Should really be an animated gif of Gotti refusing that water, cos he does that an awful lot in this video…
Al Shipley: Even though Yo Gotti’s been kicking around for a decade, his ascent as a mainstream radio presence is pretty recent, and seems like more of a byproduct of him having the right friends, like Wayne, than any particular hitmaking savvy. The first time I heard this song I thought the hook was saying “lemon lime” over and over, and now I know it doesn’t but it’s still annoying. Gotti’s gruff and bland here, and Wayne’s verse is 30% smugly chuckling at himself, 0% him saying anything funny.
Rodney J. Greene: This is one of those tracks that is only really saved by the fact that Lil Wayne is a joy to listen to, even when he doesn’t have squat to say. Hell, the frequently unimpressive Yo Gotti outraps him, but that doesn’t make him as entertaining.
John Seroff: “Women Lie” owes its title to a much pronounced Jay-Z aphorism, and the beat overlaps nicely with “On To the Next One”, but this sounds nicer than any of Jay’s recent Blueprint singles. The production is great, even if the rapping is not; I’m curious to hear more from Young and Cayson.
Michaelangelo Matos: The mimetic title hook comes across less like “A Milli” redux than “ella-ella” to my ear, but either way the hook holds up rather well, just like the track, which is triumphalist in a way I find appealing. Wait, there are words?
Martin Skidmore: If the title makes you think this will be some sort of evenhanded number, let me disabuse you of that notion. Lines like “I fucked her pussy good, make her cry if I tried” make sex into hate. I guess I tolerate misogyny in rap too easily most of the time, but now and then something, like the title here, makes me listen for the sexual politics, and then I get turned off. I never cared for Yo Gotti anyway – his hoarse voice doesn’t quite catch me, and his flow seems entirely dull, kind of weakly mechanical. The heavily processed vocal riff on this is also very unappealing.
Matt Cibula: At first I was annoyed by the chipmunk hook. Then I dealt with it, and even started to groove on the Zen repetition aspect of it all. Sadly, I couldn’t get over the utter vapidity of the rest of the song.
Frank Kogan: The blips and the funny-tongued hook are the whole song, and they’re fine. The rapping’s a wash, Gotti dull and Wayne even more wandering and off-hand than usual and pulling it off. But the hook’s the thing.
David Moore: Evocative title and hook here, a sleek chrome “A Milli” variation with what I’m hearing as espionage undertones (I see it as an old B-movie trailer: “…Women Lie! …Men Lie! But Who Can You TRUST?”). But the rappers both fall completely flat, ignoring a premise with tons of potential for invention to deliver some tired crap about how money doesn’t lie. But lying is more interesting! The motivations, the schemes, the heartbreak, the intrigue! Work with that! Lil’ Wayne has gotten more lyrical fodder out of a Funyun.