Do we have opinions on Eiffel 65? Maybe…

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[3.64] 

Martin Kavka: Yes, the rush one feels when one sees someone attractive makes one feel as carefree a child, and so it’s appropriate to set this hey-hot-babe tale to a sample of Eiffel 65’s “Blue.” Nevertheless, the lack of innocence here – especially as Flo Rida commands the woman to go down on him in the second verse – turns this track into something a wee bit more sinister.
[5]

Dave Moore: Flo Rida goes back to the Europop well with another waiting-in-the-wings diva (this time Wynter Gordon of “Surveillance” non-fame) and another easy, ebullient hook. Unfortunately, Rihanna essentially beat him to this one with “Disturbia,” but it’s only a hop, skip and jump to Chipz’s “1001 Arabian Nights” as cross-cultural paean to having sex with Muslim women, co-starring Nicole Scherzinger with a tactlessly incongruous bindi.
[5]

Jordan Sargent: In a way, I admire his willingness to turn into America’s first eurocheese rap star, because the step up in levels of shamelessness from having three singles on your first album produced by T-Pain, Timbaland and will.i.am to two on your second album blatantly stealing from international super-hits is pretty steep, even by pop’s standards of shamelessness. Mostly, though, I don’t like to think about Flo Rida songs because his music is stunningly soulless. Other vehicles – Britney, Katy, Kelly – have angles, storylines, personalities. Flo Rida’s angle is that he is to be popular because he has been deemed as such. And, you know what, I appreciate craft and professionalism, so I can get with that. But this chorus is lifted directly from “Blue (Da Ba Bee)”, so really, fuck you.
[0]

Rodney J. Greene: I have no idea whether or when this will start to get on my nerves, but what occurs to me in the meantime is that the great thing about Flo is how completely unabashed of a sellout he is. He makes no bones of his pop-ness, because it ain’t no thang to him. I get the impression that the T.I.s of the world at least feel an appropriate measure of pious embarassment when attempting to pull off shit like this.
[7]

Edward Okulicz: I’m pretty OK with both the idea and reality of dodgy rap songs that sample dodgy Europop classics, mostly because I love a bit of Europop and sometimes it doesn’t have to be about anything more than what makes you move. But you’ve got to do something that renders your song not appreciably worse than its source material. The best thing about Eiffel 65’s “Blue” was its relentlessness, driving the hook into your head, shoving a glow-stick into your hand and making you dance. Without the heavy party beat of its source, “Sugar” just sounds air-headed and annoying.
[2]

Joseph McCombs: Maybe I should just be happy there’s still such a thing as party rap; the sample’s earwormy if dippy, and Flo would’ve gotten away with it if not for those meddling lyrical unskills of his (What’s that, Flo – candy is sweet? You don’t say!).
[3]

Alex Macpherson: The problem isn’t really Flo Rida’s shamelessness in hijacking the Eurosample bandwagon and taking it further and cheesier than far more deserving tracks by, e.g., Wiz Khalifa, Hood Headlinaz, Princess and Three 6 Mafia. It’s not really his relative lack of skillz, either. It’s that Eiffel 65 sucked then, and suck now, in whatever context you care to place them in. When am I going to get my Darude-sampling hip-house tune, anyway?
[3]

Additional Scores

Ian Mathers: [1]
Martin Skidmore: [6]
Keane Tzong: [4]
Alex Wisgard: [4]