Now her head’s stopped spinning…
Chuck Eddy: Fun goofy rapping about bad dental-care habits that will be even funner to like if haters hate on it.
Alex Macpherson: Defending trashy paeans to getting wasted used to be so much fun, but it seems you can’t even get decent quality famewhores in 2009. It feels too obvious to call Ke$ha the destitute man’s Lady Gaga, even if it is accurate; you suspect she’d embrace that label, anyway. No: to fully appreciate how terrible this woman is, you need to know that she makes Uffie — remember her? Ed Banger’s resident “rapper” for about two minutes in 2006? — appear talented. Ke$ha lurches from dated argot to unconvincing posing, displaying a near-total lack of wit, rhythm and attitude along the way. Did Paris Hilton and Tila Tequila suffer all those hangovers in vain?
Renato Pagnani: Like slogging through shit to get to slog through piss.
Keane Tzong: This slots in almost perfectly next to “Party in the U.S.A.” in my playlists. Yes, that is praise.
Anthony Easton: Delicious as a roofie in a peanut butter chocolate milkshake.
Tal Rosenberg: The drums push the voice into zeros and ones, the keyboards over the edge of linearity, the party to the end. The “s” in her name is a dollar sign, and she brushes her teeth with Jack Daniel’s. That could be a 9, and the clock rockin’ is like Flava Flav and Bill Haley in one. But there’s not enough of the (great) verses, and there’s too much of the chorus, which makes the song a little less dynamite than it could be.
Martin Kavka: A recent commenter to the video wrote “Like Taylor Swift…but on drugs.” That’s not just about the physical resemblance. They’re both hard workers, and Ke$ha can even be a good lyricist — she co-wrote The Veronicas’ “This Love” — although she’s not on Swift’s level. Yet in desperation, Ke$ha’s gone for the lowest common denominator here, like a bad Lindsay Lohan drag queen. t’s still fun, thanks to Lukasz Gottwald’s production (better than “Love Me or Hate Me,” worse than “About You Now”). But I do hope when this single goes to #1, Ke$ha takes it as permission to stop pandering.
Matt Cibula: About as believable as a love letter from Jon Gosselin (airhead alkie girls still get it up for Mick Jagger?), and I am pissed that the infinitely awesomer Brooke Valentine seems to have disappeared from the face of the Earth. But I vaguely like the mechanical funk that seems to have been inspired by the eponymous L. Frank Baum character, always my favorite.
Ian Mathers: I think I might actually like this production/melody with another singer, but something about Ke$ha’s vocals – not just her word choice, but the actual tone of her voice (and no, I’m not just talking about the annoying, pro forma AutoTuning) just enrages me. It’s a voice that reeks of unearned privilege, of a painfully unreflective life focused on only the most transient and pathetic things, of someone who thinks her magpie-like appropriation of bits of cultural vocabulary is clever; basically, of someone who dropped out of school at seventeen to pursue the most shallow version of shame possible. She was okay on “Right Round,” and I almost wish it was clearer then how excruciatingly annoying she is.
Frank Kogan: Happy bratty party girl with a predictably sassy attitude and a good but not great Luke tune, her fun mannerisms are more forced and overbearing and vastly less effective than those of antecedents like Salt-N-Pepa and L’Trimm, though my letting her into the same sentence as them means I’m crossing my fingers in hope for her future.