The Singles Jukebox

That might be too strong a word for this.

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[4.83]

Cédric Le Merrer: This sounds like The Lonely Island without the jokes (not sure that’s much of a loss).
[4]

Micha Cavaseno: It’s the Big Tymers and half the Hot Boyz reunited. In a moment of inspired direction, Mannie doesn’t want this to be too smug by expecting a lavish response. Instead, he moves the song into a series of sliding 8-bar performances from himself, Wayne (who apparently is in some form of career reinvention either for creative or legal reasons, it’s Cash Money, who knows) and Juvie. As per was the case in the 90s, Juvie is about the best, with Mannie’s bluster and Wayne’s occasional moments of comfort providing perfect support, and Baby’s cheerleading feeling quite textural. Its not a massive banger, nor an immediate return to form; there’s a lot of arthritis and hesitance here, and we could certainly use some Turk and B.G. to come soon. But frankly there is promise that perhaps the standard bearers who put Cash Money on the map might find themselves reinvigorated by returning to the time where they felt like they had the most fun.
[6]

Alfred Soto: A pleasant simulation of classic Cash Money, complete with doorbells and synth whistles. Tempted by a big pile of guap (and not the money he says Birdman owes him) Weezy gives one of his more committed recent performances. Juvenile’s hook is dumb and effective. Mannie Fresh knows what he’s doing.
[7]

Thomas Inskeep: Easy to hate, impossible to love: everything you’ve ever disliked about the Hot Boys in one convenient single.
[2]

Brad Shoup: That is one classy synthbell melody. It zags when you think it’ll zig. No one in this three-man weave is operating at full capacity — although Mannie sounds particularly vintage — but maybe the guys are feeling each other out. Pretty poignant hearing Juvie drop the hands at the end; I guess we’ll know it’s all love when Birdman works up a proper sendoff. 
[6]

Will Adams: A strong word for a weak song.
[4]