The Singles Jukebox

Want you to love me like I’m a hot pie, and you’ve got the munchies…

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[6.00]

Cassy Gress: This is basically the extended musical cut of the skit at the beginning of “Heard It All Before”, but with everybody phoning it in from futons, baked as hell. Kali claims she’s trying to make a statement by putting the guy on the hook and teaching women about boundaries and living your best life, except, well.
[4]

Madeleine Lee: For such a pleasingly stoned-sounding song, it’s pretty ambitious: a high concept about “disposable/replaceable lovers…inspired by fake love, Edie Sedgwick, Nancy Sinatra and Calle 13,” played out in dialogue between his insistent excuses and her insistence that “I’m not a competition.” I suppose these are the kind of ideas that sound really deep when you’re blazed.
[6]

Juana Giaimo: It’s quite amazing how in only one song, Kali Uchis is able to build up a character: an elegant and busy lady who won’t have time for you unless you treat her well. You might consider her demanding, but you’re at her feet begging for one more chance and telling her all kinds of excuses — and you know that the delivery’s coherent, but talk is cheap.
[7]

Leonel Manzanares de la Rosa: Kali Uchis’ retro-soul vocals find a wonderful match in Steve Lacy’s smooth tone, but it’s Kaytranada’s kind-of-futuristic beat what steals the show. The result is a sultry Kelis-via-Erykah-sounding number, but one where Staples’ verse feels completely unwelcome. 
[7]

Iain Mew: The synths are lightly bubbled across the song, but have an acid quality which reminds me specifically of Rainbow Chan’s “Fruit” — the understated conflict of the lyrics seeps through even as Kali Uchis and Steve Lacy try to put a friendly and carefree spin on it, respectively.
[7]

Katherine St Asaph: Remarkable how, on a track ostensibly about confidence or at least some courtship contortion that passes as such, nobody on the track sounds confident. Maybe the producer does. The flat singing definitely doesn’t.
[4]

Brad Shoup: By turning a beggar’s chorus into a loverman’s, Lacy ends up the MVP. Kaytranada focuses on Reading Rainbow sequencing; the bass ends up in the melodic midrange. If you squint it’s a hazy springtime love song.
[6]

Megan Harrington: The baby pink synths and breathy carnation whispers are a memo to forever, but not the true love sort, more like unbaptized crib death. There is little romance in being the “Only Girl,” and Kali Uchis sells the unappeal of belonging. 
[6]

Will Adams: The kind of late-night plea that only makes sense when heard at that same time. Any other time sounds desperate, icky, and too forward. But in the haze of liquor and being awake for eighteen hours, one might say anything they feel, whether they think it will amount to anything. Just saying it is enough.
[7]