The Singles Jukebox

One, don’t pick up the phone…

[Video]
[6.75]

Alfred Soto: The gender-ambivalent vocal and prominent bass called to mind Frankie Knuckles and Jamie Principle, but “Stanley’s Get Down” is no pastiche: this Berlin-based Canadian producer’s track ebbs like it’s keeping an eye on the attention span of Instagrammers and flows as if it conceived groove as sustained pleasure. Its weakness: less than six minutes.
[9]

Will Adams: While the idea of a stranger calling me out in a public space for being a wallflower is a lived nightmare scenario for me (sometimes the reason people bury themselves in their phones is not snobbishness but intense anxiety and fear of eye contact), Jayda G delivers it with enough warmth to make it sound inclusive and inviting. Even better that tucked between the sparse disco is enough hookiness — HEY YOU I SEE YOU — to help me unstick from the wall.
[6]

Julian Axelrod: So when Jayda G yells at strangers on the dance floor it’s an infectious postmodern banger, but when I do it I’m “ruining this bachelorette party” and “forcibly removed”???
[7]

Jacob Sujin Kuppermann: Called Out! At The Disco
[6]

Ryo Miyauchi: I’m always interested in house tracks like this that establish the dance floor as a place with its own set of rules and standards. Jayda G reminds me of a millennial code — no app scrolling on the disco — like an addendum to the classic house tracks maintaining the dance-floor order before it. But she’s far less snobbish about the dos and don’ts; she’s just looking out for you to have a good time.
[7]

Tim de Reuse: A message that’s too sincerely goofy to disagree with, a single clunky percussion loop, and feathery vocals repeating far in the distance. The scant amount of material definitely works, and I appreciate the decision to let good things just sit there and be good without overcomplicating anything, but, man, wouldn’t it have been fun to just throw a rave piano in there or something?
[6]

Will Rivitz: Despite its exhortations, I can’t imagine myself properly getting down to this song unless it happens to be thrown down many hours into a set. It’s a dance track more functional than transcendental, only vital when surrounded by the proper context, never by itself. That’s not necessarily a bad thing.
[6]

Iris Xie: This song is begging for an incredibly stylized, posed, but funky dance set piece. The combination of the drums, the “get up get up” coos, and the guitar, mixed together in that silky miasma, calls folks to submerge into a very relaxed cool. One poses and stunts in deference to Jayda G’s proclamations, and it’s the wisest decision you could possibly make for its runtime.
[7]