “The London” featuring Travis Scott and J. Cole. It was the biggest song off the album and highlighted Thug’s ability to traverse beats with his own unique style, staying consistent on the J. Cole produced beat. Cole’s verse came in as the beat went from atmospheric to short and methodical, an allusion to his bars that are littered with colorful similes and metaphors, consistent with his unwavering dedication to put meanings behind his words. Scott was an auditory eyesore in the song, with a less than mediocre chorus. He had lines like “Me-meet me at The London, If you find time, we can run one”. What is that? Thug, on the other hand, did not leave Cole hanging quality-wise. Bars on top of bars is the only accurate summary of his verse. “Pimp talk, church talk, I can make a brick walk (Woo), Up north, down south, Bankhead to Rachel Walk (Ayy)” are the only two lines Thug needs to introduce himself fully. With references to his past life and hometown, he represents Thug the only way Thug can. 

This album perfectly encapsulates Thugger’s ability and sound. Listening to it feels like you’re in a rap library, reading book after book on style. While there is definitely a song or two on the album that are far from perfect, most songs and features are some of his best work. He keeps his audience on their toes with his insane versatility, from rapping about materialistic things  to more emotional and genuine lines or just dancing across the beat with his adlibs, all the while still somehow managing to keep true to his unique sound. Before this album, Thug displayed his versatility well but kind of randomly throughout his albums and mixtapes. This album feels like the start to a new methodical and more experienced Young Thug. Even the beats felt more “together” or well synthesized. Thug’s expert use of tone and style in his verses is shown everywhere in the album and it will surely be used as an influence to the new generation of rap, just as he has already inspired and influenced so many.