Ca$h Out turns his attention to a song he hasn’t named after himself…
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[4.75]
Alfred Soto: She twerk? You jerk.
[1]
Patrick St. Michel: Sorry, I was distracted by the oochie-coochie and something about tutus; what was she doing again?
[2]
Katherine St Asaph: Beat like a Willy Wonka theme — fitting, as “She Twerkin'” mostly works because of the background vocals, over-eager and weird enough to take a played topic off-kilter.
[6]
Megan Harrington: At the risk of robbing “She Twerkin'” of some of its nuance, I find it a commendable example of making consent explicit. “She see me grabbin’ on my tooly/She told me smack her on the booty,” go Ca$h Out’s opening lines. Later she voices some complaints, but they’re likewise countered by her twerkin’. The objectification of women in rap songs isn’t my battle, but “She Twerkin'” stands out as a portrait of a woman in control of her body.
[7]
Thomas Inskeep: I don’t understand why Ca$h Out is naming seemingly random designers, or in fact most of the nonsensical lyrics in this cut — or why “she” is twerkin’, or why it matters. But his flow is so appeallingly off-kilter that he makes me not care. The beat is basic and stripped-down, as is au courant these days in hip-hop. But most importantly, it doesn’t get in Ca$h Out’s way. What a delightfully weird record.
[6]
Anthony Easton: The echos, returns, and pushing backwards make this formalist attempt at seeking answers to rhetorical questions quite lovely, if a little isolating.
[6]
Brad Shoup: The intro (“She’s really gone! She’s really gone, man”) is there to pretend something’s different on offer, like when Chubby Checker promises you the latest dance but it’s just the fucking twist again. The diminshed Ca$h Out voice is my favorite: he’s amped and out of breath, while the crew keeps handing the main Ca$h Out line endings. The bell and bass collude against melody and syncopation.
[4]
Crystal Leww: Ca$h Out is showing up for the twerk movement, making the perfect soundtrack for the dance and making two videos featuring girls who demonstrate the true athleticism required to twerk, buttcheeks moving independently of one another and all. Twerking was never taken away from hip hop culture, just wrongfully attributed to a white girl, but it’s nice to see something like this charting a year after that whole mess. So much of this seems easy: ATL production titans DJ Spinz and Dun Deal turn in something that fits with their city’s lexicon and Ca$h Out mumbles his way through it. The track’s secret heroes are his own ad-libs in the background, which function as a hypeman so squeaky that it sounds like someone else entirely. There’s not a ton here that wows, but it’s catchy enough and has the right regional signifiers; it makes sense why it’s a thing in Atlanta.
[6]