YG – Toot It and Boot It
‘ss on you, ‘ss on you…
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[6.00]
Chuck Eddy: Almost definitely the catchiest babytalked song about farting I’ve ever heard. Now say excuse me.
[7]
Martin Skidmore: As laid-back a hip hop number as I’ve heard in a while, drawled lyrics over a lazily fingersnapping backing, sounding totally stoned and fuzzily happy. Thing is, it’s about fucking a woman then throwing her out, awareness of which rather kills the relaxed, contented feeling the sound creates, for me.
[3]
Rodney J. Greene: Two things make this: the dusty turntable snippet you don’t really otherwise hear on the radio in all-electro-everything 2010, and the everyone-join-in “whoa-oh-oh-oh” chants that, even though put to better context here, might as well come from a damned Arrested Development record. Shame about the rapping, which is at best unmemorable, charmless at worst.
[7]
Anthony Easton: A pile-up of clichéd misogyny and unsexy sexiness.
[0]
Mark Sinker: Boykid sexual swagger, old as human time. He’s very powerfully self-pleased that no one he uses lays hold of him — and the countersong, well, its felt of clicks and crackle mean the child (or someone near him) has ears, which means he can and will be held and hurt in return. Dicksquirt attitude as a downpayment on talent: he didn’t invent this either.
[7]
John Seroff: A triple-A order of extra spicy jerk pork, dumb as an industrial-strength box of rocks and five times more fun than the new New Boyz. It’s all about that bassline and that piano; the hook and the chorus are downright unstoppable. One caveat: I much prefer the year-and-a-half old original version of this cut. It’s got more bass and less YG and would bump this score up to a 9.5.
[8]
Jordan Sargent: “Toot It and Boot It” is time capsule rap. It doesn’t so much feel like an instant hit as much as it feels like a mid-90s classic that was buried in the backyard of a house in Compton alongside a few bottles of OE (just in case). But it feels vintage, not old; amongst mountains of tinny, bleepy beats (from both the South and the West) its strolling bounce is the equivalent of someone handing you an ice cold beer. And like all great party rap, its inclusiveness is magnetic, and that’s despite some rather brain dead rapping. But the song packs a hook so good that it can withstand even the most amateur of regular guy raps— in fact, it might even encourage them.
[10]
For the record, Erica Jong would argue that there’s nothing inherently misogynistic or masculine about a one night stand. The line that puts this over the top is “and I made her feel stupid” but I still can’t really find this overly objectionable when compared to the status quo. Plus: the hook!
Third most controversial track o’ the year, this.
Erica Jong would argue that there’s nothing inherently misogynistic or masculine about a one night stand
Neither would Liz Phair, I’m guessing, given that tooting it and booting it apparently equals fucking and running (unless it means passing gas — I’m still not entirely convinced, myself.)
“As would Liz Phair,” I meant. (Though are either Jong or Phair considered all-knowing sages of feminism? Beats me.)
I knew I should have reviewed this one; an [8] or a [9], I’d say. My blurb would have been a condensed version of this, fwiw: http://screwrocknroll.tumblr.com/post/897559358/yg-toot-it-and-boot-it-2010-english-speakers