And tomorrow, we’ve got the big hits. For now, consider this ‘un foreshadowing…
[Video]
[6.67]
Al Shipley: A strangely defensive, anticlimactic attempt to recapture the magic of “Regulate,” giving further credence to the narrative of Nate working best as a featured artist and never quite managing a classic with one of his own records.
[6]
Ian Mathers: I kind of wish I’d heard this one at the time, because it’s exactly the kind of post-“Regulate” victory lap Nate and Warren G deserved. Of course, due to problems with Death Row, nobody heard it at the time. Once it finally did come out, G Funk certainly didn’t have enough cultural currency to get much airplay (at least up here). Aside from the surprisingly funny video and the great, almost ambient production that draws heavily on an old Atlantic Starr song, there’s not much to “Nobody Does It Better,” but there doesn’t need to be.
[8]
W.B. Swygart: Probably just me, but whenever I hear one of these “HAMLET smites his haters. Exeunt.” tracks, I just think of the Father Ted Christmas special: “We now move on to liars…” Anyway, nice glide an’ all, and Nate’s voice works a treat, but it’s all just a wee bit insubstantial.
[6]
Alfred Soto: His biggest solo crossover boasts a seductive use of space and gentle, implied funk: dig the rhythm guitar calling out between glacial synths. But Nate’s vocal, wobblier than usual, doesn’t gel with Warren’s rap. They sound like they’re on different glaciers, not to mention different studios.
[6]
Anthony Easton: The fusion of R&B speak/singing with the rapping does seem to extend and expand the range of vocal movement. Instead of trading verses, the flow combines together into a singular voice — and it’s not a torrent or a firehouse, almost laconic.
[7]
Martin Skidmore: I like Nate’s more ambitious singing on his second hit, and obviously the involvement of Warren G invokes genuine glories, but it all sounds rather too laid back. There are lovely moments, and a reasonable tune, and I like it more on repeated listens.
[7]