Rebecca A. Gowns: Now that’s what I call firme.
Patrick St. Michel: Droop-E’s is E-40’s son, though from his verse here it’s tough to gauge how much he’s like his pops. What he does have is the ability to blur in with the zoned-out production, which is a fantastic bit of slow-motion work anchored by a nice vocal hook courtesy of the underappreciated Nite Jewel. J-Stalin, not so hot.
Daniel Montesinos-Donaghy: Droop-E’s beat, like most of his esoteric-leaning work for E-40, is a crisp wonder — sloping, finding wriggle room in between sub-bass hits, gauzed enough for Ramona Gonzalez, gully enough for J-Stalin to graphically mangle the word “Malaysia”, cool enough for Droop-E to try on Curren$y’s weed-stroked flow and wear it right. This is what slow-motion rider music sounds like in 2013. This is what slow-motion rider music sounds like in 2018.
Anthony Easton: The minute and a half between 2:48 and the end of the song, with its combo analog (her voice, what might be a marimba) and electronic (abstracted DJ scratches, subtle disco lazers), are feathered and layered with such sophistication that they seem tranquil — so tranquil that I want a 40 minute chill down mix made from them.
Alfred Soto: Marimba, throbbing sequencers, and organs comprise a rich rhythmic underpinning, with Nite Jewel adding midnight-hour vocalizing that flirts with the colorless. The raps, however, are colorless. A damn shame.
Brad Shoup: Downcast and anonymous. I could swim through that production all night, and as I’m in the middle of a screwed ‘n’ chopped kick, that could be a possibility.