All about that goopy, gloopy, mucky bass…
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[6.00]
Micha Cavaseno: Someone took that little sub-lick out of the muck and mire of a ruptured oil spill, and you can’t tell me otherwise. Elsewhere the skittish sound of the meek percussion and the needling of the plucking melody embedded deep in the chorus seem to play around the song. It’s downright sweet! I can’t tell if this is supposed to be the soundtrack of a lover’s jam or the soundtrack of children chasing after butterflies due to how tentative and fleeting the moments emerge and scurry off. The singers who inherited this playground are really just not aware of what they have to work with, and don’t take full advantage, too locked up into their own trips.
[4]
Patrick St. Michel: 2face Idibia and Bridget Kelly would have delivered a velvety R&B number by themselves… but, whoa, that bass gurgle! It adds a layer of unnerving goop to an otherwise pretty song, and makes this just a touch better.
[7]
Will Adams: The ’00s-era Neptunes-lite production buffs up what is otherwise a stale message with a competent duo. But God, that morphing bass is a thing of beauty.
[7]
Brad Shoup: The claps are shovels, and my brain is that bassy gloop. The sex becomes a panacea, a woozy pastime, a treatment for a headcold. 2face references Toni Braxton, and I can totally imagine this as an ambiguous bonus track on Love, Marriage & Divorce.
[7]
Iain Mew: The bit at the end after 2face has intensely built up his sexual plans where he ends with a grinning “I ain’t fronting but you’ll have time-outs for relaxing” is great — sweet and clever and conveying more confidence than anything else in the song. It redeems what is a bit of a dull experience to that point.
[6]
Alfred Soto: Pleasant, perfunctory fare that needs a rewrite: an extra verse, a bridge.
[5]