The Singles Jukebox

Don’t quote us, cause we ain’t said shit…

[Video]
[6.29]

Katherine St Asaph: The “Boyz-n-the-Hood” flip, although (or because?) it doesn’t do much besides exist, makes me wonder what Megan would be like over full-on hard rock riffs — something to match her level of presence.
[7]

Will Adams: Megan is a force, as usual, with energy and memorable lines (“Pussy like a wild fox looking for a Sasuke” ) to spare. The terrible beat lets her down; it’s too spare, relying on little more than wan guitar accents and plinky pianos to carry everything. She can handle aural pyrotechnics on the level of “Diamonds”; why stick her with this dud?
[4]

Tobi Tella: Some great punchlines here, including a fantastic Naruto shoutout, but the beat and repetitive hook repel rather than attract and I’m just not convinced this song needs to exist, y’know? I love Meg too much; I don’t want to get bored of her.
[6]

Oliver Maier: Nothing particularly new here from Meg. She always raps her ass off but it’s disappointing that she settles for turning “Girls in the Hood” into another punchline tour de force rather than putting it in conversation with Eazy-E’s original track, or at least trying for the same level of specificity. It doesn’t even boast the best ever bar about receiving oral while watching cartoons.
[4]

Steacy Easton: This is just efficient, from the swagger of the first line to the penultimate Naruto reference, in and out in a little over two and half minutes. It’s pretty impressive as an example of pure skill.
[8]

Thomas Inskeep: It’s about time that a woman flipped Eazy E’s misogynist classic/relic “Boyz-n-the-Hood” and turned it on its head, making it a feminist anthem. And it makes 100 per cent sense that the woman to do so — “a hot girl [doing] hot shit” indeed — would be Megan. She’s here to let us all know that she’s always in charge, like it or not, and “Girls” makes that crystal clear. Also, who had “Scott Storch comeback” on their 2020 bingo card?
[8]

Alfred Soto: Tracks like “Girls in the Hood” are critic-proof. Either listeners embrace its steely eyed efficiency or — well, what? Some of its tropes are tired, but a performer like Megan sasses them up. If the performer weren’t Megan, she’d still score a minor triumph.
[7]