User:Jivesh boodhun/Sandbox20

Song structure and lyrical content
"1+1" is a downtempo power ballad derived from the genres of R&B and soul music. The song features "a soft, almost non-existent" backing beat, and makes use of a guitar and a piano as its foundation, while wind chimes and funk-influenced bass instrumentation is also present. Matthew Perpetua of Rolling Stone felt that "1+1" calls back to both Sam Cooke's "Wonderful World" (1960) and Prince's "Purple Rain" (1984). Using simple arithmetic to describe her undying love for her partner, Knowles sings to the former, and "explains that the only thing she's sure about is her feelings for this man". Slowly spreading synthesizers notes and a drum-machined as well as a hand-clapped rhythm, "I Care" writhes through the ache and the obsession that come from being the one left in love, as described by Holly Gleason of Paste magazine. "I Miss You" is a midtempo ballad, which draws form the genres of R&B and contains elements of pop music. Built on a simple puttering metronomic beat "I Miss You"'s instrumentation consists of "layers of atmospheric keyboards", ambient synthesizers, and tinny 808 drums Described by Matthew Horton as a song that "tug[s] heartstrings", "I Miss You" finds Knowles, as the female protagonist, ruminating over her relationship with her ex-love interest without firm verdicts. "Best Thing I Never Had" is a midtempo pop and R&B ballad with influences of gospel music. Its instrumentation consists mostly of a piano melody intro and outro as well as strings with some layered female vocals providing background support to Knowles' singing. Lyrically, "Best Thing I Never Had" is about the breakup between Knowles as the protagonist and her lover, the break-up suiting both parties.

"Party" is a mid paced song that draws from the genre of R&B. It also exhibits elements of funk music, as well as soul music, and is built on "scooping, gliding multi-tracked" 1990 girl-ground harmonies, as stated by Thomas Conner from the Chicago Sun-Times, and Ryan Dombal of Pitchfork Media. According to David Amidon of PopMatters, the song's music "is largely reminiscent of late 1980s diva histrionics"; it has a 808-retro beat and a 1980s style smooth groove. This is further illustrated by the song's instrumentation, which consists of 1980s slow-bouncing synthesizers and bubbly 1980s keyboard tones. Lyrically, "Party" finds Knowles as the female protagonist in the mood for some loving as well as referencing to a get-together for two persons. In the chorus lines, Knowles she harmonizes over the sample of the 1985 song, "La Di Da Di". André 3000 surfaces around the 2:15 mark with some very naughty references to milk before switching gears altogether and getting philosophical about his own career. Conrad Tao of Sputnikmusic stated that in "Rather Die Young", Knowles plays the female protagonist who is in love with a "bad boy" who "drive too fast" and "smoke too much", nevertheless, she considers him to be her James Dean and futher adds that he makes her feel like she is seventeen." Knowles declares that she prefers to die young rather than to live her life without her lover and that she will never stop caring for him even though he does not care for her. "Start Over", which is a love song, begins with "warbly as well as lighthearted drum beats", and finds Knowles affirming her individuality and expressing her love for a man with whom she attempts to start a relationship all over again.

"Love on Top" is an up-tempo R&B song viewed as a modern take on old school music. It also exhibits elements of retro-soul music and the 1980s pop music. According to Slant Magazine Eric Henderson, "Love on Top" is a "bright, breezy tribute to the freshness of mid-[19]80s, pre-new-jack-FM R&B reminiscent of a pre-crack Whitney Houston and pre-wack Anita Baker". "Love on Top"'s retro elements are further illustrated by its use of finger snaps and a melding of horns as well as sweet backing harmonies, especially in the bridge and the chorus of the song. It is instrumentally complete with a thumping bass line, synthesizers, tribal drums and an arena-rock music piano, a guitar and some backing vocals. Rich Juzwiak of The Village Voice, who compared "Love on Top" to Raydio's "You Can't Change That" (1979) and New Edition's "Mr. Telephone Man" (1984), noted that Knowles "ecstatically and hyperactively" changes keys six times during the entire song. As stated by Scott Shetler of PopCrush, Knowles constantly sings praises of her love interest in the first verse where she also seemingly sends him subtle digs as he did not give her his full attention in the past.

"Countdown", which samples "Uhh Ahh" performed by American group Boyz II Men, was considered to be "everywhere on the genre map" by Consequence of Sound's Chris Coplan. "Countdown" makes heavy use of staccato horns, and rides a "disjointed military rhythm", containing "an agitated" Afrobeat heavy brass riff. Additional instrumentation on the song includes a "squelchy keyboard", synthesizers, and 180 BPM steel drums. Throughout the song, Knowles sings with "a sassy attitude", setting a "futuristic tone", as stated by Jocelyn Vena. According to Dombal, "Countdown" finds Knowles as the female protagonist delivering her "message of ten years of loyalty seeming just as thrilling as the first time" to her love interest. "End of Time" is an uptempo R&B-dance song. The song also contains elements of funk, Afrobeat and Latin jazz. Its instrumentation consists of marching band percussion, heavy drums, and staccato horns reminiscent of the B'Day era. Thanks to these musical instruments, a high energy level is maintained throughout the song. Charley Rogulewski of AOL Music commented that the song channels Quincy Jones and Michael Jackson's "Off the Wall" (1980) production with horns kicking in midway through the song. Brad Wete of Entertainment Weekly added that "End of Time" also has some vibes of Michael Jackson's 1983 single, "Wanna Be Startin' Somethin'". Lyrically, "End of Time" is about Knowles, as the female protagonist, professing her everlasting love with both ferocity and passion.

According to Georgette Cline of AOL Music's The Boombox and David Amidon of PopMatters, "I Was Here" is a downtempo R&B ballad, which lyrically features Knowles, as the female protagonist, who wants to make her mark on this Earth before her time is up as she desires that the world remember her impact."  "I Was Here" finds Knowles' vocals coming along over piano keys and big drums provided by OneRepublic frontman Ryan Tedder and his fellow bandmate Brent Kutzle, and indie-rock guitars. "Run the World (Girls)" is an R&B and pop song. Jocelyn Vena of MTV News described the song as a "female empowerment/girl power type of song", like several of Knowles' previous singles, including "Independent Women" (2000)&mdash;with Destiny's Child&mdash;and "Single Ladies (Put a Ring on It)" (2008).  Shea Taylor said that the track is reminiscent of Michael Jackson's "prime" work. "Run the World (Girls)" also generates dancehall influences in the tradition of "Get Me Bodied". The "high energy" song contains elements of go-go, and is set to a marching beat which samples popular club song, "Pon de Floor" by Major Lazer and Vybz Kartel. It consists of heavy synth pangs and a militaristic drumbeat beneath Knowles shout vocals. Sharp African percussion is represented in the song by intense band-style drums. As stated by Rap-Up, Knowles is dominant over men in "Run the World".

As stated by Ian Walker of AbsolutePunk, "Schoolin' Life" consists of old-school horns, crashes as well as a 1980s-inspired beat and "literally oozes confidence". Channeling Prince, Knowles detailing her experiences growing up. In other words, she gives listeners a flashback to her friskier days: "I'm not a teacher, but baby I can teach you somethin' / Not a preacher but we can pray if you wanna / Ain't a doctor, but I can make you feel better / But I'm great in writing physical love letters/ I'm a freak all day, all night [...]." On "Lay Up Under Me", Knowles tells her love interest: "You ain't gotta worry [a]bout a club, just come on lay up under me tonight." Ryan Domabal of Pitchfork Media found the song to be largely reminiscent of the Off the Wall era.