The Singles Jukebox

Poised to break out of the sixes…

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[6.56]

Crystal Leww: During the last year Tink lost a ton of momentum, which is odd because that was when she signed with Timbaland and was poised for massive success. It’s become apparent that Timbo has no idea what to do with an artist like her, a rapping/singing dual threat who sounds like no one else. He tried to box her in with his sound, having her flip everyone from Biggie to Aaliyah, and it worked out terribly because what made Tink great was that she sounded just like Tink. Even when everyone was shouting about drill in Chicago, Tink still sounded like the girl who represented her city without sinking into it. “Wet Dollars” has her working with London dance producer Tazer, and it finally sounds like forward movement. It’s still flat for Tink, but it bounces and pops and sounds different, which counts for more than it should.
[6]

Thomas Inskeep: Chopping Biggie up into a house track is a good idea. Having Tink spit on it is, too. Which means DJ Tazer had two fine ideas, and another is this booty-shaker of a club record, in which all of its elements mesh perfectly. 
[7]

Iain Mew: The light dance beat works great as backing for Tink, at ease and exuding fun and confidence. I don’t know if I’m supposed to be hearing “every day’s good when you’re making income” doubling up as “…making ’em come”, but it works in the context. The back half when Tazer strikes out alone doesn’t stand out at all, though.
[6]

David Sheffieck: The serviceable beat isn’t the best showcase for Tink’s nimble flow and clever lyrics, but she’s able to make the most of it. Tazer climaxes on the least interesting thing about the song — the beat — but with the levels pushed a bit further toward red and the right DJ to edit, this could kill in a club.
[7]

Scott Mildenhall: If “212” were only “106”, and “On the Regular” were just “Every So Often”, they could not only be instructions about which bus to catch and when it arrives, but also bywords for “Wet Dollars”. It lacks the dynamism of those songs, the “HELLO I’M HERE” feeling sealed by Shamir’s cartoonishness and Azealia’s steely conviction, but works nonetheless. Such showiness isn’t obligatory; a song doesn’t have to capture imagination to capture attention.
[7]

Micha Cavaseno: Apparently Azealia Banks should have worried about competition from THIS one rather than the Australian or the puff of smoke. Tink has come a long way from rapping the words “middle fingers in the air, like a bad Christian.” Let’s hope she keeps that up, huh?
[6]

Ramzi Awn: I’ve always wanted a bottle of Chanel all my own. “Wet Dollars” is a terrible name for anything, but luckily, the track delivers the sort of EDM that was probably big in Boystown in 1995. Definitely more Versace than Chanel, though.
[6]

Brad Shoup: Black Butter, huh? “Wet Dollars” clunks rather than bangs — wood instead of metal — and even if the effect is “212”, Tink’s cool, not dazzling. This isn’t her introduction. I guess it’s more of a reintroduction, though, which makes the club-ready, bars-free final third a little disappointing.
[7]

Nina Lea Oishi: The Tazer track itself isn’t particularly remarkable, but the chunky beats and multitude of synth claps are serviceable enough. More importantly, Tazer is a welcome break from the recent string of Timbaland-Tink collabs. The real star here is Tink, and it’s freeing to hear her flow over a new sound. And damn, that flow is tight — stuttering, floaty, melodic in the right places. Her presence on the track lends some street cred to the use of those much maligned Biggie vocals as well. Sure, the Tazer-only bits are nothing special. But Tink is electrifying.
[7]