Thursday, April 19th, 2018

Flo Rida – Sweet Sensation

Flo Rida on time! Ri-ri-rida on time!!!


[Video]
[4.14]

Edward Okulicz: “Love Sensation” and its various mutations over the years have such a strong foundation that they almost by design have to be good. The original’s a prime disco screamer, Marky Mark’s take is hilarious, and Black Box’s is arguably the peak of Western civilisation. Given that the verses of Flo Rida’s completely superfluous entry are a pretty sprightly, harmless club bop, I’d really have preferred it if the snippets of “Love Sensation” had been sped and pitched up rather than inattentively Daft Punk-ized. Flo Rida should be silly and fun, and that would have helped a lot.
[5]

Will Adams: I really really really hope that a) radio pop’s recent synthfunk trend leads us back into complextro being a thing, and b) Flo Rida is the one to do it.
[6]

Alfred Soto: Like Mark Wahlberg, née Marky Mark, Flo loves Loleatta Holloway (who wouldn’t?), and unlike many lazy interpolations this one might have worked with less “Love Sensation.”
[5]

Katherine St Asaph: Radio says speed it up, Flo Rida… slows “Love Sensation” back to its pre-Marky Mark tempo. That’s kind of cool, though also grounds for untold pop hopefuls to send programmers Musgraves-esque “perceived tempo” complaints. It’s also kind of cool — if not resultant in good songs — that a decade on, Flo Rida singles are not only still a thing, but still the same kind of thing. I look forward to his 2060 sample of the fire VR-step smash by Tiffany Trump Jr. and Logan Paul’s grandson Slayer.
[4]

Julian Axelrod: I’m no Marky Mark purist, but there’s something perverse about trying to make a dance banger by slowing down “Good Vibrations.” That said, this is so silly and clunky it’s impossible to hate.
[5]

Nortey Dowuona: Thin, flat synths scream out over the beginning then scatter over the flattening bass and awkward drums as Flo-Rida drifts like a forgotten piece of paper over it.
[2]

Andy Hutchins: Presumably, Loleatta Holloway and/or the estate of Dan Hartman get some small share of this, which is nice. It will probably be a share of a small sum, unless I’m misreading the 2018 market for a song trying to trade on early ’90s nostalgia by, uh, completely misunderstanding house music, slowing the BPM down, and reworking an actual chorus into a hook and bridge that sound like a bad Gorillaz song vomited on itself.
[2]

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