We don’t want it.
[Video][Website]
[4.75]
Megan Harrington: The focus on Twista’s work has always been the incredibly technical speed of his delivery. This is a triumph, of course, but it undermines how emotional he often is. “It’s Yours” is an unabashed love song with Twista and Tia London as two opposites that intertwine in a tale of sweet romance. Reducing Twista to a robotic statistic is dehumanizing, especially when his flow is timed to a fluttering heartbeat.
[8]
John Seroff: Kanye knew a decade ago that putting Twista on “Slow Jamz” required a counterpoint with the velvet smoothness of Luther Vandross to keep the song balanced. Neither the murmurs of Tia London nor The Legendary Traxster’s musicbox-‘n’-bass melody offer enough resistance for the grandfather of Guinness Record rap to maintain that sort of equilibrium. Twista runs so far ahead of the track that by the time the listener puzzles out o_0 lyrics of the “whenever I’m up in your hall/I feel the ripples up on the wall” variety, we’re too spun to decide if “It’s Yours” is meant to be Songz seductive or Fab punchline-funny. I’m regretfully voting neither.
[4]
Alfred Soto: The R&B production — tinkling keyboards and organs and the popping production from latter-day R. Kelly – is the star, Twista’s motormouth second billed lead, and Tia London giving the kind of performance so insistent on projecting vulnerability that of course the Academy of Motion Picture Farts and Biases can’t resist nominating her. And, boy, is she dopey. Who else could put up with Chester Chatterbox praising a body like a Maserati?
[3]
Dan MacRae: Just so you’re on the trolley, Twista prefers women with a body like a Bugatti and not like a Buick. Be sure to keep that in mind if you see the least important “Slow Jamz” guy having sex with a high performance automobile in your neighbourhood. I’m actually quite fond of the woozy Tia London chunklets of “It’s Yours”, for what it’s worth.
[5]
Micha Cavaseno: Twista is going to be making this same song and doing it long after we’re all dead. I don’t know how he does it, I don’t really know if it’s doing what he wants it to, and I can’t promise you it’ll ever feel as fresh as it did a decade or so ago. But it’s gonna happen! Maybe next time, it’ll have a much better singer on the hook b/c YEESH.
[2]
Brad Shoup: This is Tia London’s song, a tinkling contraption stuffed with the most labor-intensive placeholder verses conceivable. I’d be happy with Twista minus Twista here, especially with the way London makes the hook sound like “your status/your status/your status,” an epic bummer of a conciliatory gesture. The organ coats the walls, the keyboard lilts like a stuck convenience-store chime.
[8]
Scott Mildenhall: The Universe’ Fastest Rapper… Ever! and a singer slower than the slowest of his jamz, competing in a juxtapository intelligibility contest with the only winners surely sufferers of chronic insomnia. Twista, with little revelatory besides the lost Dr. Seuss title “kush in her bush,” isn’t even going that fast, but anything would seem quick next to such syllabic drizzle. The chorus serves as tone setter, and that tone is insipid.
[4]
Anthony Easton: Quickness does not suggest one is listening to anything worthwhile — the fairy light twinkling, the snapping percussion, and even Tia London’s pillow softness is Disney Princess as seduction routine, so soft that it absorbs any of the aggro ludicrousness of Twista’s tired player game. That it reinforces a shopworn gender binary makes the split even more difficult to enjoy. 8 for her, 2 for him, split the middle.
[4]