We’re either behind the mixtape game or right on the airplay game.

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[4.33]

Crystal Leww: I was listening to the radio while moving into my new apartment and this caught my attention because of the line “ballin’ like the Mavericks”. It’s funny because 1) the Mavericks are from Dallas 2) they are so horrible now that they didn’t even make the playoffs last year. If you stopped paying attention to Chicago rap after the Chief Keef wave in 2012, you really messed up. There are still plenty of artists representing Chicago, oftentimes rappers produced by DJ Pharris or Young Chop, one of them being Spenzo.”Wife Er” is more boppin’ than drill. Spenzo is not aggressive but melodic, dragging on the last syllable into sing-songy eternity. This is contrasted against the coldness of “I could never wife er”. 
[7]

Anthony Easton: The spangly/crystalline coda at the very end of this song is charming and well enough done that it almost makes up for the rest. 
[3]

Daniel Montesinos-Donaghy: Despite the grossness of this song’s chorus (“women full of liiiiiiiiesss!”), I found myself dancing to it. I didn’t expect this to happen either, but the beat is one of Young Chop’s neatest creations yet. Every juddering drum pattern, every toybox melody, every peskily insistent synth line tugging in different directions from the song — it’s fantastic. But there’s a disconnect between the glory of music and the person performing over it, and in a way, between my morals and instincts. Both reacted in different ways to “Wife Er,” some positive, some negative. I wasn’t expecting to get all of it off a song by some misogynist doofus, but there’s guilty pleasures and then there’s plain old guilt.
[4]

Patrick St. Michel: Spenzo offers up serviceable rapping, albeit it works because of how he bounces along with the beat instead of what he’s saying (dude should check the Western Conference standings last year). This is all about Young Chop’s beat, which does what he’s proven to be so good at since the Drill scene started up — find a middle ground between harsh and delicate, between deep bass hits and twinkling notes. It’s great production work, but it’s also not anything special (he’s been mastering this since “I Don’t Like”), and Spenzo isn’t taking this to any other levels.
[5]

Alfred Soto: If Young Chop’s beat had boasted anything other than the usual canned fanfares, then Spenzo’s boring verses would have at least deserved a second listen. As it is, all I’ve got is a synth bell outro.
[3]

Brad Shoup: Euro dance and Auto Tune rap bombast. If I were the producer, I would’ve made so many exploding-hand gestures. And then Spenzo comes in with his gangbang fantasy bullshit and big-ups a Mavs franchise treading water? Maybe that’s why the fake cymbals are so loud. A huge missed opportunity.
[5]

Edward Okulicz: Take out the actual beat and you’ve got… I don’t know, the soundtrack to a flying sequence from an 80s fantasy film, or similar. The combination of the two is quite strange, but it’s interesting and it works. The way Spenzo stretches a few of the words out and up until they feel light and druggy fits the dreamy soundscape, and the harsher words fit the beat; from two mismatches come two matches. It’s clever, and clever enough that I can blot out the mildly sour taste I get from the lyrics, but not highly replayable.
[5]

Mallory O’Donnell: An innocuous-seeming track that rudely highlights the disparity between progressive urban beats and the kind of chicken-shit nonsense that’s still delivered on the tongue. The music is interesting at worst: a downtempo track with keyboard flourishes, rudimentary house builds and some rewarding textures. The vocal, meanwhile, is an energy-less “Bitches Aint Shit” rewrite in a day and age that should be well past that kind of talk. D for effort.
[3]

Jonathan Bogart: Mixtape track is mixtape track. Call me when you have a song.
[4]