The Singles Jukebox

Red Velvet for life…

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[5.67]

Ryo Miyauchi: Perfect Velvet moved Red Velvet back to a center from the goofy, almost self-parodying impulses of “Rookie.” But “Bad Boy” now swings the group in the other direction, where they wear too much of a poker face to really connect. The role reversal within the song’s narrative is well intended, though they didn’t have to commit to a full-blown song to prove they can play the game too. Professionalism has been an implied normal for them. It would’ve come across regardless of what they tried.
[5]

Alex Clifton: I feel like “Bad Boy” is the most “conventional” single Red Velvet’s ever released — it’s not got the haunting atmospheric whistle of “Peek-a-Boo” or the hyper-funk of “Rookie.” Instead, it’s a slow jam ripped from the ’90s, and like everything Red Velvet does, it’s executed well. The vocal performances are great, the melody is sticky, and it’s one of the few songs I can think of that actually feels sexy rather than aiming for it and missing. Red Velvet has remained absurdly consistent over the past few years, and it’s fun to hear them try out something more mature while avoiding mediocrity.
[8]

Micha Cavaseno: It says a lot about how good an album Perfect Velvet was that most of Red Velvet’s audience ate up as trite a sub-KARD single as “Peek-A-Boo.” But it must be an exceptionally impactful album because now Red Velvet’s rewarded us with an utterly generic piece of late ’00s R&B, the kind of thing that would fluff up long forgotten Ashanti or Christina Milan comeback attempts, and we’re treating it as if its a good single.
[2]

Stephen Eisermann: I’ve struggled significantly more than most of my colleagues when it comes to connecting with K-pop, but listening to this track was way different — I loved this and instantly vibed with it. The voices of the girls perfectly ride on the sultry, perfectly produced R&B beat and reading the lyrical translation was wonderful, as I love when a song’s music conveys themes without the lyrics. More of this, K-pop groups 
[8]

Alfred Soto: That subtle “way-o way-o” buried in the chorus is the tune’s most insidious hook, and it took a couple plays to find. “Bad Boy” could use more insidiousness compared to Red Velvet’s other singles, but it’ll do.
[6]

Edward Okulicz: Yeah, Bruno Mars should do a bunch more songs like “That’s What I Like.” Probably nobody else should though.
[5]