YSL’s ‘Slime Language 3’: All 41 Tracks Ranked

This record definitely has the right album-opener energy. It begins with diamond*, Pz’ and Young Thug talking before the beat kicks in. BSlime mans the very good hook for the entire song, with sparse appearances by Thugger, Tezzus and diamond*. Each act has solid verses, but the seven-minute, 15-second cut drags a bit. Credit to Thug for always making sure his signees shine, but they all sound a bit too similar vocally for anyone to truly stand out.

This posse cut is loaded, but the chaos of so many guys being on the almost four-and-a-half minute record is pretty fun. BSlime shines the most with his flow and vocal inflections. Young Thug stands out as he has the longest verse, but it lacks focus toward the back half. Rob49’s sequence of chorus, verse and chorus again at the end of the record is also memorable, mainly because he does his best Thugger impression. It isn’t his best outing, but seeing that he has this chameleon ability within him could make for some even better music down the road.

This is a jarring listen. The production is dark and moody, but still has a kick to it that makes it feel more fitting for G Herbo or Bossman Dlow. Rundown Zay and Skrilla — and Tezzus, to a lesser degree — all feel like they’re battling the beat. They never really find a pocket, and the pitch of their voices in comparison to the tone of the production is a very unhappy marriage. Julia Alexa’s beautiful vocals save this song from being at the very bottom of the list, but it is still quite close.

“Consummate” shows that the rage sound isn’t the best for YSL. Young Thug is versatile enough to work it, and 1300SAINT sounds good on the hook, but Tezzus’ performance is a bit underwhelming. This would have been the song to add Yeat or Trippie Redd to. Without them, it feels a little boneless.

“What’s Up Mami” has a really fun beat. Young Thug raps well and does a good job of utilizing the “what’s up mami” refrain, which is buried in Tezzus’ extremely long hook. Genuinely, this may be one of the longest hooks in hip-hop history, and it drags the song down quite a bit. Biggs money’s verse isn’t much to write home about either. This track feels like they were all in the studio just vibing, with no deeply thought-out concept, and decided to keep the recordings to put out later. The final product wasn’t their best work.

Young Thug went in on “Cha Ney Ney.” diamond* and Tezzus’ verses are fine, but certainly not their best across the 41 songs. The chorus here is also a little lazy. In the second and third iteration of the hook, there is a clash between Thug’s vocals and their ad libs that makes for a displeasing listen. Had they cleaned that up, this song could have been a bit higher, but overall the negative aspects force it to be low on this list.

Looking at the names on this track, it would be fair to assume it would end up a smash. Young Thug, Future, Travis Scott and Yeat can make hits on their own, but putting them together should be like the 2025-2026 New York Knicks. Unfortunately, a lot of these verses feel mailed-in and half-hearted. Thug, Tezzus and Yeat go the hardest, in that order. Travis wasn’t needed, and Future sounds bored. There is also no hook, which would have been a nice way to break up five consecutive verses, especially with the majority of them falling on the longer end of the spectrum.

“Skyami” has a nice pace to it, but it’s lacking flair. The chorus is cool, and the verses are fine, but there is something missing to really make it stand out. It’s not bad, but it can’t confidently be called good either.

Iyrus’ chorus on here is really good. diamond* does well on his verse too. A different production choice would have made this good song great. The beat isn’t bad, per se, but when covering the topic of a “Freaky Girl,” something more sleek could have been a better fit.

Biggs money is the star here, with an extremely long but good second verse. The repetition of “lil bruh” could be annoying to some, but it’s so well done that it works. Young Thug did just enough in his verse, and the beat is a trunk-rattler. Solid song, though not among the upper or middle echelon.

YSL knew that the ladies needed a booty shaking anthem, and they delivered. Biggs money has a great performance here, and YKNIECE brings the proper energy. This beat should have hit a little harder, given the song’s purpose, but it’s good enough to get by. Let’s see if “Bounce It” sneaks into DJ sets before the summer is officially over.

Jorjiana said she is the biggest in her state since who? That’s quite the audacious claim. It would be interesting to see if Indiana would put her in the top 10 on that list, let alone number one, since Michael Jackson’s time. Nonetheless, she turns in a solid hook, and she, Lito and Sk8star all have good verses. The production is more dynamic than a lot of the LP as well.

This song plays like a leftover from Metro Boomin’s A Futuristic Summa, and that is not a slight. The energy is reminiscent of late 2000s Roscoe Dash, and that may very well have been Papito el Franklins’ goal on the hook. BSlime turns in another good performance on this breezy record, highlighted by some of the most vibrant production within the lengthy album.

This is one of the weirdest beats ever heard. It sounds like would be heard in a factory or warehouse, if every human voice was muted. It’s awkward to catch on to, but fortunately, Tezzus and diamond* provide top-tier verses. The fervor, pocket assassination and consistency in their delivery is impressive. Get them a better beat, and we could be having a different conversation about this being among the absolute best songs on Slime Language 3.

We’re always going to pop for a meme being cleverly turned into a song when it is done right. Because why you being weird to me? This song is primarily enjoyable, though, because all the YSL acts put themselves in vulnerable positions in the game of love. They are focused on proving themselves to be worthy partners, but they’re also not down to be played around with. It’s a nice, refreshing change, and there’s still some energy to the song to maximize where it can be played.

“Baddies” had the potential to be incredible — because who could get mad at a song honoring the beautiful women in the world? Biggs money and Cash Cobain have alright verses, but this song is missing a spark. On top of that, the chorus is a bit too basic. The beat is what keeps this track in the “fine” category. We wish they spent some more time adding elements to this record, or that they maybe even featured a baddie.

“Myself” shows both the good and bad sides of simplicity. Biggs money keeps it simple on his chorus, which works. However, his verse leaves a bit to be desired with its one-note rhyme scheme and basic lines. Fortunately, the production elevates the record, and it follows the pattern of simplicity with common drums, hi-hats and synths. Thug, as usual, is riskier. He delivers an interlude and a bridge before his rapidly-paced verse. He definitely left our ears a bit more perked up before Biggs closed the song with the chorus. “Myself” has nice energy and memorable moments, but could have been a little better.

“Switch Up” is aptly named because this is one of the very few R&B efforts on this album. It’s great to hear Mariah the Scientist go crazy on the hook and Young Thug tap into his more emotional side. And while it is great that he wants his artists to get as many looks as possible, this is one of the rare times on the album where Bslime wasn’t needed. A Thug and Mariah effort as a duo, perhaps even with Thug’s lady getting a verse, would have worked better, but it is a solid song nonetheless.

“Club Outside” really sinks because of the choice to have Thug deliver that lazy chorus when the first four lines of Lil Baby’s verse would have been perfect. But the frantic trap beat and both of their verses make up for it. It’s always fun when they link up because it feels like they challenge each other to really rap. Thus, “Club Outside” is another winner in their collaborative catalog, even if it doesn’t reach the heights of a “We Should,” “Oh Okay” or “Chanel (Go Get It).”

“Function” is an ear-grabber with its production blending church organs and video-game-like synths. Thug’s verse feels like a vintage performance for him, with the signature screeches and pocket manipulation. Lil Unky’s chorus is fine, despite the fact that he repeats the same two lines for far too long. Had it stayed at just four bars, it would’ve been actually good. Thankfully, Young Thug quite literally put the team on his back.

This is a heartwarming song for OG YSL fans. Tezzus pays homage to Thugger’s 2016 classic “Slime S—” with his lines “This that YSL s—, screamin’, ‘F— 12,’ s—.” Outside of that, “Stole It From Us” features a vibrational beat and great performances from 1300SAINT, iyrus and diamond*. Thug should be proud.

It wouldn’t be a YSL album without a dedicated get-money anthem. Young Thug and Lil Righteous had the money counters going crazy with this one. A catchy hook and nimble verses make this one of the most entertaining tracks on the album, and it’s needed on a 41-song journey.

This song is so layered. First, the reference to 2026 NFL number one pick Fernando Mendoza and his success at Indiana University, which Tezzus cleverly ties to Jorjiana, who called herself the biggest act from Indy since Michael Jackson. Mendoza might have something to say to her about that. He also references diamond*’s line about making women pay him for sex, which yields another laugh. Outside of the callbacks, this is a great beat; every artist shines in their verses, and the song overall has very fun energy.

This is probably one of the top Young Thug choruses on the album. It is hard not to like it when the refrain is constantly repeated, with cool lines in between. 1300SAINT turns in another good verse, and iyrus provides the Caribbean energy, which fits the bright production.

This beat is so awesomely immersive. diamond* turned in a really good hook, and both he and 1300SAINT skated on their verses. There isn’t much holding this song back, which speaks to how good the songs ahead of it are. “Tonight” feels like a true flow state.

“Birthday” is among the best arranged songs on this album. Cash Cobain and Bay Swag take over the first half, a more downtempo homage to women. Their homage to Dorrough’s “Ice Cream Paint Job” is well executed, and the Slizzys find endless ways to amusingly rap about sex. Thugger turns the energy up in the second half and lets off a very good verse, building entire estates in the pockets of this energetic beat. As Hunxho has said, despite the internet misquoting him, all three artists are indeed the birthday.

“We Dead” shows excellent A&Ring. Trippie Redd was the perfect person to call on for this verse and hook. Papito el Franklins matches his energy and the rage DNA of the record. It is the shortest song on the album, coming in three seconds shy of two minutes, but it gets the job done in the allotted time.

Quavo! Huncho showed out with this verse. It feels like people forget how well he can rap because he became the hook guy in his prime, but a showing like this conveys a hunger he hasn’t shown in quite some time. Lil Unky is also impressive. The song doesn’t overstay its welcome, either, clocking in at two minutes and 24 seconds. It could have ended up being “the one” from this project, if not for quite a few records being significantly better.

“NaNaNa” is enjoyable organized chaos. Tezzus, Sk8star and diamond* sound incredibly loose here, but not at the expense of focused bars and wordplay. They have the right high energy, matching the high-quality production efforts of Klimax, PROJECT4PLAY, Shiv and Smoke55fr.

We love this song’s pace for YSL. A lot of the records on Slime Language 3 are faster, so it’s refreshing to hear this more bop-like BPM. Thug killed his hook and Pz’, iyrus, Lil Unky and Bslime all got the job done in their verses. The affirmations of YSL being the hottest are the appropriate vibes for opening disc two.

If you told us we would get a YSL version of Chris Brown’s classic “Poppin’,” we wouldn’t have believed you. And yet, here we are. They slightly sped up the beat a bit and let HittMan run crazy. He has a solid pre-chorus and chorus, though his tone may be too aggressive for such a sexy beat. Nonetheless, it still works. And then Thugger closes things off in the best way, as he often does. This song was a surprise, but a pleasant one.

Young Thug and Unfoonk end Slime Language 3 with the heartfelt “What It Do.” They tie together the difficulties of their lives and experiences with their lovers. There is yearning for trust, battles with pride, reflection on their loyalty to the streets and more. Thug’s melodic voice sounds beautiful on the hook and puts the bow on a very good disc two.

YUME has such a warm voice. We selfishly wish she had more presence on this album, but her appearances are enough to make her stand out in a hefty offering. diamond* also goes crazy on his verse, toning down the energy to deliver something more smooth than his other contributions to the album. “Losing Sleep” is great.

Oh yeah. Right from the beginning of Thug’s chorus, we knew this song would be special. His deep-voiced delivery transitioning to a whisper is subtle but great. diamond* may have yielded the biggest laugh from the album, rapping, “I done changed up the game, made these h—s pay for d—.” It is always nice hearing new verses from the late Lil Keed, and he floats over this spacey beat. This may not be the highest-ranked song, but it could very well be the best executed.

It would only make sense to close disc one with another seven-minute record. However, the gap between this posse cut and “ØWAYSL” is wide, which is surprising since this song has over double the number of people on it. What puts “Bvlgari” ahead is the fact that its really good chorus breaks up the nine verses. Each YSL signee showed out, mimicking each other’s flows and cadences with ease. There’s a palpable synergy here, allowing us to audibly tell they were having fun when making this. It is rare to find a seven-minute song that doesn’t drag; they nailed it. “Bvlgari” is a proper disc closer for a label compilation album.

Quavo opens this song so well between the hook and his verse. Tezzus and diamond* follow suit, and Cash Cobain hits it out of the park batting cleanup. There is a menacing tone to this beat, yet all four men seamlessly find cool ways to reference and include women in their subject matter. This is a very good song.

This is mostly a BSlime solo effort, and deservedly so. Rundown Zay takes over part of the first verse, and while we’d have preferred this song be all BSlime, Zay’s contributions don’t take away from how good the track is. B has a real knack for great hooks and just overall making his time on a song worth it. His verse here landed exactly where it needed to.

YUME sounds awesome on both her verse and the chorus. Her voice is just light enough to be soothing to the ear, but rich enough to not get overwhelmed by the song’s aggressive production. Young Thug shines as well, perhaps getting off his best flexes in one of his shorter verses from the LP. Less is more.

This is a real earworm. Between the looping of “Øway” in the background, Tezzus and Thug finding the ideal melodies for the first beat, their musings on women and their journeys, and endless shoutouts, there are many things to take away from part one of this song. And then the beat switches to something even softer, yet still with trap elements to it, and Thug gets to go off. And go off he does. It’s a great display all around.

Lito the Plug and Young Thug have phenomenal chemistry here. Lito executes an impressive rhyme scheme, primarily using multisyllabic words, and keeps his verse at a tight eight bars. His chorus is also nimble and has a catchy cadence. Young Thug, on the other hand, goes off for a little longer and shows off the shape-shifting flows that made him famous. Both men left us wanting to hear more just by rapping as well as they did.

Emotion. Vulnerability. Storytelling. An awesome hook. Strong verses. “Grandma’s Baby” checks every box. BSlime reflects on his conversations with God, battling temptation from the devil and the challenges he is currently facing, and he pays homage to the late Takeoff and Lil Keed. Our only issue with his verse is that he shouts them out, then quickly transitions to how he had sex with a woman whose name he didn’t know. It’s an odd arrangement, though par for the course in a raw delivery of a stream-of-consciousness verse like this. Veeze’s raspy voice, notably lower in volume, works here as well. Paired with a more midtempo beat and a soul sample in the background, he sounds as if he is sitting on the porch while opening up to a friend. Overall, it is a beautiful song.