The Singles Jukebox

Best lyric video ever?

[Video][Website]
[6.38]

Andy Hutchins: Dro can really, really rap, and hates consonants even more than T.I. at his best; even though the the assortment of striking and skeletal elements here would fit Trinidad James (fittingly here as a name-check) or Travis Porter a lot better than it does Dro, who is better when rolling out bars over something smaller, and the hook sounds more wounded than anything, it’s a pleasure to hear him get a hit-like thing. And we got “I pull up on the scene in a green Saleen,” too.
[6]

Anthony Easton: The electro glitter like the twinkling of bells, and how the vocals are abstracted almost beyond the point where the lyrics are decipherable, and a few other treats — where he goes up into a cartoonish falsetto, how some of the drums snap, and whatever is happening in the last few seconds — make it genuinely enjoyable.
[8]

Alfred Soto: So cartoonish-stupid that I’m tempted to award it a 10 on brevity alone, I’ll instead praise Dru’s cartoonish growl, the cartoonish call and response vocals straight out of Timbaland’s 1997 playbook, the cartoonish simplicity of the chimes.
[7]

Brad Shoup: He gets dangeously close to Hammer territory on that bridge. Still, spacing out the declarations gives every line a casual finality. (Plus it’s an effective rhyme-saving measure.) The spacing extends to FKi’s production: bells wait a half-beat to arrive, snares build to a fifty-foot drop. My favorite part, though, is the vowel alchemy; Dro can turn an ‘a’ into an ‘i’ like magic. #free2chainz
[7]

Crystal Leww: This lurching beat and tempo of delivery sounds a lot like the drill music that’s been coming out of Chicago in the last couple of years. But those tracks were full of youthful energy and not all the punchlines necessarily relied on straight up misogyny. Does Young Dro really think he can pull off “Everything y’all did, it been done” when Katie Got Bandz did the whole “We ridin’ around and we gettin’ it” thing a year ago? I got really excited to hear 2 Chainz drop a couple of ad-libs in the background, but alas, no feature is to be found.
[4]

Jonathan Bogart: There’s a stylishness to his swagger that I don’t think is just mental bleed-over from the lyric video, but the empty spaces between the beats are maybe too empty. He sure isn’t filling them up with anything new.
[5]

Alex Ostroff: Leaving this much empty space between words over a beat that’s already pretty minimalist turns out to be a masterstroke; if nothing else, Dro has an intuitive sense of how to fit himself in here. The beat itself is magnificent, constantly changing ever so slightly without ever pulling the rug out from under you, thereby remaining persistently hypnotic. But I’m not sure if Dro’s the best person for this beat, and hearing 2 Chainz ad-lib elusively in the background feels like a parallel dimension taunting me about how great this could have been.
[6]

Jonathan Bradley: The beat is a woozy stagger. Dro mean mugs elegantly, dragging himself back into the ATL by namedropping the company he’d like to keep. It’s not a swindle; he sounds better than ever.
[8]