"act[ing] as if she's doing a lover a favor and challenges him to come through." The sixth track "4 in the Morning" is a 1980s-inspired synth-pop ballad that lyrically deals with a relationship on the edge, while "Yummy" is a dance song, with a tribal rhythm, cameo by Pharrell Williams and lyrics that finds Stefani declaring that "making babies leaves her eager to feel sexy again." "Fluorescent" features Angelo Moore on saxophone, and was compared to the works of Madonna and Prince, while "Breakin' Up" has influences of hip hop and electronica and it is "a breakup song built on a dying cell phone metaphor." The tenth track, "Don't Get It Twisted", talks about an unexpected pregnancy, in a song influenced by reggaeton. "U Started It" was noted for having "lilting melody, silken harmonies, and pizzicato strings", while the final track, "Wonderful Life", was named a Depeche Mode-style synth ballad about how much she misses her first love and how the person had a profound impact on her. Critical reception The Sweet Escape received mixed reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 58, based on 24 reviews. Stephen Thomas Erlewine of AllMusic wrote, "From the stilted production to the fashion fetish, all the way down to her decision to rap on far too much of the album, all the dance-pop here seems like a pose." Alex Miller of NME was more emphatic, dubbing it "this year's bargain-bin fodder", and stated that "the majority of this record serves only to bury what made Gwen Stefani unique in the first place." At Entertainment Weekly, Sia Michel noted that the album "has a surprisingly moody, lightly autobiographical feel" but that "Stefani isn't convincing as a dissatisfied diva". Pitchforks Mark Pytlik described the album's oddities as a career risk for Stefani, where most of the "gonzo pop songs yield some degree of payout" but that Stefani's tight scheduling during production of the album leaves the result "somewhere between the vanguard and the insipid." Paul Flynn of The Observer characterized the album as less interesting than Fergie's The Dutchess and Nelly Furtado's Loose. Robert Christgau cited the song "Yummy" as a "choice cut" (). The album received criticism for its similarities to Love. Angel. Music. Baby. Sal Cinquemani of Slant Magazine opined that "[h]istory will likely