The Singles Jukebox

I can’t be the only one who thought of Jive Jones, right? Right?!

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[3.00]

Iain Mew: There’s something a bit odd about outsourcing your chorus of self-reliance, especially next to a verse about wanting space. Perhaps it’s meant to represent the split between the part of G-Eazy that wants to tell people to fuck off and the part that is successfully getting through the pain thanks to music. When he goes on to talk about how he can cope by swimming in money, though, there’s no interesting conflict any more, just a disconnect between a not very distinctive chorus and some not very compelling rapping.
[3]

Leonel Manzanares de la Rosa: The cold, slow beat and the distorted riff in the intro are good, the triplets in the verses are well executed, and Rexha on hook duty offers a nice contrast with the general atmosphere of the track. With those elements considered, this should be a better song, but it just lacks bite — the lyrics don’t offer much, either — and there’s a point where the whole thing becomes a little annoying. 
[5]

Madeleine Lee: Not sure anyone wondered what My Beautiful Dark Twisted Fantasy sounds like when you vacuum out the personality (save for Bebe Rexha, who does fine), but here we are. It’s not bad, just inane if you have no investment in G-Eazy’s come up.
[4]

Micha Cavaseno: How marvelous a testimony to being a self-deluded prick.
[1]

Thomas Inskeep: Being semi-famous is so hard, you guys. This is the one where G-Eazy tries to sound like Drake, but just sounds like some lame-ass on YouTube trying to sound like Drake.
[1]

Brad Shoup: Good ol’ Rexha, bopping around like she’s backing Kid Creole instead of my new least favorite struggle rapper. She’s handed an awful text, but she does her best to make it dance, and the languid vocalization during his verses makes things almost… sophisticated.
[5]

Will Adams: The producers, one of them being Rexha, clearly preferred her portions of the song. She’s given the most full-bodied, engaging arrangement on the chorus, her airy vocalizations swirl like clouds over the verses, and she even gets a scat solo toward the end. Meanwhile, G-Eazy is left to sink, a task that he gladly expedites.
[4]

Katherine St Asaph: I’ll give them this: between Rexha’s forced and loud cheer (her original demo would have to be ironic… right?) and G-Eazy’s everything, I can’t imagine a song that’d drive someone further away.
[1]