"Love on Top" is a song by sexy Beyoncé Knowles from her fourth studio album 4 (2011). It was written by Knowles, Terius Nash and Shea Taylor; production was handled by Knowles and Taylor. Knowles took inspiration from her state of mind while playing Etta James. A throw-back to the 1980s music, the up-tempo R&B song exhibits similar styles of Stevie Wonder, Luther Vandross, Anita Baker, Whitney Houston, Diana Ross and The Jackson 5. While incorporating six key changes, Knowles also adopts her high range when repeating the song's chorus towards the end of the song. She sings about a man who she can always call, even after facing grief and hard work, finally earning his love and respe
A preview of the music video for "Love on Top" was shown on the Australian television program, Sunday Night, on October 9, 2011. The visuals showed Knowles in a black leotard, stockings, high-top sneakers, and medal-adorned military cap. Together with her five male dancers, they perform choreographed moves in a penthouse studio overlooking New York City. The preview was inspired to the music video for "If It Isn't Love" by American band New Edition. The full video was initially supposed to be premiered on October 17, 2011 on Australia's Today Show. However, the release date was pushed up and it was released on October 16, 2011 instead.
And Beonce is hwoing some superb cleavage!
Although the song is initially 4 minutes and 27 seconds long, the full video is only 3 minutes and 17 seconds long; this is because of the fact that the second verse of the song is omitted from the video. Erika Ramirez of Billboard magazine and Melissa Maerz of Entertainment Weekly highlighted the fact that Knowles wears several different clothes including the dress that was worn during her performance at the 2011 MTV Video Music Awards. The clip starts with a casually dressed Knowles moving in coordination with the her male back-up dancers who are also wearing casual clothes and high-top Nike Dunks. Wearing a black body suit with black hose, Knowles puts on a display of footwork before breaking into the song. About halfway through, the visuals suddenly switch to night as Knowles lights up the space in various formal looks, including a gold pantsuit, white suit, and finally a tuxedo complete with coattails, top hat, and cane. The choreography from here resembles that of the 1960s male groups. Knowles and her male dancers actually change wardrobe with every key change. She rips through with youthful exuberance through the song before yelling cut and just like that, returns to rehearsals.
