Wednesday, September 11th, 2019

Wiley ft. Tory Lanez, Kranium & Dappy – My One

They’re low-balling the score a bit…


Ian Mathers: Not quite as great as the very fun “Boasty” — if anything, it could use more Wiley — but just compare guests and that’s not totally surprising. It does, however, share a surprisingly openhearted, fun feeling, given that at one point Wiley’s main attribute seemed to be crabbiness. Whatever he’s doing now instead, it’s working.

Scott Mildenhall: You only have to ask Dappy, the man he did down in claiming he “went number one with ‘Number 1′” on the otherwise unimpeachable “Take That,” to know that Wiley has form in claiming other people’s one as his. So it is with “My One”, not so much his one as his guests’ — particularly Claudia Valentina, whose honourable effort in keeping it afloat has been Kelli-Leighed, a double indignity after sounding like it had already been Anne-Maried. Sure, Wiley invented music, and his inspiration is all over the place — somewhere around “ money” in this case — but he’s still a passenger here on a slow-moving train, from “Boasty” to coasty in the space of one single.

Katherine St Asaph: If “Boasty” sounded like very little on the charts, “My One” sounds like almost everything on them. Specifically, it sounds like Drake — someone often synonymous with “almost everything on the charts” — but the Drake of “One Dance,” one of his more pleasant incarnations.

Joshua Minsoo Kim: Flirty and exuberant, “My One” succeeds because of the impressive arrangement of its four vocalists. They’re not relegated to a single verse each; instead they constantly intermingle, capturing the bustle and fullness of a thriving summer party.

Iain Mew: Wiley and the guys trade lines and part-lines in an idol group manner that makes it a surprise there isn’t a colour-coded lyrics page out there. The dynamic changes only work, even to the small extent they they do, thanks to the sung hook holding it together and away from total incoherence, which makes it worse that the singer goes uncredited.

Edward Okulicz: Totally incoherent, but still a bop — it’s fun and summery and infectious, but honestly, there’s too many people on it. Possibly the inclusion of three (named) guests is to pay back a debt, or to give the video something other than Wiley sticking a single finger up to indicate “one,” but it dilutes the charm.

Alfred Soto: The percussion rattles, the vocals are in sync, and no one bothers him- or herself unduly.

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