She has a new song of her own, as well…
[Video][Website]
[5.57]
Anthony Easton: This assumes women are only sexual objects, and only rivals for the affections of JoJo, which is a problem. This assumes that the battleground of sexual play is mostly a hissy fit, which is a problem. These two factors suggest an inborn misogyny and willingness to play games for straight boys, instead of seeking their own voice and autonomy, which is a problem. But mostly, I HATE HER VOICE. (Not in a symbolic, what she has to say offends me way, but her actual real life voice.)
[0]
Zach Lyon: This and “Marvin’s Room” are the only two I’ve heard from JoJo 2.0, but they come together to make a very strong character out of her. She seems to be someone to whom monogamy is a force of terror and aching, emotional drama that overshadows any past delights. Unlike “Marvin’s Room,” “The Other Chick” benefits from some wonderfully subversive, discordant production that backs up her instability and almost turns it into a full-on celebration — especially when those Whoop! Whoop!s sneak their way into the chorus, as though JoJo, wholly alone in these songs, has a mental chorus backing her up. I’m struggling to find a dirty version of this and wondering if one actually exists: if one thing squashes this song for me, it’s every “eff” and “effing.”
[7]
Brad Shoup: If a hundred rock scribes can’t get Robyn to break stateside, maybe this will tide them over. I’ve had a fondness for JoJo since the non-Bow-Wow version of “Baby It’s You” tore my heart up and I couldn’t find a sympathizer older than 15. Even in this age, “Since U Been Gone” doesn’t yet qualify as retro, but that’s what’s being attempted: an update that has the suggestion of rock production, but gets by on blitzing synths and toms. Props for JoJo almost putting over an arena-aimed chorus that’s just a tad underwritten — let’s think of something fun one can rhyme with “chick,” shall we? Glad to have her back.
[7]
Ian Mathers: No, seriously, when did JoJo turn into the American Robyn? (Minus a point for using “effin’,” because really, but plus a point for “by the way, I FAKED IT EVERY TIME,” because really.)
[7]
Jonathan Bradley: The big stomping hook is a nice addition, but this is a rather anonymous kiss-off that lands halfway between Kelly Clarkson something Selena Gomez might be ready for in a year or two. It isn’t just that she displays so much more versatility and depth on “Marvin’s Room,”it’s that she showed more of the same five years ago on “Too Little, Too Late.” n.b. I guess, for good or for bad, Nicki Minaj has successfully introduced “effing” as the radio edit alternative to cursing du jour.
[5]
Martin Skidmore: Hmm. I am rather struggling to assess this actual single after loving her version of “Marvin’s Room” so much. It’s as much rocky pop as R&B, sometimes sounding more suited to Avril than JoJo, surprisingly. She delivers it with range and lots of verve and force, which is apt, except there is a rather weak slow part too, which I think is a misjudgement. It’s pretty good, but sounds ordinary after what I thought was greatness.
[7]
Katherine St Asaph: Apparently they’re making kid singers take tests to become grown women. “The Other Chick” is practically an exam book; it involves belting over hurdles and twisting her melisma through an Autotune obstacle course, throwing down Princely stabs on the track and demonstrating adequate knowledge of adversarial women, car keys and faking it. By the rubric, JoJo passes, but who wants to reread a test booklet?
[6]