When we’ve got material like this on deck, can you blame us for doing a fourth song today?
[Video]
[7.58]
Hazel Robinson: Practically panting within about three seconds of playing this song because absolutely anything that takes the hook aesthetics of “I Got Five on It” and wires it up to a confidently nasty girl anthem is something I’m so into I nearly swooned at the middle eight breakdown. This is rude and dancey and sounds like a female friend swaggering up to you, a little tipsy and insisting that you grind on each other all through the track.
[8]
Brad Shoup: I get the impression of peeking at some scheme I’m not privy to. There’s diagrams of dicks all over the walls. At about 3:10 there’s an ominous smear like you’d hear after eavesdropping on a particularly nefarious Big Brother conversation. So the gray Mustard sound works really well with Cam and China, but I’m really wondering if the dirty talk ended up playing out according to plan.
[6]
Megan Harrington: “Do Dat,” produced by Ty Dolla $ign’s D.R.U.G.S. team, seems a perfect response to “Or Nah.” Cam & China take pleasure in their own bodies, noting how they move and where they put their hands. The “dick up in it” is almost incidental until the song’s close when it becomes a source of open mockery. These are adult women, fully absorbed in and delighted by sex. Don’t trouble them with your insecure, boyish demands for virginity and chastity.
[8]
Will Adams: A series of unfortunate events: 1) the titular catchphrase, which has been all but copyrighted by Iggy Azalea; 2) the fact that, per the audio watermark, “Do Dat” was produced by former Iggy collaborator D.R.U.G.S.; 3) the bedspring squeaks; 4) Cam & China’s inability to clear these hurdles.
[6]
Jonathan Bradley: Pink Dollaz grew up bad; this is filthy as the bassline. (D.R.U.G.S. is less ready for primetime than soundalike producer DJ Mustard, which is exactly what this song needs.) The Ghostface Killah punchline and the lurid outro are the highlights, but nothing Cam or China have to say elsewhere is any less charismatic. YG made one of the best albums of the year to date and a good half of it consists of antsy sex jams. “Do Dat” is the equal of any of them.
[8]
Crystal Leww: Cam & China were innovators of the ratchet sound with former group Pink Dollaz playing with DJ Mustard-like beats when DJ Mustard was still just YG’s touring DJ. “Do Dat” is straight up raunchy, a void that needed to be filled since Lil Kim dropped off. Cam & China play with their voices like silly putty in “Do Dat”; great moments include dipping down and back up on “low,” the playfully disgusted “UGHHHH” after the “skeetskeetskeet” bit, and the quick stop of “say so.” As for that outro skit, let’s just say there have been few other times that I’ve been as uncomfortable with my headphones getting unplugged at work.
[7]
Anthony Easton: A delightful bit of self-confident filth, with extra points for the prayers at the end. I hope the Holy Mother blesses her ability to absorb that giant cock.
[9]
Edward Okulicz: So hey, this song would have a legitimate case to call itself “Beat That Penis Up.” Cam & China attack the track with the same glee you might imagine they would the monster penis — aware, excited and a bit trepidatious. The self-assured filthiness of it is addictive; like “Anaconda” but without a dude butting in every minute to ruin the effect of a filthy song about a woman’s sexual agency in the face of male anatomy. The song’s as much about their bodies and what they do with them as the dick anyway. The outro is just on the right side of the gross/hilarious divide.
[8]
Alfred Soto: I concentrate on the sweetness of those chimes complementing the lubriciousness of these former Pink Dollaz members, rubbing their crotches and thighs and breasts against them hoping for action before the track ends.
[7]
Katherine St Asaph: Very pretty chimes, and very little of the owner of the dick acting like a dick, which is welcome; I just can’t decide whether the outro strikes me as camp or unlikely porn dialogue.
[7]
Alex Ostroff: The joy of early Pink Dollaz tracks like “I’m Tasty” and “Pockets Never Hungry” was the way that in the midst of minimal beats and low-quality mp3s, Cam, China, and the rest tested out their powers and surprised us with how amazing they could be. “Do Dat” doesn’t do anything Pink Dollaz didn’t, but the track — just as minimal — is crisper and more expensive and its stars are, if possible, even more confident than before and slightly intimidating. I’m not sure if I can do that, but it definitely makes me want to try.
[9]
Daniel Montesinos-Donaghy: Pink Dollaz were a great hip-hop group in an era sorely lacking with hip-hop groups (let alone all-female ones), and it’s a shame that they’ve splintered off quietly instead of becoming new Vine heroes. Instead, we have to make to do with “Do Dat”, a heavily horndogged holler of sexual mores oh fuck it why am I even trying to write smart right now with all this twerking goddammit here you go FIRE EMOJI FIRE EMOJI FIRE EMOJI OUT OF TEN
[8]