The Singles Jukebox

As Balzac said, there goes another top ten hit…

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[4.71]

Edward Okulicz: Fetty, I love your stove but I don’t like this second-rate “Maneuvering.”
[4]

Micha Cavaseno: Fetty Wap’s baritone bellowing sounds like crooning on Venus #NoDavidToop. Over Yung Lan’s minimal to the point of childish beat, the center of the storm is definitely Fetty’s coyote yowls of reckless abandon. He sings with as much glee about killing and humiliating anyone who disrespects him as he does about the girl he’s chasing after. Compared to this overload of torrid emotions, is none other than the ever growing neckbeard named Drakk. His verse is his usual ‘thirst’, which sounds like the typical muted emotions of a sociopath known to send armed men to harass strippers who hurt his fragile ego. For all the terrifying lunatic noise Fetty’s making, he doesn’t sound like the wolf in the shadows. We really should’ve kept Monty.
[6]

Alfred Soto: With “Trap Queen” the song of the early summer and this one joining it in the top then, Fetty’s graduated to wooing Drake for a special guest appearance. On many of the laziest rhymes he lavishes with wobbly melisma and addled commitment. More and more he looks like a PG-rated ODB, occupying a solar system that resembles ours in theory ruled by trap queens.
[6]

Thomas Inskeep: Is this a joke? Fetty Wap’s talk-singing makes Biz Markie sound like, I dunno, Mariah Carey. And at least Biz could rap. Drake stops by and tries to show Fetty how to do it — I mean, he could practically put a patent on the talk-singing (as opposed to rapping) thing — but the lesson doesn’t stick.
[1]

Brad Shoup: I’m shocked Meagan Garvey left enough of Drizzy to speak, but here he is, pitching all across my soundcard. Fetty continues to catch those elemental melodies, those shoulder-shrugging snatches: there’s something eldritch in the pause between “the last single he put out” and “didn’t even make it out”. His feature is still Fucking Drake, as literally as I can intend that.
[7]

Anthony Easton: A toy piano and some electronics that make the album seem at least appropriate for children; it’s like the slowed down version of classic pop songs that read ominous, but rarely are. That it lasts a few seconds and the rest slides into a kind of cajoling before Drake steals the whole thing makes me a bit disappointed. 
[4]

Will Adams: Part of what made “Trap Queen” so unstoppable was its percolating production. On “My Way,” Fetty Wap owns the melodies just as well, but the tepid beat mires him. Oh, and there’s Drake.
[5]