Future remixes will feature verses from the other three The Voice judges…

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Brad Shoup: The name scans like horrorcore, which is funny cos these guys haven’t scared anyone since G-Unit was a functioning concern. But I’m happy for them! Crooked I in particular sounds relieved to be in a good spot. It was wise to slot him first, as the quality drops off on ’til Royce. “Gettin’ wild in the field with your spouse in Brazil” is the line that sticks for me — it’s strangely generous despite its superspecificity — but his overall flow is so effective they just had to excerpt him for the chorus. Cee-Lo’s chorus is just about as angry as its Corona antecedent, so yay. I’m assuming those are his piano arpeggios in the verses; even if they’re not, the dread choir on the bridge earns him extra credit. Welcome to pop, guys; hip-hop hasn’t had this specific matrix of skills and hooks on the charts since Three 6.
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Iain Mew: I like their good-natured revelling in success and in the sound of the word “conglomerate,” but the played-out gag of the hook just keeps popping up and spoiling the mood.
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Anthony Easton: I usually like the trick of combining funk singing with rapping, and I usually like when there is more information in a text, and I usually like artifice, and this has all of these things, plus I am usually fond of Cee-lo, and he is good here; but mostly this sounds like a case of diminishing returns.
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Jonathan Bogart: Goodness, is it 2008 again already? Wait, don’t cross the streams — !
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Alfred Soto: With Cee-Lo squawking a refrain evoking a 1993 house hit and retracting landing gear in the second half so he can soar, the burden shifts to the men getting top billing. Yes, it is their motherfucking lives. Pedestrian too.  
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Andy Hutchins: The gambit of Slaughterhouse, in both its Koch and Shady iterations — I am the exact sort of rap fan who spent enough time on blogs in 2007 to have been incredibly excited about Crooked, Joell, Royce, and Joe forming Slaughterhouse in ’08, and actually wrote a college paper on the group at one point — is that consumers will actually consume dense lyricism without cracking their teeth on the multis when the beats are poppier. If it worked for Royce and Eminem Bad Meets Evil on “Lighters,” which had the benefit of an airy Bruno Mars hook and a Smeezingtons track, it should theoretically work on Slaughterhouse tracks; Budden and Crooked’s perma-fret flows prevent that, though, and the far too busy track overwhelms them. And then there’s Cee-Lo purloining the “Rhythm of the Night” melody. It’s a shame StreetRunner couldn’t come up with something better for these guys: he’s done it before.
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