Only reviewed her twice, though, which seems odd…
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[5.50]
Erick Bieritz: As neologisms go, “hating-ass tits” should make a song. There are women who hate Keyshia so much that it’s evident in their boobs. If that’s a misheard lyric it’s better not to know what it really was because there’s not much else to distinguish this song, even by the low standards of the traditional first-single-from-the-album-to-remind-everyone-I-have-a-big-ego.
[4]
Josh Langhoff: I didn’t think Keyshia WAS thru until she started insisting otherwise; but then, I haven’t been paying attention, so I don’t know who all these “hatin’ ass broads” are that she’s battling. If she really wants to impress them, she shouldn’t neglect her more interesting upper range, with its strained and girlish desperation, almost totally absent here.
[2]
Michaelangelo Matos: I’d put more stock in these kinds of declarations of individual might and/or needing to be given your space if they actually sounded individual enough to require the room. Not to mention if they had any point whatsoever to make.
[5]
David Moore: Lovely vocal stacking from Keyshia, effortless #verse from Nicki that adds another potent string of rhymes to her repertoire (has she used “incidental,” “dental,” or “menstrual” before?). Like Ciara, Keyshia might be too soft to handle the thug-diva posturing, but the simple staccato organ beat doesn’t draw attention to her verses while providing space for the harmonies to blast off in the chorus.
[7]
Chuck Eddy: Keyshia employs r&b’s random lyric generator, Nikki misses her dental coverage when her Aunt Flo pays a visit, a lite reggae lilt keeps them both hopping.
[5]
Martin Skidmore: Keyshia is very pleasant on this, but I am excited wherever I see this ‘ft’ credit these days. Nicki kind of phones this one in — some cute nonsense about dental insurance, some hashtags, but it’s all a bit standard-issue and restrained.
[7]
Kat Stevens: More cheap organ presets, this time snipped up into appealingly minimal chunks to give Keyshia plenty of breathing space. She has a lovely voice but she barely gets going before Nicki bulldozes over everything (as usual), and as arrangement slowly builds up and fills in the spaces, Keyshia’s delicate warbles get squeezed out. Nicki’s verse however earns 7 monsters out of 10 for mentioning being on the rag.
[7]
Alfred Soto: Hooking Keyshia up with Minaj is like asking LFO to share a stage with Fleetwood Mac: she sings as if backing vocalist is the height of her ambition. Luckily Minaj isn’t on her game at all, contributing verses which 50 Cent wouldn’t know how to fuck up.
[6]
Zach Lyon: Is it strange that it seems so necessary for her to make a comeback only a few years after her last platinum record? Not because she’s that irrelevant, just because she’s always struck me as being a holdover from the 90s. The synth organ here isn’t doing anything to erase that aura, as it sounds like it’s been straight lifted from a Brandy track, but that’s certainly not a bad thing. It’s been a while since an R&B track has crammed that much attitude in a melody.
[7]
Jonathan Bogart: Too much Keyshia, not enough Nicki. On the other hand, what we get of Keyshia is pretty good, and what we get of Nicki is pretty bad. So it evens out.
[5]