MAMAMOO – “Woo Hoo” Review

– Woo Hoo (Music Video)


on April 14, 2016

Personal Message:
Once again, I am quite glad that I
discovered a way to schedule out posts as I have been ridiculously busy the
past days. As a result, I will be stockpiling as many reviews as possible so
that, once finals week arrives, the blog will still be rather active. However,
with that in mind, it does cause a minor change to a few of the upcoming
reviews: they will be purely musical discussions—though that is nothing bad at
all. In other words, I will absolutely refrain from digressing on social topics
until April is over or at least until schedule permits. But, readers who are
familiar with my writing will know that those words will not stay true; given
how I am, I will probably have a social digression much sooner than expected. In
short: readers who focus moreover on the review themselves can look forward to
many song discussions, but for those who are moreover interested in the
sociological and arguably literary theoretical side to my reviews, I ask for
patience. This aspect to reviews is only being limited due to current time
pressure. As always, especially with pop culture, I urge readers to care for both
sides: the musical (and more broadly, artistic) component and the social

Now before diving straight into the
review as I am a
narcissistic reviewer who needs to find excuses so that I appear infallible
to explain the current stressful schedule I am under, I will soon be having
finals. But before even that occurs, there are multiple essays to finish along
with a project. Overall, there is a huge workload and I feel that there is
insufficient time. All should still be well, though; I am being extra attentive
to my behavior and ensuring that I do not isolate myself from friends or
heavily procrastinate. Also on a random note, besides academic work and writing
reviews, I am still also finishing up subtitling Fiestar’s recent visit to
“Weekly Idol.”

To be immature for a moment—if I
already am not during reviews where I squeal over idols—I do want to tell
myself to never take on such a significant video task. Explaining what I mean, while
many have been quite supportive, patient, and even respectful with criticism
and feedback regarding my subtitles, there has also been a group of people who
are neither patient nor respectful of my time and efforts. This aspect is
rather surprising; never before has my subtitled videos had viewers who were
excessively demanding and rude. Perhaps the video being of “Weekly Idol” is
causing high demand and thus many viewers become impatient, or perhaps viewers
truly do have proper reasons to complain as I have admittedly been rushing the
videos and, therefore, have poorly timed the subtitles. (This explains why
there are huge blocks of subtitles at once and where a vast majority of rude
remarks are stemming from.) Either way, on a mature level, it would of course
be quite shameful on my end to abandon the “Weekly Idol” episode altogether as
if to retaliate to those who have been negative. Revenge is never appropriate
after all, no matter how minor (such as in this case). Furthermore, for those
who have been genuinely supportive and patient, it would make absolutely no
sense to hurt these viewers due to the rudeness of others. Keeping these
viewers in mind—the patient, respectful and critical ones—is what provides the
motivation to finish subtitling that episode.

Perhaps I am more attentive to the
negativity given my university-stressed emotional state (and that my attempts
to have a pet dog by this summer is in vain), but with personal venting aside,
let us now swap over to a more cheerful tone. Although I did state that April
was to be a month of new artists, I have decided to review MAMAMOO’s latest
song because, besides the biased reason of being a squealing fan of the ladies,
it will provide a hastier review as I will be able to focus solely on the song
itself. In fact, another shorter review will be written quite soon after this
(and I am extremely excited to review the next song).

On topic with the song, “Woo Hoo” is
an OST (original soundtrack if accurate) for the LG G5, a new phone. And
admittedly prior to this song, I used to hold the notion that it was foolish to
automatically purchase whatever idols endorsed, but now I hold a different
view: it is foolish to not purchase
products that idols endorse. I am joking of course; one should always be
critical of what idols endorse—unless if it is MAMAMOO. In the group’s case,
obviously purchase everything they endorse since that is what a critical fan
would do. Jokes aside, while I do biasedly adore “Woo Hoo” due to it being
upbeat and focusing on intensive vocals (and its summer concept), as is the
standard protocol for reviews, I will now have to strip away that bias. Without
such, “Woo Hoo” may not be worth all the cheerful “woos” and “hoos” it
currently is receiving—or it may. Let us find out.


Song Score: 6/10
(6.2/10 raw score) – “Slightly above average”

Vocals: 8/10

Sections: 7/10
(7.4/10 raw score)

Introduction, Verse,
Pre-Chorus, Chorus, Post-Chorus, Verse, Rap, Pre-Chorus, Chorus, Post-Chorus, Bridge,
Chorus, Post-Chorus, Conclusion (Post-Chorus)

1.     Introduction:

2.     Verse: 7/10

3.     Pre-Chorus: 8/10

4.     Chorus: 8/10

5.     Post-Chorus: 7/10

6.     Rap: 6/10

7.     Bridge: 7/10

8.     Conclusion (Post-Chorus): 8/10

Instrumental: 7/10

Line Distribution: 3/10

Verse, Pre-Chorus, Chorus, Pre-Chorus, Chorus, Bridge, Chorus (Total: 7)

Verse, Chorus, Pre-Chorus, Chorus, Chorus (Total: 5)

Pre-Chorus, Verse, Bridge (Total: 3)

Rap (Total: 1)

Introduction, Post-Chorus, Post-Chorus, Post-Chorus

Equal Value: 4 sections per member.  

Lyrics: 6/10

Woo hoo, ah ha
Woo hoo, woo hoo
Woo hoo

Hey when I look at you
Our memories start to feel special
You pull me right into your trap
It’s like I’m dreaming

The time you and I walk together
Our path is filled with light
Feeling for the first time ever, these new colors
I want to hold your hand

In my heart, now in my heart
A new feeling, now play with me
I want you, a clear image inside me
Come closer, closer
Play with me
What a day to look forward to

Woo hoo, come closer
Woo hoo hoo hoo, come closer
Woo hoo hoo hoo
I have a good feeling about today

Like I’ve been charmed
I can’t say no to your ways
(Woo hoo hoo hoo)

Life is good when you play more
We keep seeing better endings
Give me a high five, look
G5 on the playground
Why are you lost again?
This isn’t the Wonderland, Alice
Hey listen, take off those sunglasses
You’re glowing bright, full of energy

Holding on to my racing heart
The little secret between us
You’re so special, I can’t forget
Like the beaming sun

In my heart, now in my heart
A new feeling, now play with me
I want you, a clear image inside me
Come closer, closer
Play with me
What a day to look forward to

Woo hoo, come closer
Woo hoo hoo hoo, come closer
Woo hoo hoo hoo
I have a good feeling about today

Where you are, inside my heart
Baby baby, oh baby baby
Get excited, I have a good feeling
Baby baby, oh baby baby

In my heart, now in my heart (whoa)
A new feeling, now play with me (hoo)
I want you, a clear image inside me
Come closer, closer
Play with me
What a day to look forward to

Woo hoo, come closer
Woo hoo hoo hoo, come closer
Woo hoo hoo hoo
I have a good feeling about today

Woo hoo, come closer
Woo hoo hoo hoo, come closer
Woo hoo hoo hoo
I have a good feeling about today

Choreography Score: X/10 (x/10 raw score)

– Syncing: X/10

– Key Points: X/10

Overall Score: 6/10
(6.0/10 raw score)


Analysis: Before
beginning, to clarify the choreography, it is true that it exists. However,
given that it seldom appears in the music video and was mainly seen at MAMAMOO’s
live showcases (and even then the dance only occurs at the last half of the
song if I recall), I will refrain from grading it. On topic, for what strikes
as perhaps most shocking in “Woo Hoo,” there is one category that very much
cripples its overall rating: the line distribution. Optimistically—and this
word in the sense of AOA’s definition, as seen in “Weekly Idol” (for those who
get the reference)—at least “Woo Hoo” has set a record of having the lowest
score yet for the line distribution category in all of the blog’s current
reviews. More seriously, although this is a moment where I question why this
category exists, I am likewise reminded of why it is indeed a criterion for my
reviews: it is important to ensure that members are not overshadowing one
another and that they all have an equal spotlight. Imagine, after all, how
unappealing a group of nine men would be if only two sang while the remaining
seven solely danced. Thus, this is the reason for why the line distribution
category exists. (Off topic, I have been considering changing the name to “Section
Distribution” as that is more accurate in my reviews.)

potentially addressing some readers’ skepticism, it is worth noting that the
issue in “Woo Hoo” is not that members lack sections; the members do indeed
possess quite an abundant amount of sections. Take Moonbyul for example. With
her role as MAMAMOO’s main rapper—and a splendid rapper she is—it appears as if
she truly does only have one section. Besides, that is what is literally
written: one section—the rap. But, once accounting for parts where everyone
contributes such as the introduction and post-choruses, her section count increases
to five. And certainly, that is a rather satisfying quantity from an abstract
viewpoint. Therefore, the issue, then, is in the distribution itself: it lacks
equality. In “Woo Hoo,” MAMAMOO has what I personally deem the “stepping-steps
distribution.” Though it arguably sounds cute and endearing as a label, that is
far from the case; in reality, this type of distribution is atrocious. This
translates as members figuratively stepping on one another though given that it is
MAMAMOO I wouldn’t be surprised if this literally happened
: Moonbyul (1)
is stepped on by Hwasa (3), who is then stepped on by Solar (5), who is then
stepped on by Wheein (7). The disparity is significantly enlarged as a result. In
the end, a three will have to be given for the gapping differences in section
quantities among the ladies.

behind the detrimental category to “Woo Hoo,” to focus on the strengths of the
song, the song itself is captivating. For example, the vocals are incredible—as
to be expected from MAMAMOO. If the introduction’s precise, sharp, vocal
harmonization is insufficient evidence for the vocal prowess in “Woo Hoo,” then
the rest of the entire song—the entire
song—will provide the remaining necessary proof. Verses for example unveil melodic
and smooth singing, and MAMAMOO flawlessly executes minor yet soothing lower
noted beltings throughout. The latter, in fact, also appears in the earlier
parts of pre-choruses. Regarding the choruses, vocals here are powerful yet
controlled; the singing does not become overly dominant to the point of unbalancing
the song’s flow, but simultaneously it is not lacking so that it causes “Woo
Hoo” to lose its iconic, vocally intensive choruses. Other sections could also
be discussed, but at this point most would have repeated praises—an example being
how the post-choruses are akin to the introduction’s vocal harmonization.

what has yet to be discussed, we will now focus on the sections. Every section
scores quite well as noted by the ubiquitous sevens and eights. Except for one
section. The rap does fall short in terms of a six, but to clarify, this is not
due to the rap itself; if focusing on the sheer rap, it would definitely be a
seven. Why is it at a lower score? To answer: the transition. Understandably
the lengthy, awkward break before the actual rap begins is for Moonbyul’s dance
break to take place, and though there is a unanimous agreement that the dance
is well worth that trade, it still has to be accounted for. Should this transition
break not have existed, “Woo Hoo” would have very likely been able to
transition to the rap seamlessly and, overall, it would serve best for maintaining
a clean flow. But as it currently is, the absurd transition does little to aid
the rap. Other sections as mentioned, however, fare exceptionally well. With
the introduction and conclusion, standard roles are not just fulfilled but are
excelled; these sections sound stunning while also still effectively closing or
introducing the song. With the verse, pre-chorus, chorus, post-chorus, in
addition to the solid sounds, all are complementary of the other. Each section
builds upon the prior—or in the case of the bridge, it builds towards the next—and thus the sections
help provide “Woo Hoo” its organized sound. In such a sonically seducing song,
having that cohesiveness is invaluable, and accounting for the instrumental, this
aspect also helps bind the song together. And, of course, the instrumental
maintains its own individual brilliant sound.

for the last category, the lyrics to “Woo Hoo” are thankfully not oriented
toward the LG G5 itself—even if it is partially alluded to in Moonbyul’s rap. Explaining
the rating, although the plot is certainly sweet with its flirtatious overtone,
it does lack in depth and complexity. The somewhat varied details are the
driving force behind it being at a six and not a five, but even so, the lyrics
are far from spectacular. Nevertheless, it is sufficient enough to serve as
usual lyrics in an upbeat, joyful pop song.

so, we have arrived at the end where “Woo Hoo” renders at slightly above
average—a six. Assuming the audio is of pure attention, “Woo Hoo” would score
significantly higher and indeed, as a song itself it is fabulous. Being
critical, on the other hand, with accounting for its unequal line distribution and
its plain lyrics does help justify why an overall six was earned and not, for
examples, seven or eight. Nonetheless, “Woo Hoo” is still a solid song—more so
if caring for solely its sound. And of course, MAMAMOO continues to ace with
their vocals and fans should definitely cherish the ladies’ hard work: they
went from being rather unpopular with “Mr. Ambiguous” to now endorsing a
popular cellphone company along with releasing fantastic tracks, such as the
recent one of “You’re the Best.”


I finished this sooner than expected, but in order to keep the blog active, I
will be purposefully scheduling this to post at a later time. Technical talk
aside, as I always say: thank you for any time invested in this review. No
matter if skimmed or read in full, I sincerely appreciate it all. To leak the
next review, though I have had little time to keep track of (Korean) pop
culture news, I am aware of 2NE1’s Minzy leaving her group. Now if correct in
my understanding, she has not officially done so yet as her contract has yet to
fully expire, but within a few weeks it will and, from what news have been
pointing to, Minzy appears to have decided to not renew. (And that does seem to
be a firm decision.) More will be discussed in, to finish the earlier
statement, 2NE1’s review of “Come Back Home”—the group’s latest song if
accurate. For what will be briefly said, respecting her decision has to take
place. Minzy, with the highest confidence possible, most likely thoroughly
thought out her decision and thus, being supportive and accepting is what
should take place.

that said, look forward to “Come Back Home.” It does not hurt to “play with me”
and my reviews. “What a day to look forward to” for my reviews—assuming one can
overlook my horrendous writing. Do look forward to the next review that will be
posted soon.