The Singles Jukebox

And the Jukebox won…

[Video][Website]
[4.50]

Crystal Leww: Yo Gotti has solidified himself as the rapper who knows how to ride a beat in the most basic way ever. He’s solidly adequate, but I couldn’t imagine ever getting excited by anything he’s doing either. On the other hand, E-40’s got a voice that can’t help but be elastic. You can hear it on “Law,” but he’s defaulted his flow and style to match Gotti’s energy. It’s struggling to bend and twist its way out of this format, but it remains beholden to this snooze of a track.
[4]

Taylor Alatorre: So… when’s E-40 gonna show up? Is he ever gonna show up? Is this gonna be like that Travis Barker joint on The Documentary 2.5 where he uses his two meager bars to shout out his cocktail brand and go “euugh,” and still makes off with the lead featuring credit? Siri, how do you file a false advertising… oh, there he is. Hmm. Okay. Well, he did what he could. 
[2]

Thomas Inskeep: The answer to “how many times can you say ‘law’ in a hip-hop record that hits every single cliche?” is “immeasurable,” apparently.
[2]

Brad Shoup: Imagine if he had come up with 48 laws. He’d have a damn classic, something that wouldn’t have to rely on windchimes to stand out. E-40 treats the theme seriously enough, but his host never really threw down the gauntlet.
[4]

Anthony Easton: This glistens, bells and record scratches, over a formally innovative, heavily reductionist bass line, and something that could be finger snaps–it sounds surprisingly luxe for a song that is (among things) about economic survival. 
[8]

Katie Gill: The style of “words words words…the law” hurts more than it helps, especially since Yo Gotti delivers everything with the same monotonous intonation. But E-40 not only sticks to the structure but plays with it. As soon as he started rapping, he got my attention because man, does he have good flow.
[4]

Ryo Miyauchi: For all the debauchery of Yo Gotti’s verse, and the humor behind the video, the chorus lands a bit too light to completely seal the deal. It’s also almost unfair for E-40 to invent 15 other possible approaches one can take with the sparse, muffled beat.
[5]

David Moore: The MeKanicks’ impression of DJ Mustard scoring an Omen reboot is irresistible, even if Yo Gotti is predictably negligible here, and E-40 surprisingly so. But it’s awful fun to repeat the word “law” so many times it loses all meaning.
[7]