Crookers ft. Kardinal Offishall & Carla Marie – Put Your Hands on Me
Still the only reason to give a shit about Kid Cudi…
[Video][Myspace]
[5.80]
Hillary Brown: I have a feeling this one is going to score rather high, mostly because I’m reacting violently against its squeaky rubber noises and weak hook. It makes me think of latex gloves and enforced dancing, and both of those make me rather uncomfortable.
[2]
Anthony Easton: Why is Goose or Patron mentioned over and over again in these songs, when there are better vodkas or tequilas?
[7]
Ian Mathers: Like a lot of Crookers’ work, it’s basically just one giant synth squiggle, but damn, what a great squiggle.
[7]
Pete Baran: It’s a lemon juice in the eye kind of song: go with the sting.
[7]
Anthony Miccio: Sweaty, stomping and salacious, but also faceless – possibly more dance floor filler than dance floor-filler. Also reminds me that Basement Jaxx and Pitbull have yet to collaborate, which is frustrating.
[6]
Martin Skidmore: I like the buzzing, dancey backing, the dancehallish rapping and the sharp diva vocals, but I’m not sure it comes together completely – sometimes there seems to be too much going on, especially with the hyperactive alien-attack synths. Ten years ago Basement Jaxx could have tweaked this into something glorious, but as it is it has a slightly desperate tone.
[7]
Michaelangelo Matos: Pretty lean for such a mish-mash: the wiggly, fleet late-’00s version of the “Mentasm” Hoover noise, Carla-Marie sounding like a one-woman Nina Sky, Kardi bubbling and dipping, and Crookers’ big-beat-gone-to-JA bass bounce (no wonder they’re on Southern Fried) looking at Major Lazer in its rearview.
[6]
Alfred Soto: Too frantic for dancing, too undistinguished in timbre and flow for chanting in the car.
[4]
Matt Cibula: Energetic and hooky; not too spectacular but definitely above average. Oh and the effing video is effing bananaz.
[6]
Tal Rosenberg: The song is too monotonous and repetitive until one sees the video, and then suddenly there’s poignancy where there were once just needles and pins. Carla Marie and Kardinal Offishall suddenly possess an urgency that’s palpable once it’s juxtaposed against the surprise of two geriatric women making out with each other.
[6]