So they’re basically the swag version of Danny Wilson. Gonna guess the number of people who get that reference will be in single figures…

[Video][Website]
[5.78]

Chuck Eddy: “Jerk”? “Dougie”? “Snap”? Apparently from Georgia, so more likely the latter? Or has snap been over for years? Anyway, this sounds real good, or would have back before I’d heard so many other hits that sound the same. As long as I ignored the words (your usual dumb strip club blabber when audible), anyway. Though the lines about the white girl’s lack of teeth and/or cheeks did make me smile. And maybe the uh, I dunno what you call it — sort of spaghetti western parts? — don’t sound the same.
[7]

Tal Rosenberg: Bring it back bring it back bring it back bring it back bring it back bring it back to snap, doo-wop, crunk hybrids with hypnotic voices hypnotically and laconically spouting moronic chronic non sequiturs. Shazammed: Twice. You don’t like it? You can act you can act you can act you can act you can act and then bring it back bring it back bring it back bring it back bring it back.
[9]

Al Shipley: Never cared much for these swag-drunk goofballs before, but the synth squiggle on the chorus alone ingratiating this song to me, and soon enough I grudgingly gave into the appeal of the whole package.
[7]

Michaelangelo Matos: Lightly diverting until you pay attention to the words, which aren’t good enough to put it over anywhere but the gentleman’s club.
[6]

Jer Fairall: Bumps and glides with such unrelenting precision that the Charlie Sheen-level skeeziness of the lyrics are, if not forgivable, then at least worthy of ignoring.
[6]

Martin Skidmore: The rapping is kind of Southern, but the beats are rather more jerk than crunk. I’m not sure the often drawled lyrics work terribly well with the bouncier production, but I still kind of like it.
[6]

Asher Steinberg: This just seems very un-energetic and clinical for what I suppose is intended to be a strip club anthem; it’s rather appropriate that the video’s treatment is this idea of manipulating models by remote control. The whistly sound on the hook is reminiscent of Lil Jon in his heyday, but it’s a lot more utilitarian and less playful than his stuff was. And the rapping’s really insular, like the members of the group are whispering to each other.
[3]

Alfred Soto: “I wanna see your big booty on my upper leg” goes the only incoherent order in four minutes’ worth of them. The simple beat is infectious, the voice a bug.
[4]

Jonathan Bogart: It shouldn’t be so much work to have so little fun.
[4]