her man; according to Caitlin White of the website The 405, these line "exhibit deep assurance of her usual freedom". During the second part, the lines "turn that cherry out" are repeatedly sung followed by the lyrics "I'm-a let you be the boss of me". She finishes the second part by delivering, "Don't slip off when it drip off on top of you... Gimme that daddy-long stroke". The second part was further described as a "masterful recreation of mid-'80s First Avenue funk". At the end "Blow" features a French-language interlude. The song's composition mostly drew comparisons to Prince, Janet Jackson and Timberlake. Whitney Phaneuff from the website HitFix wrote that "Blow" sounded like it was written by Prince; Writers of Spin and Variety compared it with his song "Dirty Mind" (1980) which was being used as a template for creating "Blow" and its minimalist new-wave sound with the song's parent album. The Verges Trent Wolbe noted similarities to his song "Erotic City" (1989). Joey Guerra of the Houston Chronicle described it as a "disco-fueled ode to oral sex that erupts into a Prince-inspired funk groove". Greg Kot from the Chicago Tribune compared the song's electro-funk groove with Jimmy Jam's collaboration with Janet Jackson during the 1980s while Sheffield also compared it with Jackson's album The Velvet Rope (1997). Julia Leconte of Now magazine opined that Beyoncé "manages a Janet Jackson delivery over a Michael Jackson beat" with the song. Evan Rytlewski of The A.V. Club compared the pace of "Blow" with the songs on Timberlake's albums FutureSex/LoveSounds (2006) and The 20/20 Experience (2013). Andrew Hampp and Erika Ramirez of Billboard found similarities between "Blow" and Beyoncé's previous work with Williams on the songs "Kitty Kat" and "Green Light" from her album B'Day (2006). Tom Breihan from Stereogum compared the "organic breezy joy" of the song with the one found on Solange Knowles' extended play True (2012). It also received comparisons with "Blurred Lines" (2013), Rick Jamess Cold Blooded album (1983) and its guitar riff with Mtume. Critical reception Writing for Rolling Stone, Rob Sheffield called the song the best one on the album. Jon Dolan of the same website described it as the "hottest slinky Seventies electro-soul jammy". Idolator reviewer Mike Wass described it as a "contender for the song of [2013]." The A.V. Clubs Evan Rytlewski thought that the song was "the last great disco song" of 2013. AllMusic's