There was a farmer had a dog…
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[5.33]
Frank Kogan: There’s a fierce frostbite in recent Super Junior, the electronics and the foreshortened vocals. Very dry, very chilly. Would be still better if the harmonies were even more shivery and painful, though that might require an entire roster of Michael Jackson–caliber singers. As it is, if this outfit weren’t so popular, I would call them uncompromising, the way the briefly sonorous prechorus promises a good time and a party time but leads not to any kind of release but to rigorously compact voices that hit as hard as the beats underneath.
[8]
Anthony Easton: LMFAO’s “Sexy and I Know It” is slightly less obnoxious done by Koreans. Who knew?
[3]
Brad Shoup: This spate of sexy-checking singles from South Korea may be shooting for something I didn’t expect. Is it possible these sentences are being turned on their head, maybe sardonically? Could that be why Super Junior put on their best robot voices? The beat division creates a lot of hiccups and fissures, but nothing deep enough to bury that title.
[5]
Jonathan Bogart: The galloping drum break right out of new jack swing is the highlight: the lowlight is “ready to bingo.”
[6]
Patrick St. Michel: A few interesting production touches aside, this is a go-nowhere waste of a potentially great hook.
[4]
Will Adams: Apparently the lyrics are “I’m ready too; bingo” but nothing will stop me from hearing “I’m ready to [play] bingo.” Five points for that alone, and one more for the swung groove that infects the variety of synths weaved into this.
[6]
Iain Mew: I thought it was “ready to mingle” first go round, which would have a nice politesse, but it really isn’t. Never mind, the nonsense just makes it easier to filter out the meaning of the words and concentrate on their voices doing that unified silken strength thing that has served Girls’ Generation so well at times. The overly fussy production and lack of a proper ending are less easy to ignore.
[6]
Edward Okulicz: The lyrics of the chorus sounds like something someone with an especially poor grasp of idiomatic English might put as their title message on an online dating site. The verses, by contrast, take what was left of late 80s/early 90s dance pop that R&B neglected to evolve — slick, danceable and regrettably hook-free The sunrise of synths that take the song to its end are heavenly, though, making this is the very definition of a curate’s egg of a pop song.
[4]
Katherine St Asaph: I can only grade this one way: percentage of the track I didn’t want to listen to Mya (“free, single, sexy and sweet”) instead. So, itemized: the particularly Michaelesque guy singing at the beginning; the floaty prechorus, whenever the bass snarls. Total:
[6]