Remember when Wyclef wasn’t the most successful member of The Fugees?…
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[4.71]
Jer Fairall: Twelve years on and she has lost none of it: her gentle yet authoritative vocal presence, her fine ear for sounds that evoke the smoothest and prettiest of 70s funk and soul, her pushy didacticism.
[6]
Pete Baran: It’s great to hear her voice again, but this is a thoroughly average showcase. Not as nuts as I had expected, not as interesting as I would want it to be, there is barely a song in here.
[4]
Josh Langhoff: I welcome her voice back into my life like a warm hug; but while we embrace, she just keeps blabbering about karma, and I can’t tell whether this is supposed to be an apology or what, and THEN Beaker from the Muppets comes in and starts serenading us, and this is just the most awkward welcome back hug ever.
[2]
Martin Skidmore: It’s a laid-back, summery, jazzy number — all very pleasant, but I found myself losing interest almost instantly, which is not promising for a comeback single.
[4]
Jonathan Bogart: A sketchy fragment of a Lauryn Hill song is better than no Lauryn Hill at all, and the purp-a-durp synth line is a joy to hear. Sure, it’s lazy as hell and there’s barely anything there, but so what? Not everything needs to cohere.
[7]
Al Shipley: Congratulations, you can get on Jill Scott’s level, even if your own level is a distant memory.
[4]
Alfred Soto: A couple of weeks ago I fell in love anew with “All That I Can Say,” her 1999 contribution to Mary: a sinuous, airy production on which Mary J. Blige rides triumphantly. This sonic cousin is neither here nor there; she’s trying vocal and production tricks not with abandon, but with the hopes that something will stick — which, after 12 years, it better.
[6]