Not much controversy.
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[6.29]
Brad Shoup: The nagging kick and fluttering harp recall, in order, SWV’s “Right Here” and its sample, Mike Jackson’s “Human Nature”. Scott makes it a mystery title, smacking it indolently this way and there, coming up shining each time. It’s a pop move – not as plainly cerebral or buoyant as some of her classic work – but it’s sharply glum nonetheless.
[8]
Micha Cavaseno: Jill Scott will always be a singer first, and compared to her supposed contemporaries like Erykah (*snicker*), Angie (*braying*) or India (*hyena cackles and falling out of a chair while pounding on the floor*) her voice is exemplary. Her songwriting chops have always felt a bit hackneyed, however. The MPCishness of this HEAP-HAP slumper thumps more than it PFTHTHTHTHTHLUMPS, more Pete Rock pounce than Dillan-ese drunkard stumble.
[6]
Thomas Inskeep: Easily the most disappointing first single ever from a new Jill album, this done-wrong-by-love song features limp lyrics and a lame click-track drum beat (along with some pretty keyboard trills). Average adult R&B.
[4]
Anthony Easton: The control in how Scott tempers her emotions and vocal excesses, and the soul sound that maneuvers adroitly between tradition and novelty is almost as interesting as her ability to tell a story. An extra point for the one-line chorus.
[8]
Alfred Soto: She’s offered solid grown up pleasure for years, and she has the confidence to offer a worn metaphor without worrying about we think. The production is too unthreatening though.
[6]
Ramzi Awn: There is very little wrong with “Fools Gold.” Ms. Scott’s performance is expertly executed, if expected.
[6]
Will Adams: A few more bleeps or bloops and you’d have Aluna Francis singing on here; I don’t mind the acoustic orchestration this time, because the song’s so dusky that it requires the sort of bone-dry setting for Scott’s wonderful voice. Shame about the abrupt ending, though.
[6]