The lowdown: Gaga switches up the gender dynamics on this hard-hitting synth jam. Playing the “G.U.Y.,” she takes control of her relationship from the submissive sexual position under her man. It’s an intriguing idea for a pop song to explore—for all the bluster about melding art and pop, this is one of the album’s few high-concept tracks—though Gaga’s penchant for lyrical camp does it a disservice. (No more nonsensical Twitter references, please!)
ATRL says...: "The catchiest hook she has every concocted!" wrote Penk. "Lyrically this is much stronger than most of the album, too." Stevie loved “how the song is able to turn itself inside out, return back to form for each chorus, display some clever songwriting and female/bottom empowerment, and not take itself too seriously (which we know can sometimes be difficult for Gaga).” helloDer raved that it "should’ve been the lead single!" lovesong thought it was the best song on ARTPOP. "Maybe because it reminds me of early Gaga, back when I actually kind of liked her," he said. Himeros had a similar take: "My favourite ARTPOP track brings back The Fame Monster's flavour. The bridge is beyond real and the lyrics are smart. This is exactly what I wanted on ARTPOP. Who said Gaga has lost her touch?" Not everyone was such a fan. "Horribly overrated," said AriNikoBradshaw. "The intro is a mess, the chorus is messily produced, and the lyrics are gross." JakeKills called it "a painfully unsexy sex song that achieves near-greatness thanks to its pre-choruses and bridge."
Best bit: "I don’t need to be on top to know I'm wanted/'Cause I'm strong enough to know the truth"