Yes! …is the band this song samples.

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[6.20]

Edward Okulicz: I am so, so pleased that someone thought to flip over their single of “Owner of a Lonely Heart” so that a Yes deep cut could be the foundation of something this aggressively, stupidly triumphant. Prog births action movie fanfare births shouting and feeling (looking and sounding too) about ten metres tall. I wish I could drive, because I would drive around at the speed limit blasting this and it would make me feel like I was doing five times that.
[8]

Thomas Inskeep: A-Trak and Just Blaze loop an awesome sample of the opening of Yes’s “Our Song” (from 1983’s Trevor Horn-produced 90125, so maybe he should get a coproduction credit), while Cam’ron, Juelz Santana (reunited and it feels incredible) and, in a supporting role, Dame Dash, spit grease all over the track. This is a street party, this is a rumble, this is what the best Ruff Ryders records used to sound like (frankly, it’s better than most of the Dipset catalog), this is the sound of bottles poppin’, this is a neighborhood threat. This is the best single I’ve heard yet in 2014. 
[10]

Josh Langhoff: To make sense of this ridiculous beat, imagine The Hobbit movie included a bejeweled training montage set inside the Lonely Mountain. It’s a fine showcase for flow changer upper Cam’ron, but as a fan of chewy syncopation, I’m more excited to hear Juelz. I bet Dame Dash makes very uncomfortable wedding toasts.
[6]

Alfred Soto: Arranged to sound like Robert Duvall in a chopper blowing Vietcong to Swiss cheese, this collaboration doesn’t stop, and Dame Dash really does evoke a commander surveying total destruction. Juelz comes off like Dennis Hopper documenting destruction he doesn’t understand and wasn’t part of it.
[5]

Patrick St. Michel: The beat’s pure player-intro swagger, a thundering creation that deserves pyros all around it for the complete effect. But it seems wasted here, because Cam’ron’s shit talk — I guess he’s out to fuck someone’s mom — just doesn’t hit as hard as the music around it.
[5]

Mallory O’Donnell: A massively heroic boxing-intro beat reminiscent of mainstream hip-hop’s great post-backpack era (The Blueprint, The Fix), showcasing lyrics alternately great and terrible. The Mama triple-reference is both at once.
[6]

Megan Harrington: This is nothing less than a full admission that Dipset know as well as you or I they spent the last decade tarnishing their legacy. I don’t buy that we’re the dipshits. 
[5]

Brad Shoup: You could lose some major mind to A-Trak and Blaze making Yes perform cocaine cowboy heroics. Cam’s not taxing the leftovers, though; he says “adios” and immediately thinks I should say “vamanos”. I would, however, listen to Dame speechifying over fifteen minutes of this arena synth riffage. Hell, he could just say “pause” for four of ’em.
[6]

Andy Hutchins: An imperial Just Blaze/A-Trak instrumental, to be sure, with distorted Church of The Streets keys, gorgeously layered drums, and a skittering secret weapon in the second part of the hook and the outro. And hearing Dame Dash say words is forever a pleasure. But this is not the Cam of 2003, or the Juelz of 2006, and there is no revival to be had — Dipset’s still running fashion, but they always have, and the problem was never the emperor having no clothes.
[7]

Crystal Leww: Awwwwwww shit, bro, this is AWESOME! “No homo” — lol Cam, YOU ON ONE. These raps are tight! Check that beat, man! It’s so fucking epic! Damnnnnnn, hold up, lemme drop this into my set… THE LADIES ARE GONNA GO NUTS ON THE DANCE FLOOR! Wait… why are there only jumping bros? Ladies? Ladies? Where’d y’all go? Ma, where you going?
[4]