The Singles Jukebox

But HOW she does it the Jukebox can’t agree.

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[5.67]

Katherine St Asaph: More than anyone I can think of, Azealia Banks refuses to let her music conform to the narrative that’s been GIF-fabricated for her, which is how she’s released a long, almost interrupted string of excellent tracks yet been near-completely written off. (There’s got to be a formal fallacy name for the way stan wars, their anointments of flops and queens, make people and critics just not hear the music, good or not.) “Can’t Do It Like Me” is another of those, industrial vogue that Banks navigates as her own block. It never quite becomes a banger, but inconveniently for the memes, even mediocre Azealia Banks is pretty damn good.
[7]

Alfred Soto: I don’t know what she’s on about, but before I silently acknowledge the zinger about her anatomy I want to praise the Rice Krispies snap and crackle of the percussive loop. Too much mumbling for a single, enough pop for an album track. Ignore what Tony Curtis in Sweet Smell of Success called her bilious private life and Twitter presence.
[7]

Lauren Gilbert: When do we declare Azealia Banks a one-hit wonder?
[2]

Brad Shoup: It’s the AB formula: immaculate vocal miking for one of the best voices in the business; dancey cartoon chaos against which Banks looks that much more in control; vowel sounds swirled like a wine tasting. I feel like a broken record at this point. I can only imagine how she feels.
[7]

Cassy Gress: I’m having trouble pinning it down, but there’s a sloppiness that wasn’t so much in evidence on hotter songs like “212” or “Idle Delilah.” It mostly sounds like an afterthought; Azealia is tripping over herself a bit, and her rhymes are less complex, while the track bloops forgettably.
[4]

Natasha Genet Avery: “Can’t Do It Like Me” masterfully blends rap and house to assemble the quintessential Azealia Banks song: driving percussion to the exclusion of just about anything else, killer flow, lyrics dripping in sex and braggadocio. Yet “Can’t Do It Like Me” feels incomplete: aggressive bell interlude aside, the track fails to sustain momentum and fizzles in its third minute.
[7]