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‘Good News’ - Megan Thee Stallion’s Hot & Cold Debut Album - Album Review
Meg hasn’t been truly tested, I feel, until now, with the release of her debut album ‘Good News’. This feels like Meg putting her foot down, and establishing her dynasty, as she takes all the usual thematic and stylistic culprits, and pushes them to new dimensions. ‘Good News’ presents itself as if Meg has something to prove, as she sounds hungrier than ever here. I simply can’t ignore the fact that this ultimately comes back to haunt her, as there are numerous moments where Meg’s sheer lethality is the sword the album falls back on in an attempt to hide just how generic it can be at times. I get the impression that not a whole lot of evolution has taken place between now and her previous release ‘Suga’, as ‘Good News’ suffers from a similar identity crisis, with the addition of an unnecessarily bloated tracklist.
We kick off all guns blazing on with the audacious ‘Shots Fired’. It establishes itself as a conversation-ending response that clears the air regarding these back and forth allegations of gun violence involving fellow rapper Tory Lanez. Not that she needs it - as Meg comes across as explosive and lethal as ever - but the interpolation of Biggie’s ‘Who Shot Ya?’ only makes Meg’s anything but subtle response more cold-hearted and unsettling. Meg feels riled up, as ‘Shots Fired’ feels just as demoralising an exposé to Tory, as it does to those who blindly chastised her.
‘Good News’ comes across as a bit of a cultural and emotional melting pot, as it is easily the most revealing body of work within the Meg discography. That statement is true in more ways than one, but what is perhaps most surprising is just how nostalgic and well researched the album is. Meg feels like a torchbearer in this career-defining quest to empower like-minded women and continues to do so on ‘Girls in the Hood’. Flipping Eazy-E’s ‘Boyz-n-the Hood’, Meg basks in all the original industrial glory, whilst detailing her own flirtatious fling with luxury and braggadocio. It’s all so peppery and fiery, as Meg really ups the ante to do the classic justice.
Meg additionally pays homage to Jazmine Sullivan by sampling ‘Holding You Down (Goin’ In Circles)’ on the similarly titled ‘Circles’. Sullivan’s soaring refrains act as a much-needed point of contrast as Meg goes all out with this brutish exterior as she preaches of not enabling the malignant ideals of masculinity and refusing to be reduced to a vice. It’s an unlikely harmonious blend in which two drastically juxtaposed elements find refuge in a common goal. It’s as complimentary as it gets, as I find it really allows Meg to play to her strengths and push the limits of her proven pedigree.
It’s not all roses and smooth sailing, as not every track is granted this attention to detail, leading to more than a few cuts that leave a lot to be desired. We’re dragged through the wringer on the chaotic free-for-all ‘Do It On The Tip’. Sure, it’s a standout piece of ridiculously horny, sultry celebration amongst the merry band of misfits consisting of Meg, City Girls, and ‘Hot Girl Meg’, a potential alter ego that miraculously never materialises, that is left down by the insufficient instrumental. It’s just too bare-boned and skeletal as it fails to accommodate the troop, simply crumbling under the weight of it all. Things don’t fare much better on the utterly forgettable ‘Movie’, where I can’t even begin to pretend I understand the presence of Lil Durk in theory or in practice. His particular nondescript brand of inane crooning is simply left in the dust by the tenacious Meg, as capturing a similar demeanor would only be made possible in Durk’s wildest dreams.
Unfortunately, it isn’t only her contemporaries that drop the ball and lead to inconsistencies, as as we progress Meg herself becomes the root of the problem. We have the hideously overbearing ‘Freaky Girls’, which on paper I would think is a match made in heaven. Between the mature sensuality of SZA and the usual seductive prowess Meg possesses, I went into the track expecting a grand display of sexual splendor. What instead ensues is this hideous one-two sucker punch of sub-human vocals and an obnoxiously in your face performance that never grants me any room to breathe.
A lot of the same issues are replicated on ‘Intercourse’. At this point, it wouldn’t feel like I was listening to my average mainstream hip-hop album without at least one completely out of place obligatory dancehall cut, but the likes of Mustard and Popcaan make sure that thirst is quenched. Where SZA’s performance felt nightmarishly bizarre and out of character for her, I can’t say I expected anything less heading into the track from Popcaan. He is borderline inaudible, and I continue to struggle to understand what his overly artificial vocal processing adds to his sound, as it all reads as inorganic and contentious. The sound isn’t any kinder to Meg, who, stripped of her usual edge and attitude, just comes off as one-note.
Fortunately, there are a handful of highlights where Meg manages to hit the audio equivalent of the g-spot, as she finds complementary value in gelling with her contemporaries. Continuing a particularly glorious tradition of back to back highlights, DaBaby and Meg attempt to one-up each other on the explicitly raunchy, ‘Cry Baby’. Bragging about their sexual encounters and body counts, the duo come off as sex fiends that live for the attention. It’s jam-packed with charisma, as the quirky presentation of it all leads to one of the most animated listens on the album. Sticking in a playful vein is the downright sinful, ‘Go Crazy’. Enlisting the help of some of the most notorious tongue and cheek artists, the likes of Big Sean and 2 Chainz turn the track into a one-liner fiesta. “Strictly raised by pimpin', not by simpin', show no sympathy”, is a particular stand out, as the trio clump together on this fun-loving, ticking time bomb of sexual tension.
Inconsistencies are one thing, beating a dead horse is another, and no track highlights Meg’s undisciplined nature more than ‘Body’. Whilst Meg makes no effort to conceal her confidence or sexual prowess across the album, I can’t help but feel that she crosses the line on this stomach-churning cut. Pampered with these supposed erotic moans, which quite frankly just come off as gross, what starts out as suggestive foreplay becomes this body worshipping nightmare. The tedious chorus is simply migraine-inducing, as it’s without question the single most annoying contribution to ‘Good News’ and quite possibly, her discography. I can’t, and nor do I want to make any sense of it, as a part of me fears I’d get lost in the barrage of it all.
One thing that remains clear as day on ‘Good News’, is that Meg hasn’t outgrown her intrigue to branch out and associate herself with other genres. It’s an issue that was rife on ‘Suga’, and isn’t any kinder on Meg, or myself when it winds up here. Whilst I appreciate Meg’s willingness to branch out, the last thing I wanted from ‘Good News’ was more of Meg’s awkward attempts to slot into the realm of r&b. I find cuts such as ‘Don’t Rock Me To Sleep’ laughably ironic as it feels like Meg’s sole purpose is to put me in a state of comatose given how dull and boring it is. There are a scarce handful of these awkward in-between where it feels as if Meg is sitting on the fence, far too indecisive to make a distinction. I can’t imagine any party being pleased with the chorus on ‘Work That’ which sticks out like a sore thumb given how goofy and out of place it is. Try as I might, I struggle to make sense of her undying, genre-bending fascination that almost always renders her unidentifiable as she sounds like a fish out of water.
Whilst Meg undoubtedly utilises everything at her disposal, I can’t help but feel there isn’t enough variation or ambition to warrant the bloated 17 tracks that make-up ‘Good News’. Sure, she is this exhilarating point of salience from the first, to the last track, as she effectively rules with an iron fist, I’m just left questioning if it was entirely necessary to include some of the more half-baked tracks. It’s a given that she comes off explosively on ‘What’s New’, but outside of what feels like a prerequisite, I’m not sure what exactly the track offers. ‘Don’t Stop’ also comes to mind. Between its hideous glitchy 8-bit synths, that I feel don’t exactly lead anywhere, and an out of place Young Thug appearance, it just feels like a recipe for failure. It all adds to Meg’s undisciplined nature, as I feel she truly does herself a disservice by not trimming back the fat and exhibiting her best work.
Whilst I went into ‘Good News’ eagerly anticipating Meg’s definitive breakout moment, I’m left with an almost identical sense of disappointment that erupted post ‘Suga’. Whilst I’m glad she really expanded her scope and the ambition ‘Good News’, I simply can’t ignore the fact that it’s just so hit and miss. Sure, Meg is undoubtedly on her A-game, but there are moments where it honestly feels like the album uses her salient stature as a scapegoat to try and hide its otherwise underwhelming arrangements. It feels like everything that works here, is only functional for so long, as those exact same elements eventually become a detriment that can often make ‘Good News’ feel like more of a chore than it needs to be.
Good News - Meg Thee Stallion - 6/10
Producer Playbook (MUST READ)
I wanted to share with you some of my knowledge and tips. I have put together a playbook regarding visiting studios with artists, managing payments, and some mixing tips. Let me know if you guys have any questions or feedback. Everyone is different and I love learning new stuff just like anyone else.
*Always bring stems, wavs, flash drives, external hard drives, computers, etc. Basically, anything that you think you won't need, BRING! You never know when you're in the studio with some of your friends or artists and another artist hears your stuff or wants to purchase some tracks. You're losing money by not being prepared, so always have your materials.
*If an artist asks you for feedback, don't be a yes man. Give him constructive criticism so that you can help him or her sound better. I have seen countless people walk in with their "squad" and the lyrics would be off beat or would not make sense and they ask their team for feedback and they say, "That was dope" or "I fuck with it". So please be honest. There is nothing worse than sugar coating art.
*Do not smoke, drink, do drugs, finesse bitches (yes that was a rule in one studio I went to), etc while you are trying to work. Why do all of that when you are paying to record? All of that will keep you from being focused. Trust me, you see popular artists all the time smoking and drinking in the studio, but it is not worth it (and it is usually after when they are watching the engineer mix). Enjoy yourself, but stay focused and competent enough to understand how your music is being made, mixed, and chopped.
*Always include the BPM in the WAV or stem folder. I can't tell you how many times I have seen engineers ask for the BPM and producers/artists have no clue. Then, the engineer has to figure it out which takes a few minutes. Don't waste time by making them do that.
*Do not be a groupie if you see famous people in the studio. These people are obviously there to work and not sign autographs, listen to your mixtapes, beats, etc... Let them approach you.
*Never give your tracks out until you receive the FULL payment you agreed on. I have been fucked over by a few artists in my early days who promised to pay me, but never did. If they try to persuade you by using, "I'm going to kill it" or "I will make a hit and make us famous", do not buy into that. Killing it won't pay the bills. Know the value of your work. Let artists know if you want to be flexible with pricing. Most producers are, depending on the use of the track (lease vs. exclusive). If they plan on selling it, make sure you get your fair cut of the royalties.
*Join BMI or ASCAP. In case someone uses your track without permission, you can use these companies as leverage to get some of the royalties back (with a good lawyer of course). These companies advocate for songwriters, artists, producers, and anyone involved with the composition of music. Luckily, I have not experienced anyone using a track and selling it without permission.
*Never sign a publishing or management deal without taking the paperwork to a lawyer. People do not understand the power of a contract. Recently, Sonny Digital went on a huge rant about how Universal Publishing has fucked him over. Always remember that after signing these deals, you have little to no control over your music. These days, I believe labels need you more than you need them. If you can, stay independent and build a team like Macklemore. He turned down almost every label in order to control his own music.
*If you are using a sample in your instrumental, make sure you leave a note in the title saying where it is from. Also, make sure you let the artists know they cannot sell their finished product unless they get permission from the original creator of the sample. The last thing you want is a song to blow up and then getting hit with a major lawsuit. Big artists know this and are less likely to use it, since they cannot make money off of it.
*Less is more. I cannot say this enough. Sometimes you won't need compression on every sound. Sometimes you won't need EQ on a sound as well. Time after time, I see people fall into this "have to have plug-ins" mode where every sound they add something to it. Sometimes, they will end up with over compressed sounds or the sound will end up changing completely than what they wanted it to.
*Leave room. Depending on genre, you need to leave enough headroom for vocals. For hip hop, the general rule is -6 db. That way, the engineer can process vocals with some room. I have listened to some people's instrumentals and it hurts my ears with all the bass and instruments clashing together as loudly as possible. I would import it into my DAW and see that only 2 db of room left (which is great for EDM type music, but not hip hop).
*Filters are great! If you listen to music these days, you can hear certain instruments filtered to certain frequencies. You want to spread the frequency levels out so each instrument can sit without being distorted by another, if that makes sense. For instance, some melodies you can cut at 3.5 kHz, while others you can allow to go to 5 kHz in order to spread the sound out. Stereo separation can also help to clean a mix up.
*Add plugins to customize sounds. I have used plugins such as warmverb, gross beat, fabfilter, etc to customize sounds even more. There is nothing better than having your own unique sound and style.
*Panning needs to be used! Panning on sounds other than bass and kick. Those need to be mono (usually). Panning will open up space and clean your mix. Don't be afraid to try new things and have hi hates separated fairly wide (A$AP Rocky and A$AP Ferg use this).
*Automation is great for making sounds seem like they are being played live. Automation can be used on any instrument and can bring out certain sounds. As the volume changes, you can focus on points in the mix and create some unique flows.
*Lastly, there is no standard db level, compression ratio, attack/release level, etc when it comes to mixing sounds. Always go by what you hear and not by standards. Some kicks will require a 3:0 compression, while some may need less. It is all about developing an ear for sound, which comes with a few years of experience and knowing your mixing equipment.
Let me know of anything else that should be added to the tips above. I hope this helps producers who need some guidance and insight into the minds of the music industry and music world.
*Value your work
*Practice makes perfect
*There is never a dumb question in the production world
Here are some links that have some great tips and/or cheat sheets for mixing:
Frequency Cheat Sheet
FL Studio Mixing Tips
Vocal Frequency Cheat Sheet
Multiple Instruments Cheat Sheet
Post some more sources and I will edit and add them to the list.