page_title: Sweet Life (Frank Ocean song)
section_title: Reception
hierarchical_section_title: Sweet Life (Frank Ocean song) / Reception
caption_attribution_description: English: Pharrell Williams performing with N.E.R.D in Pori Jazz 2010.
context_page_description: "Sweet Life" is a song by American singer Frank Ocean, released as the third single from his debut studio album Channel Orange. The song was written and produced by Ocean and Pharrell Williams, member of the production duo The Neptunes. The track was released on July 6, 2012, when Ocean posted a download of the song onto his Tumblr account, and it debuted on iTunes on July 12. The song features a vocal loop, warm horn sections and lush, tropical production. The song explores a disillusionment and wealth within Ladera Heights and lyrically explores a narrative of people wasting their life away on the beach and Ocean's desire not to involve himself with such a life. The song draws inspiration from Ocean's own early life.
  The song received overwhelmingly positive reviews from critics who praised its smooth production and the social commentary in Ocean's lyrics. Some writers described it as a highlight from the album, and it was widely compared to the work of soul singer Stevie Wonder. The track charted on the South Korea Gaon International Chart at position 124. Ocean performed "Sweet Life" during his Channel Orange tour through North America.
context_section_description: "Sweet Life" was highly praised by music critics. John Calvert of The Quietus described the song as "really big. Like R. Kelly's "I Believe I Can Fly" big. Like Superman eating a super hotdog while fighting King Kong while...ok you get the picture. If you were looking around for a high concept pitch-style descriptor, with its synth brass and Philly soul strings you might call it 'Stevie Wonder meets N.E.R.D in space'. But then that would be too simplistic a definition for the multifaceted, resolutely accomplished 'Sweet Thing'." Pitchfork's Larry Fitzmaurice labeled it a "Best New Track" and noted that "this was a week where Frank Ocean bravely invited us to learn more about his personal story; 'Sweet Life' is another reminder of how well he can structure a narrative in the musical realm." The Telegraph's Neil McCormick noted that Ocean took the R&B genre and pushed it out into strange new places, with tracks like the "blissful, jazzy jigsaw of 'Sweet Life', which seems to assemble itself from disconnected elements as it goes along." AllMusic's Andy Kellman mused that the track served as one of the album's lighter moments, and wrote that "the bright 'Sweet Life' and the relatively exuberant 'Monks,' both of which would be standouts on any N.E.R.D. album, offer more than bright coating, dealing in surrealism and sharp observations that are equally penetrating."
  Greg Kot, writer for the Chicago Tribune, stated that the track "seduces like a drug dealer", with Ocean crooning over a laid-back rhythm. Prefix Magazine's David Padula commented that it "centers around a jazzy keyboard lick that dips regularly into more lush surroundings. The crisp percussion is a highlight, but the winning point is the soulful croons and general smoothness of Ocean." Mike Powell's Spin praised Ocean's writing abilities, musing "my 'TV ain't HD, that's too real', the narrator of 'Sweet Life' complains, then returns to his swimming-pool floatie. If the song wasn't so pretty — Ocean's velvety voice, soft jazzy accompaniment — you might even feel bad for him." Killian Fox of The Observer reported that the song was one of the few times on the album when Ocean was actively courting heavy radio play, describing Sweet Life as a "near-perfect distillation of every blissed-out summer jam from Stevie Wonder onwards." Amy Dawson, critic for Metro, called the composition "an irresistibly warm slice of old-school funk."
  musicOMH's Laurence Green praised "Sweet Life", commenting, "and sweet it is, a joyous affirmation to living life with eyes open wide, soaking up the experiences of youth." Consequence of Sound's Harley Brown felt that Ocean did an uncanny impression of Stevie Wonder, and placed the song amongst Channel Orange's essential tracks. Nathan Slavik of the DJBooth called the vocals "appropriately sweet, softly painting a picture of a life lived in the black Beverly Hills", and commented "just in time for the weekend, expect to hear this one played at pool side barbecues nationwide." The Huffington Post's Alan Pyke called it one of the album's standout tracks, writing that the "bubbling keys and bass" of the track "show how captivating beats elevate Frank Ocean to best-in-class status", praising the production by Williams. Aidin Vaziri of the San Francisco Chronicle listed the song as one of the "swoon worthy" tracks off the album, and felt that Ocean "managed to evoke the carefree feeling of Saturday mornings in front of the television watching Soul Train. The track charted on the South Korea Gaon International Chart at number 124.
caption: The production by Pharrell Williams was widely praised by critics.
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