The production on the album was handled by a variety of pop and hip hop producers including David Guetta, RedOne, Dr. Luke, Jim Jonsin, Benny Blanco, Soulshock, Afrojack, DJ Snake and Polow da Don.

[6] The album is influenced by Pitbull's childhood years listening to merengue, freestyle, cha-cha-cha, Miami bass, hip hop and dancehall.

[6] Planet Pit was supported by four singles: "Hey Baby (Drop It to the Floor)", "Rain Over Me", "International Love" and the US number one hit "Give Me Everything".

While the song was featured on the album Mr. Worldwide in the United States, the Japan exclusive version of Planet Pit consisted of the track.

"[23] In his review for Us Magazine, Ian Drew gave the album three out of five stars and commented, "If you want a huge pop hit these days, get Pitbull to rap on it".

"[19] Robert Copsey of Digital Spy gave the album two out five stars, saying that "with another impressive rosta of guest vocalists and knob-twiddling boffs on board, there are a few - albeit, minor - sparks of joy to be found here", and concluded that "Planet Pit for the most part remains the usual mix of headache-inducing house-hip-hop and sleazy chat-up lines.

There are baldfaced rewrites of the Black Eyed Peas' "I Gotta Feeling" ("Give Me Everything") and Eminem's "Love the Way You Lie" ("Castle Made of Sand").

"[20] David Jeffries of AllMusic gave the album four out of five stars writing, "Solid hooks, polished production, cutting-edge tricks, and a star-studded guest list makes this a blockbuster thrill ride, but the reason Planet Pit retains its sense of fun through repeated listens is the man’s cool charisma and cheeky attitude" and concluding, "This is a hip-hop-flavored club effort of Elephunk proportions and another high-water mark for the don of pop-rap's glitter dome.

"[14] The New York Times critic Jon Caramanica gave the album a positive review, calling the album the completion of Pitbull's "long transformation from crunk-era curio to dance-rap star", stating: "The music is ambitious and appealing, surrendering any claim to dignity in favor of huge, swelling progressions and stomping tempos.

[...] It also serves as a warning for pop producers, who can now see that megaclub-friendly dance music — once held at arms length as a scourge of the Europeans — can be home for major American stars in a variety of genres".