III is the third album by Christian alternative group, Family Force 5, released on October 18, 2011 and the last album to feature Solomon Olds before his departure from the band in 2013. The song "Not Alone" charted at No. 47 on the Hot Christian Songs. The next single, "Get On Outta Here", was free for several days before paid release, where it charted at No. 27 on iTunes Rock chart. Wobble charted at No. 20 on the Alternative charts for a week. "Paycheck" was the final single from the album, but did not chart. However, a music video was made for the song. Track listing Superhero was not released with the physical CD; it was released with the Digital Re-Release version on May 23, 2012. III.V On October 21, the band announced on Facebook that they would release III.V (pronounced "3.5"), which would include brand new recordings such as "Zombie" and "Cray Button". On March 31, Family Force 5 announced via Twitter and Facebook that III.V was set to be released May 8, 2012. The EP was released digitally on May 8, 2012, but was not released on iTunes until May 23, 2012. Track listing Superhero was added on May 23, 2012 "Cray Button" remix and music video After the release of the EP, a fan uploaded a photo to Instagram that changed the "Cray button" from the song of the same name to "Lecrae button." The band re-tweeted the edited photo, which in turn sparked calls by fans for the band to do a remix of the song with Lecrae. On August 2, 2012, Lecrae agreed to do a collaboration with the band. On September 24, 2012, a music video for "Cray Button" premiered on Rapzilla. It featured a verse by Lecrae as well as an appearance by YouTube celebrity Meekakitty, who previously used the song "Zombie" in one of her videos. The following day, the remix version with Lecrae was released as a single on iTunes, and the music video was premiered outside of Rapzilla. Reception Critical reception for the album was mixed. Stephen Thomas Erlewine from Allmusic gave the album three out of five stars saying, "As the group bounces from pop to reggae to rap, they sometimes run the risk of seeming condescending, particularly on their hip-hop cuts, which often run the risk of being parody, but the group is saved by their way with