Not Safe For… Work From Home?
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[4.86]
Will Adams: I’m no prude, but I’ll admit even this made me blush. The somber piano tinkling in the background would make for a draggy listen on its own, which is why BRS Kash enlisting DaBaby and City Girls for the remix saves it; four different, equally impactful perspectives on the joys of oral sex.
[6]
Thomas Inskeep: Sex raps tend to fall into one of two categories, either vulgar or funny; to my surprise, “Throat Baby (Remix)” is the latter. Give much of the credit to the guests here: DaBaby’s verse is obscene but clever as I’ve come to expect from him, and City Girls are (no shock) even more obscene, but repping for the ladies and sounding like Lil’ Kim’s spiritual heirs. Leaving the beat out until over 1:00 in is a smart move, too, and BRS Kash knows enough to stay out of his own way. Dumb but kinda great.
[7]
Oliver Maier: Unmitigated filth over a melancholy piano beat is a solid, funny concept that nobody quite nails here. Both City Girls sound like they recorded their verses onto their phones, though JT’s white chalk joke is a standout and her passionate delivery of the line “I like to be fucked like a slut” has to be heard to be appreciated. BRS Kash has the opposite problem, blending much better with the beat but completely neglecting to be charming or funny (you can get away with the whole “throat babies” thing as a throwaway line, basing a whole song around it is…too much). DaBaby is just being himself. I hope he offers a discount on his $500,000 verses when singing is involved.
[4]
Julian Axelrod: BRS Kash is not the first rapper to blow up off a novelty sex single, nor is he the first beneficiary of a subsequent DaBaby and/or City Girls remix. But “Throat Baby Remix” feels more off-kilter than a “Said Sum,” no matter how much Kash’s earnest warble tries to smooth out the inherent body horror. For DaBaby, it’s another day at the office: Talk about getting head at a department store, snowboard out of a woman’s mouth, cash your check and go. But the beat under him warps, rewinds, then waits a full minute to drop. As usual, JT and Miami run circles around their scene partners by taking the title concept to horrific Lovecraftian extremes.
[6]
David Moore: BRS Kash deals in filth, but the stuff I’ve heard that I’ve liked uses bright 808 bounce as a backdrop — something about the mismatched downtempo melancholy here crosses the line into gross.
[4]
Juana Giaimo: This is the kind of song that makes me want to go back to a time when sex was taboo (the one point is for JT’s verse and that sudden change of flow).
[1]
John S. Quinn-Puerta: They call it the Dirty South for a reason.
[6]