The future’s so… bright?
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[4.14]
Brad Shoup: The wubbing track offers a kind of valiant hope. The Broz’ sub-Travis Porter come-ons, in that context, become a sort of crime against humanity.
[4]
Alfred Soto: Less than three minutes, and woe be the listener who demands more than a competent “Make It Rain” simulacrum.
[5]
Anthony Easton: They talk quite quickly, but they aren’t really saying much, and the speed/skill of the verbal fireworks just sort of sputter, not even signifying any amount of virtuosity.
[2]
Crystal Leww: There is nothing revolutionary about “Call That”, but there is nothing really all that wrong with it either. Tool and Gennis write perfectly inoffensive raps bragging about their manly prowess, and Nick Cannon (?!) produced a beat that is perfectly weird in the verses and includes some crowd-pleasing hand claps in the chorus. Basically, I wouldn’t go nuts to do this on a dance floor, but I also wouldn’t leave either.
[6]
Daniel Montesinos-Donaghy: A cute take on a Travis Porter song, which is like a steak without meat.
[3]
Edward Okulicz: This is very much less than the sum of its parts. Gennis’ verse is fine, but it can’t compare to the loveably dorky and cheesy second verse from Tool. The hook’s not strong though, and none of it fits well with the chirpy wubs and almost sinister hisses echoey whistles that float around the track, and those two things don’t quite fit together either.
[5]
Jonathan Bradley: Graduation day for the kids who were Taught How To Dougie. Youth never troubled southern California before, but Tool and Gennis sound lost in the mall: rhymes perfunctory rather than preternaturally simple. (Tool interpolates Nelly, failing a lesson Drake didn’t learn on “Worst Behaviour”: don’t bite a a better rapper’s bigger hit.) In a pinch, the beat could carry them.
[4]