This hook: possibly less offensive than that of their previous single, “Mr. Hit That Hoe”…
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[5.57]
Jonathan Bradley: The club rap hits of Dallas have generally proceeded along the lines you’d expect of the city: like the rest of the South, but slicker, less nuanced, and more monolithic. (Think “Ice Cream Paint Job,” or “Man Out in Dallas.”) I’d call this song intentionally dumb, but that doesn’t properly convey its brutal and marvellous aggression. Mr. Collipark’s synths are tasked with the singular mandate of conveying a simple, compelling message that they are more than capable of delivering: FUCK EVERYBODY. This is a song so determined to impart its blunt aggression that adlibs on the hook clarify, “Fuck him too,” as if it weren’t clear that when they said “fuck” they meant everybody. One verse begins “First off, fuck y’all.” Another has Flocka “flatlining niggas like an ironing board,” because you know he pressed his trousers before getting messed up in this foolishness. By the time Translee shows up telling us he loves his city, he sounds positively soft. If club music is catharsis, this is the sinking-your-fist-into-the-drywall kind.
[8]
Brad Shoup: The title and chorus promise sociopathic Stooges and hazy destruction, but most everyone’s content to merely rep supremacy. Soulja Boy breaks new ground by finally Skyping it in, while Translee continues to impress while inching closest to the putative theme. This song prompts this rhetorical: which trope is more tired, al-Qaeda refs or “no homo”? Wait, it’s not rhetorical: “no homo” has been tired from go.
[4]
Zach Lyon: In which several dozen rappers are instructed to Kill It in sixteen bars, and they mostly succeed. And they’re all obsessed with identical rhyming, which somehow works every time.
[7]
Katherine St Asaph: A chorus that sounds as hazy and scattered as its subject and verses that maybe 80% of the guys involved know what to do with. Knowing what to do with a verse, of course, is minimum.
[5]
Jonathan Bogart: I guess I just fundamentally don’t understand any mindset that would shout “fuck everybody” and not include the self.
[4]
Michelle Myers: Credit must go to Weezy, but “walk around the club, fuck everybody” is a perfect double entendre, invoking both misanthropic nihilism and absurd horniness.
[7]
Andy Hutchins: “Walk around the club, fuck everybody” is probably Lil Wayne’s greatest contribution to music in 2011, and stretching it out makes it even better. “Throwed Off (Remix)” stretches that and more to diminishing returns: Waka and Slim show their rare chemistry, Ace Hood blends his rattling and “Hustle Hard” flows into an unappealing mish-mash, Soulja sounds more tired than zany and has his Lil B impression set to stun, and Translee sounds like a public housing version of Big Sean. When Waka has the best line on a posse cut, it should have bigger drums than the faint pattern here.
[4]