That’s right, a Lennon/McCartney cover.
[Video][Website]
[6.57]
Patrick St. Michel: Weird as heck song — Chief Keef is savoring his life, yet he still sounds pissed off, even if DJ Scream tries his best to make him sound more plainly upbeat via his whirling production work. Oh, and there are screams. Strange, but fascinating.
[7]
Anthony Easton: His unique voice and the carnivalesque production remind me of missing the midway this year, a perfect scream-if-you-want-to-go-faster song released in the doldrums of late autumn, which makes me sad.
[7]
Alfred Soto: Keef’s singsong cadences are well served by carnival melodies, and those cadences compensate for underwritten verses.
[6]
Crystal Leww: Chief Keef is plenty funny here, but he’s best when he’s both funny and actually good at the music part of it, too. “Laughin’ to the Bank”, for example, is basically just comprised of #hauhauhau’s and a lurching bass beat, but that hook will get stuck in your head all day long. “Yesterday” sounds like the bad kind of drunk-and-high-in-the-studio goofing off.
[3]
Brad Shoup: I love it because he keeps falling off the pirate ship, croaking his smanged-out grown-man impression. (It would seem that the Keef Beats give you an inner ear infection.) This sounds like it was assembled from 20 voicemails in the course of a bathroom break. Maybe it’s the short runtime or my suspicion that Keef’s stifling a belch at the 21-second mark, but I could listen to this all damn day.
[9]
Daniel Montesinos-Donaghy: YG On the Beat’s instrumental is a lilting pirate shanty filtered through major key swag-rap. It’s weird. Never forget that Keef is plenty weird too: drawling atonally in his gruffest, drooling over sexual conquests like a horndog thrice his age, recalling mundane purchases from the day previous with a shrug, thinking of the next song before this one even finishes.
[7]
Jonathan Bogart: He keeps slipping off the beat, which only adds to the urgency of his delivery. The whirligig production is more New Vaudeville than George Martin, but the Swinging London referent in the title is still totally there, echoed in the runtime. I love the fuck-you to his audience of violence-fetishizing voyeurs that this represents, though: maybe it’s not quite Lil B territory, but it’s better than doing endless variations on “I Don’t Like” for the rest of his life.
[7]