“So long, untouched / Bone-dry, not a plant can grow.”
If you didn’t catch on, Sabrina Carpenter is not wet. The Grammy-winning pop singer/songwriter continues in the first verse of “When Did You Get Hot?”, “‘Bout time I get / Back on the horse to the rodeo.” Damn right, girl! “When Did You Get Hot?” is the eighth track from her 2025 album, Man’s Best Friend. She penned this piping hot song with Amy Allen, Jack Antonoff, and John Ryan. She produced it with Antonoff and Ryan.
Before revisiting the lyrics and the subject of hotness, the sound of “When Did You Get Hot?” is pleasant. It features an infectious, rhythmic groove and recalls late 90s-00s pop and R&B. The keys and synths are tasteful. Carpenter’s melodies are rhythmic. She delivers them with playful, breathy, and easygoing vocals. In the pre-chorus, a friend asks her if she knows Devin, who has become quite the snack! In the unforgettable chorus, she has questions for him:
“When did you get hot?
All of a sudden, I could look you up and down all day (Hey)
When did you get hot?
I think I would remember if you had the face
I did a double take, triple take
Take me to naked Twister back at your place
Baby, baby, mm, it’s thickening the plot
When did you get hot?”
Of course, naked Twister isn’t the naughtiest line. Before characterizing him as “an ugly kid, but you’re a sexy man,” she sings, “I bet your light rod’s, like bigger than Zeus’s.” Only Sabrina Carpenter would pen such lyrics. I love her big, dramatic ascending vocal moment that occurs before the second iteration of the chorus. Also, worth noting is the lovely vocal arrangement, specifically those background vocals! Fittingly, the fun and engaging “When Did You Get Hot?” fades out, with Carpenter continuing to be in awe of his hotness.
“you and i could never be friends” » Artemas » 2025
“I know that we only just met.”
Facts, Artemas. So, where, exactly, are you going with this? “But you and I ain’t gonna be friends.” Oh. Hmm, so what is happening between them? What we do know is the bedroom is involved… who’s shocked? Once again, Artemas engages us with another sexual bop, “you and i could never be friends”. Interestingly, this Artemas/Henry Morris/Kevin White-penned track (produced by Artemas and White) arrives weeks after his mixtape, LOVERCORE, was released. Artemas picks up where he left off, PERIOD.
“You and i could never be friends,”
begins with Artemas singing abruptly. Our boy is standing on business! Our utterly naughty English pop singer-songwriter gets right to the point. “You” features an adventurous, noisy backdrop. There are boisterous, sharp synths and distorted, stuttering drums. At times, there are holes within the accompaniment, allowing more nuanced musical touches, including some inviting guitar lines and striking keys and sound effects. The backdrop aside, the star of the show is Artemas, who is unapologetic as… wait for it… fuck. He admits he’s in a dark place in life, horny, and gives no fucks. “You keep looking at me crazy, it’s a face I recognize / And you’re talking to me sweet while you fuck me with your eyes.” Oh, the eye-fucking! He continues singing in the verse, “You’re lucky that you met me at this dark time of my life / ‘Cause I couldn’t give a fuck if I don’t make it through tonight.” So, is this a hookup or love at first sight? With some drinks and drugs in them and a trip to the bedroom, friendship is unimportant. Sex, on the other hand, is the modus operandi. Is it casual, or, can non-friends become lovers? Debatable. What’s not debatable is the fact that Artemas satisfies our thirst once more with another sexed-up bop in “you and i could never be friends”.
“Love who you love / I couldn’t hide it if I tried to.”
Romy (Romy Madley Croft, b. 1989) delivers an open-minded, nonjudgmental, surefire electronic pop bop with “Love Who You Love”. Madley Croft penned and produced the moving “Love” with BloodPop®. Her The xx bandmate, Jamie xx, also contributes to the production.
The form of “Love Who You Love” stands out: intro, verse, pre-chorus, chorus, verse, pre-chorus, bridge, and chorus. While there is plenty of repetition, particularly with only one verse, the “Love” never grows boring or the least bit stale. Instead, it’s powerful and feels right. Romy is open about her love (presumably for her wife, Vic Lentaigne). “Oh, I’m in ecstasy / When she’s next to me,” she sings in the verse, and continues, “Finally, found peace / And I won’t feel guilty.” Amen, sister! With no need to hide her true self, she asserts, “Don’t care if the world can see / That shame don’t belong to me.” Her love is sufficient. In the centerpiece, the chorus, she confirms that love is love, and that is nothing short of powerful.
“Love who you love (Need your love)
I couldn’t give up if I tried to
Your love is enough.”
Accompanied by a sleek musical backdrop with a sickening beat, picturesque synths and pads, Romy has ample fuel for her love-driven fire. On autopilot, she brings the heat and a heaping dose of Pride to “Love Who You Love”.
“Tell me that you’re with it, babe / ‘Cause I’m with it, babe.”
In 2025, the creative, gifted, sexy, and talented Miguel (Miguel Pimentel) returned with utter CAOS, his long-awaited fifth studio album! Part of that CAOS was the fourth track (and single), “New Martyrs (Ride 4 U)”, which he penned and produced. The sound of “New Martyrs (Ride 4 U)” is familiar – like much of Miguel’s music from the past. He leans into a pop-infused alternative R&B aesthetic, thanks to the prominence of the guitar. The instrumental backdrop isn’t innovative, particularly the drum groove, but it fits his aesthetic and sensibilities overall. Miguel delivers expressive vocals, as expected. The melodies are chill and relaxed during the verses. The sections to beat include the choruses, which are tuneful and feature memorable lyrics, particularly the final chorus.
“You said, ‘I’ll ride for you
I’ll ride for you
Oh, I’ll ride for you’
Tell me that you’re with it, baby (Ooh)
With it, honey, yeah (Ooh), yeah.”
The bridge sounds starkly different than the verses or chorus, which keeps the song engaging. Is the bridge executed flawlessly? No, but it is intriguing nonetheless (“But how / Much can I lose without / Changing who I am?”). “New Martyrs (Ride 4 U)” is not the second coming, but it is an enjoyable and respectable track from a talented singer-songwriter.
“I was heart-broke / I had my own hand ‘round my own throat / And you like that, didn’t you?”
Oh, my, Jessie Murph! The southern pop singer/songwriter has a knack for brutal honesty, and we wouldn’t have it any other way! “I’m Not There For You” is no exception. She penned the brief but potent single with producers Cirkut and Omer Fedi. Before sharing her heartbrokenness in the first verse, Murph sets the tone with the centerpiece, the chorus:
“I’m not there for you, I don’t know your name
I ain’t there for you, I don’t feel a thing
Nothing left for you, yeah, I mean it, you fucked up…”
For Jessie, this guy was a monster, something she continues to voice in the first and second verses. In the second verse, she flexes her strength, not settling for his bullshit. “I am much stronger than I ever was, I just left your bitch ass / And yeah, I fucking did it.” Word. Murph brings mad attitude and energy to her distinct, cutting vocals. The musical backdrop is a selling point as well, intact with that signature Omer Fedi guitar. Although it is short, Jessie Murph makes her point loud and damn clear on “I’m Not There For You”.
“I left my Amex at the bar last night / Don’t know how I caught a car…”
Early on in “Just How You Are”, Grammy-winner Leon Thomas paints an irresponsible picture. Risky behavior! Notably, he adds in the first verse of this colorful single, “I’ll always find the opportunity for mistake / That hit me hard the next day / When you pull the memory and erase / ‘Cause that’s just how you are.” Ah, there comes the titular lyric, in all of its glory! Thomas penned “Just How You Are” with Bizzy Cook and producers Freaky Rob and D. Phelps. Thomas gives a strong vocal performance. He is nuanced, expressive, and comes off as sincere as he sings. He paints a picture of a tough critic, noting in the pre-chorus, “You love to pick my world apart,” and affirming in the repetitively catchy and delightful chorus, “But that’s just how you are, are, are.” Notably, it’s the second verse that earns the track the explicit lyrics label. Beyond fine vocals, tuneful melodies, and memorable songwriting, the musical backdrop is sweet, too. The groove is infectious from the beginning. Beyond the drums, the bass line and keyboard parts stand out. The punch that “Just How You Are” brings is part of its allure. Once again, Leon Thomas brings the heat on this single from his PHOLKS (EP).
“(Uh) / Dirty South (Uh-huh), can y’all really feel me? (Feel us) / East Coast, feel me (Feel us), West Coast, feel me (Say what?).”
Woo! In 1998, Grammy-nominated R&B singer Aaliyah (1979 – 2001) unleashed a surefire R&B banger: “Are You That Somebody?”. Timbaland and the late Static Major (1974 – 2008) wrote this classic. Timbaland, then one of the most innovative producers in the game, also produced it. “Are You That Somebody?” samples two songs, according to WhoSampled: “People Say” by The Meters and “Happy Baby” by Jac Holzman. It originally appeared on the soundtrack for the 1998 movie Dr. Doolittle. It ultimately appeared on Aaliyah’s posthumously released 2002, platinum-certified compilation album, I Care 4 U. “Somebody” impacted the pop charts, peaking at number 21 on the Billboard Hot 100. In 2023, the Recording Industry Association of America certified the single gold. “Somebody” earned her first Grammy nomination at the 41st Annual Grammy Awards for Best Female R&B Vocal Performance.
“Are You That Somebody” begins with Timbaland setting the tone with his infectious vocals and signature, electronic-tinged, innovative beats. At the time, he was one of the freshest, most unique producers in the game, and he shows off his skills mightily from the jump. Aaliyah steps in, beginning in the first verse, wowing with her angelic, smooth, and sultry vocals. She doesn’t hold back her feelings, asserting, “Boy, I’ve been watching you like the hawk in the sky / That flies, but you were my prey.” The melody is rhythmic, tuneful, and instantly catches the ears. In the second verse, we get more of the same: “Oh, boy, see I’m trusting you with my heart, my soul / I probably shouldn’t let you.” Yeah, probably not, but the heart wants what it wants, right? The section to beat is the chorus, one of my personal favorites of the 1990s, hands down:
“If I let this go
You can’t tell nobody, I’m talkin’ ‘bout nobody
Are you responsible
Boy I gotta watch my back, ‘cause I’m not just anybody
Is it my go, is it your go? cDon
Sometimes, I’m goody-goody
Right now, I’m naughty-naughty
Say yes or say no, ‘cause I really need somebody
Tell me, are you that somebody?”
In her brief but successful career, Aaliyah charted 15 songs on the pop charts (a few posthumously). “Are You That Somebody?” has a strong case as the best song from her catalog. This question song NEVER grows old.
“I want you to know / Even though you chose / I love you / And this love will never end, no.”
Oh, it won’t end, 54 Ultra (JohnAnthony Rodriguez)? Matters of the heart play a sizable role in “Where Are You”, the sixth and final track from Rodriguez’s 2025 EP, First Works. Although this soulful gem is brief, clocking in under two-and-a-half minutes, it is utterly divine. The vibe is sweet to the nth degree on “Where Are You.” A gorgeous percussive groove anchors. The detuned keys and synths provide a distinct color and timbre. The accompaniment is lush-sounding, reminiscent of the R&B/soul of old. These retro music cues work superbly in 54 Ultra’s favor as his voice floats above the backdrop angelically. One of his biggest selling points as a vocalist is his falsetto that appears towards the end of the cut, in all its loveliness. Beyond Rodriguez’s production and refined vocals, his pen deserves credit, too. The section to beat should come as no surprise: the chorus!
“(I would go so far)
Oh, I would go, I would go
(To make you mine)
(Follow all along)
Follow me, my dear
(In space and time)
In space and time.”
No deep analysis necessary. The relationship is over (in verse two, he stated, “The things I’d say to you if you were here / I know I’ve been too late”), and he’s regretful, but he still longs for them. We’ve all been there, done that, sigh. At least 54 Ultra’s pain and regret are our listening pleasure on “Where Are You”, right? Right!
Dangerous Woman » Republic / UMG Recordings, Inc. » 2016
“I’m so into you, I can barely breathe / And all I wanna do is to fall in deep.”
Damn, Ariana Grande 😮💨! She adds in the first verse of “Into You”, “But close ain’t close enough till we cross the line.” Word. “Into You” is the fourth track from her 2016 double platinum album, Dangerous Woman. A multiplatinum single, it peaked at number 13 on the Billboard Hot 100. This fun bop was penned by Grande, Savan Kotecha, Alexander Kronlund, and producers Max Martin and ILYA. “Made too many mistakes,” Grande sings in the second verse, and continues, “Better get this right / Right, baby.” She’s not wrong!
Throughout, Grande’s desires are turned all the way up, through memorable, suggestive lyrics, tuneful melodies, and elite vocals. Beyond the verses excerpted above, Ari is unafraid to share her feelings. In the pre-chorus, she asserts, “Oh, baby, look what you started / The temperature’s risin’ in here / Is this gonna happen?” Oh, snap! The chorus is the crème de la crème, where she requests “A little less conversation and a / Little more touch my body / ‘Cause I’m so into you, into you, into you.” Fair enough, Ari! And if that didn’t make it clear, in the outro, she implores him, “So, come light me up, baby / Little dangerous / A little dangerous, my boy.” She is a Dangerous Woman, after all! Ultimately, “Into You” is an entertaining, sexy standout from Grande’s illustrative pop catalog.
10. Sean Dempsey, “What You Gonna Do With That?”
“What You Gonna Do With That?” » Sean Dempsey » 2025
“I smashed my car into a wall / Like the kingdom watch it fall.”
Oh my, Sean Dempsey 👀. We listen and we DO judge (don’t believe that trend)! The Dublin, Ireland 🇮🇪 musician continues singing, “I bought the store, and cash ran dry / Need a fix or another high.” Oh, snap🫰! “What You Gonna Do With That?” is a brief electro-pop song, but captivating and potent from the get-go. Our handsome Irishmen penned it himself, and he didn’t hold back!
“I lost control and we gon’ crash / Drop the beat and snatch some ass.” Damn, Sean! “What You Gonna Do With That?” is fierce… as fuck, honestly. Set in a minor key, the production is epic. From the beginning, the sound of the record hits you right in the chest. The club vibes are pronounced thanks to aggressive, boisterous, and nasty synths and a badass stomping beat. Sure, the title asks a question, but given the aggressiveness of the sound, it seems like it’s more rhetorical. Dempsey keeps the same energy as the instrumental with his own energetic, personality-laden vocals. Pitch is unimportant. Sean goes for chanted, quasi-rapped, and talked vocals. He eats, too! “Call me the writer man / I’m writing fire man / I see a higher man / And it feels so good.” Preach… well, this isn’t a religious cut… We do get questions asked, lyrically. “What you wanna do / What you wanna be / These are the questions you answer to me,” he sings, and continues, “What you wanna see / What you wanna breathe / What you gon’ / What you gon’ / What you gonna do with that.” Ooh-wee, it’s getting sooo hawt in hurrr! Maybe it’s the beauty of the man on the track… 🥵 😍 🤩. Released in the summer of 2025, “What You Gonna Do With That?” is the sexy, striking summery hit that endures well beyond the summer.
Musically, “Do You Love What You Feel” is epic. The electrifying groove from the drums and percussion instantly gets the body moving. There are hella funky riffs from the keys, guitar, and bass. Upping the ante are the orchestral music cues: articulated, crisp-sounding horns and soaring strings. Beyond the instrumental, the vocals are F-I-R-E. Chaka Khan is on autopilot, wowing with her high-energy vocals. “Baby, when you’re holdin’ me / Somehow, you seem to set me free,” she sings in the first verse, continuing joyfully, “And when I dance with you / Romance with you is all I see.” Beyond Khan’s impressive pipes, the Rufus vocalists match her exuberance (“I’ve spent so many nights / Just picking fights within myself / Until you came to me / And held me like nobody else”). The melodies are tuneful from the get-go, led by the infectious, unforgettable chorus (excerpted earlier). As the record progresses, we get outstanding riffing by the R&B chanteuse. All told, “Do You Love What You Feel” is one of the funkiest joints from the 1970s, PERIOD. The vocals, songwriting, and production are flawless. It is impressive how tight this funk cut sounds, considering the number of rhythmic lines and instruments. I’m stunned this distinct cut hasn’t been sampled more. SWV sampled it on “Do Ya” from their 2012 comeback album. Great taste!
“Knuck” features hardcore, dirty south production from Lil Jay and Doc Jam. The instrumental is dark, set in a minor key. Minimalist, the colorful looped synth and banging beat pack a mean punch. Each member unapologetically delivers compelling cadences and flows. Following Scrappy’s hook, Lil Jay kicks off the first verse. Memorably, he’s “Throwin’ them ‘bows up at these hoes / They screamin’, they bleedin’ from they nose.” Elbows can cause some serious damage! In the second verse, Princess “Pack heat like Saddam Hussein, Hitler, and Osama bin Laden.” Damn, girl! M.I.G. brings the fight to the fourth verse, spitting, “In my eyes, you wasn’t wise, I think it’s time I knuck you, ho.” In the fourth verse, Diamond raps, “Now we knuckin’ and buckin’ ‘cause I got a nine / I’ll blow you away, ‘cause you wastin’ my time.” Killa C caps things off, “Fuckin’ with no hoes, ain’t never been no lames / Ain’t never been no pussy, niggas scared to throw them things, mane.” Crime Mob brings the fire on “Knuck If You Buck”, no cap!
13. Maurette Brown Clark, “Just Want to Praise You”
By His Grace » Atlanta International Records, Inc. » 2002
“Just want to praise you / Forever and ever and ever / For all, You’ve done for me.”
👏 👏 🙌 Maurette Brown Clark (b. 1966) and an anointed choir waste no time giving thanks to God on “Just Want to Praise You”. The 14th and penultimate track from her 2002 sophomore album, By His Grace, is the crème de la crème of her musical catalogue – a song to remember that never grows old. “Blessings and glory, and honor,” Brown Clark and choir continue, “They all belong to You / Thank you Jesus for blessing me.” Can I get an amen?! How about a hallelujah?!
“Just Want to Praise You” features terrific, inspiring, and uplifting songwriting, as well as tuneful melodies. This praise and worship song commences with distinct, rhythmic hits that set the tone. It features strong musical arrangement/production with a standard, contemporary gospel band: keys, organ, guitar, bass, and drums. Brown Clark blesses us with her assertive, expressive, and jubilant lead vocals, while the choir provides superb background vocals, often carrying the melody. Brown Clark ad-libs and riffs like a champ, making us buy every word that she sells. Clearly, she believes in the power of Almighty God, testifying to His greatness at every opportunity. “We’ve got a right to thank You, we got a right to praise You,” she sings, commandingly, and adds, “‘Cause when we think about everything that you’ve done for us, some of us raise our hands / Some of us clap our hands / Some of us leap, some of us leap over.” Ooh-wee! Thank ya 🙌 🙌 🙌! Maurette Brown Clark says it best on “Just Want to Praise You” when she sings, “Come on and help me lift God up high, he deserves it.” Truer words have never been spoken! Two decades and counting later, this song remains a powerful testament to faith!
13 Songs Where YOU Are the Focus, Vol. 5 (2026) [📷: Brent Faulkner / The Musical Hype; 54 Ultra, Artemas, Atlanta International Records, Inc.,Blackground, ByStorm Entertainment, Columbia, EZMNY, Island, MCA, Motown, RCA, Reprise, Republic, Sean Dempsey, UMG Recordings, Inc., Young; Lucas Andrade from Pexels; Gordon Johnson, Niek Verlaan, OpenClipart-Vectors from Pixabay]
The Musical Hype (he/him) has earned Bachelor's and Master's degrees in music (music education and music theory/composition, respectively). A multi-instrumentalist, he plays piano, trombone, and organ among numerous other instruments. He's a certified music educator, composer, and freelance music blogger. Music and writing are two of the most important parts of his life.
In the 58th edition of Spicy Tunez (2026), we explore the eyebrow-raising, naughty, sexed-up vibes behind “Freaky In the Club” by disgraced R&B artist R. Kelly.
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![R. Kelly, Freaky In the Club: Spicy Tunez No. 58 (2026) [📷: Brent Faulkner / The Musical Hype; Zomba Recording LLC; Rizwan Aslam from Pexels; Clker-Free-Vector-Images, Gordon Johnson from Pixabay]](https://themusicalhype.com/wp-content/uploads/2026/08/r-kelly-freaky-in-the-club-spicy-tunes-58-2026-360x240.jpg)
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