Music and Reception
"In da Club" was positively received from music critics. AllMusic described it as "a tailor-made mass-market good-time single". The Source called the song a "guaranteed party starter" with its "blaring horns, funky organs, guitar riffs and sparse hand claps". The BBC also wrote that the song is "a spectacular party anthem" that "highlights 50 Cent's ability to twist his words effortlessly". Entertainment Weekly noted that 50 Cent "boasts unashamedly of his career objectives and newly flush bank account" with lyrics such as "I'm feelin' focus, man, my money on my mind/Got a mil out the deal and I'm still on the grind." Rolling Stone wrote that the song sports "a spare yet irresistible synth hook augmented by a tongue-twisting refrain". The Guardian called the track "irresistible" due to its "sparse orchestral samples and snaking chorus", and Pitchfork Media said, "the bounce on 'In Da Club' is straight-up irresistible, Dre at both his minimalist best and most deceptively infectious." Splendid magazine called the song an "insanely catchy" single with its "stanky, horn-addled thump". The track was listed at number ten on Blender magazine's "The 500 Greatest Songs Since You Were Born". In 2008, it was ranked at number 18 on VH1's "100 Greatest Hip Hop Songs".
Read more about this topic: In Da Club
Famous quotes containing the words music and, music and/or reception:
“Music and Wine are one.”
—Ralph Waldo Emerson (1803–1882)
“I’d rather you shot at tin cans in the back yard, but I know you’ll go after birds. Shoot all the bluejays you want, if you can hit ‘em, but remember it’s a sin to kill a mockingbird.... Mockingbirds don’t do one thing but make music for us to enjoy. They don’t eat up people’s gardens, don’t nest in corncribs, they don’t do one thing but sing their hearts out for us. That’s why it’s a sin to kill a mockingbird.”
—Harper Lee (b. 1926)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)