Sadly, not a sample of “Boogie Shoes.”
[Video][Website]
[4.20]
Anthony Easton: Can someone explain to me how this is supposed to function? Does the basic quality of this convince someone to fuck Fiddy, or is it a rococo abstraction, where the decoration of an idea is more important than the concept itself?
[0]
John Seroff: I don’t know if I can think of another song where the DJ feels compelled to play an unexpurgated chunk of the sampled song at the beginning of the new track. Is it an an attempt to imply how much money you paid for the rights? Crass and predominantly artless braggadocio are the hallmarks of “I Just Wanna” so maybe 50 is just setting the tone.
[5]
Brad Shoup: D.R.U.G.S. can do construction, and now he’s hanging a shingle out for total renovation services. Somehow, KC’s hoariest single gets reconfigured into a potent funk of toxic horn clouds and constant downstroke. Lucky for our producer, 50’s in loverman mode, his secret strength. It gets him singing, he starts asking for cookies: this is entertainment, and it’s probably the answer to the “whether ’tis better to be loved or feared” conundrum.
[8]
Alfred Soto: Sadder than an artist who doesn’t realize everyone has left the VIP room is one who can’t describe his own dilemma.
[2]
Jonathan Bogart: When 50’s in his zone — which is to say, when he’s mumbling about dickin’ hos over beats that trip over themselves to broadcast how expensive they are — he’s — well, he’s still mumbling about dickin’ hos, so I can’t give him my full approval. But props to D.R.U.G.S. for making “Get Down Tonight” sound more like a towering disco inferno than, well, “Disco Inferno.” Either one.
[6]