I'm not going to write that thorough of a review for this song, simply because there isn't a lot to talk about. The centerpiece of the track is the same sped-up guitar we heard in Schulz's remix of Mr. Probz's Waves, and it didn't get any less catchy while the German producer was gone. Yates is a competent vocalist, and none of the lyrics jump out as particularly dreadful. But while most songs have identifiable strong or weak moments, Sugar feels like it's on autopilot-- which, in the end, is fine. But it prevents the song from being anything with more substance than what you might hear in a hotel lobby. Schulz doesn't screw up anywhere, though, so it ends up being a pretty pleasant listening experience.
This position in 2015: Hailee Steinfeld - Love Myself This position in 2014: DJ Snake & Lil Jon - Turn Down For What
The grandeur here is palpable from the moment the organ kicks in. It's an attention-drawer, and it carries the song along with a fairly standard heavy trap beat. Louisianan breakout Gates naturally maneuvers through the booming instrumentation, gradually building up his verses to their highlights, the second one concluding with a flurry of quick couplets that sound like they should end with a mic drop. The chorus is delivered with vigor, though it sounds corny when the titular phrase is tacked on to his boasts. The track doesn't at all demonstrate the introspection or storytelling that Gates is capable of, but it wasn't meant to. With regards to songs that you might play to get pumped up or to feel good, you could do much worse.
This position in 2015: Kid Ink f/Dej Loaf - Be Real This position in 2014: B.o.B - HeadBand f/2 Chainz
When I hear this song, I think of how much potential was wasted in the process of creating it. Based on this song alone, I would have no idea how brilliant of a songwriter Sia is, or how original and innovative Kendrick Lamar can be. The production, which shamelessly borrows from the now-ubiquitous European tropical house genre, is disappointing. But her voice is captivating as always, and the modest pre-chorus works well. Although Lamar's brief verse is fine, it's completely unnecessary. It turns out that despite the inspiring lyrical message of the song, many of its other aspects are anything but. That said, there was just too much talent in this collaboration for the end result to be poor. Pleasant melodies are scattered throughout the track, the "I got stamina" mantra is a nice touch, and I am a big fan of the fade-out outro, which is woefully underused in mainstream pop music these days.
This position in 2015: Zedd f/Selena Gomez - I Want You To Know This position in 2014: Ingrid Michaelson - Girls Chase Boys
Lil Wayne, Wiz Khalifa, & Imagine Dragons with Logic, Ty Dolla $ign, & X Ambassadors - Sucker For Pain
7.2/10
It's impressive that this sinister ode to masochism doesn't feel overdone, considering that it features more artists than the average DJ Khaled single. I really like the choice of Dan Reynolds for the hook, as his powerful voice provides a great contrast from the four hip-hop verses. Lil Wayne's portion is easily the highlight of the track and of his year; his delivery is intense yet measured, and this is the most focused he's sounded in quite a while. He also throws in my favorite usage of alliteration in any recent song ("might choke like I chewed a chunk of charcoal"). Ty Dolla $ign continues to blur the lines between singing and rapping in the opening verse, which is oddly catchy. Thankfully, the producers seemed to recognize the uselessness of Wiz Khalifa's contribution, quickly fitting it in between Wayne and the outro. This is definitely one of the more understated quality rap-sung collaborations of the year.
This position in 2015: Future - F*ck Up Some Commas This position in 2014: August Alsina f/B.o.B & Yo Gotti - Numb
Its lyrics are never as compelling as the sharp introspection she provided on breakout smash Here, and the vaguely folky production is nowhere near as inspired, but Wild Things is nevertheless a decent effort at the old "uplifting pop anthem for outcasts" thing. But because none of it feels particularly nonconformist, Cara isn't all that convincing. The hook is underwhelming, the simple sentence that carries it taking on far less meaning than the one in Here's chorus. Her songwriting is still astute, though, with crafty references to 808s and rabble-rousers. Alas, her constant references to "we" aren't qualified by the lifeless picture she paints with lines like "the cool kids aren't cool to me / they're not cooler than we are." At least she's excited.
This position in 2015: Tori Kelly - Should've Been Us This position in 2014: Tiësto f/Matthew Koma - Wasted
But yeah, it's a nice song.
though!
don't like this song at first, but video made me love it 
good choices