Picture Unk sitting by his phone waiting to be invited on to the remix…
[Video]
[6.27]
Thomas Inskeep: Headline: “J-Hud says ‘fuck’ on record.” Subhead: “Makes her first greasy, street single.” If we’re making Whitney comparisons, which many like to persist in making where Hudson is concerned, this is her “It’s Not Right But It’s Okay,” only about ten years earlier in her career. If you want another headline, how about “Timbaland’s still got it”? This is a head-nodder, true to the identity J-Hud’s already put down on record but still taking her in a (slightly) new direction. It also oozes confidence, and, along with previous single “I Can’t Describe,” makes me incredibly eager for her next album. This is the record I’ve been waiting for her to make for a long time.
[8]
Anthony Easton: This is a Timbaland track, though considering both of their histories, the desire for a comeback is strong. The spoken track turns a tale of ambiguous but sexual desire into an agitprop text which prioritizes the producer over the artist, and defends the producer as a co-creator. Considering the ego involved, the phrase co-redemptrix might not be out of order.
[9]
Will Adams: “You must have the right producer with the know-how of putting tracks together on a good recording,” repeats the radio announcer. As if Timbaland has anything to prove! “Walk It Out” features the dense rhythm tracks we all know and love, as well as a fine performance from Hudson. However, the song suffers slightly from the distended writing that plagued The 20/20 Experience.
[6]
Patrick St. Michel: It’s impressive how long The 20/20 Experience hangover has lasted, because the first time through “Walk It Out” the only thought going through my head was “oh, right, Timbaland can do that.” Listen to how airy this is, and how that beatboxing slides in so smoothly. And, oh, those casino-interior synths fluttering across the song! Best of all, it matches up well with what Jennifer Hudson is up to here, Timbaland’s production creating space for her to showcase her voice. The sort of team-up that doesn’t leave your head half-hurting down the line.
[8]
Katherine St Asaph: This may be displaced Dreamgirls, but the “concerned about my image”/”let’s reschedule” stuff, plus the simple fact of “Walk It Out” involving these personnel at this time, makes me think this was a Beyoncé offcut. Which, to be clear, is a compliment. The lurching, bulbous beat, like filling a bouncy castle solely by beatboxing, rests a tad much on old Timbaland tricks — I think the Aaliyah quote is an explicit nod to that — but again, there are worse tricks to rest on.
[7]
Brad Shoup: Jennifer Hudson — Academy Award winner Jennifer Hudson — is stranded by the legend of Timberland, which crafts a single from a Soft Bulletin instrumental and the suggestion of Justin Timberlake, then affixes its own sticker to the cover. She’s performing a duet with two zeroes: coming in second on her own chorus with that JT-like substance, then having to tiptoe around Timberland’s sample, which is so ham-fisted it didn’t even appear on a Beastie Boys record.
[5]
Scott Mildenhall: After 45 seconds with no Jennifer Hudson, the decision to begin this on talk of the “right producer with the know-how” already looks like fish in a barrel. Only after another 30 seconds of weird gaps and Timbaland saying stuff can it really begin to underwhelm, with an opening verse only washing over the continuously plodding beat. Things pick up slightly halfway through, but even then there’s no chorus, and nothing to make up for its absence — certainly not those sub-Labrinth spoken parts.
[5]
David Sheffieck: Starts out great: attention-grabbing and seemingly a strong fit of production and vocal, but unfortunately just coasts after that. There are pauses for Hudson’s vocal theatrics, but neither she nor the beat can develop a compelling hook. Instead, the beat gradually shifts from compelling to plodding.
[5]
Alfred Soto: She doesn’t do much with the conceit other than shout through it. Timbo’s Justified-era beat does no favors either.
[3]
Mallory O’Donnell: Adult themes for actual adults. All baby-makin’ beats should be this supple and sensuous. A lucky few get to be this classy.
[8]
Crystal Leww: Jennifer Hudson sings about demanding respect for herself, and Timbaland plays a creepy dude. This is kind of hilarious in a haha-sad type of way. Song’s not bad, though the beat could do with some variety, but I guess almost all Timbo songs these days could.
[5]