Jennifer Lopez Dance Again Album Cover
On her debut studio album "On The 6," Lopez pays homage to both her Latin roots and New York City upbringing.
All-time song: "Waiting for Tonight" is a pure euro-trip the light fantastic toe pop vocal full of zest. It's inspired numerous lodge mixes and became a favorite of party-goers around the globe. To put it simply, information technology'south iconic.
Worst vocal: The very tired, prescriptive R&B track "Too Late" sounds like any other mainstream vocal of the time.
The chorus, "First you lot say that you have to go away (Oh) / I never should've been with you anyway" only adds to the vocal's overall genericness with its lack of ingenuity. It likewise gets old way before the track concludes.
Lopez's self-titled anthology, "J.Lo," had several successful singles, including its best vocal.
All-time vocal: The exhilarating "Beloved Don't Price a Thing" is a bass-booming classic of Lopez's and a must-listen for anyone exploring her discography.
On the track, Lopez fully takes accuse, embracing her security and independence equally a adult female, with straightforward lyrics like, "Remember I'one thousand gonna spend your cash (I won't)" and "If I wanna floss , I got my own."
Worst vocal: "Secretly" is the merely carol on this album, which breaks upwardly the flow of the upbeat tracklist.
While this rails isn't necessarily bad on its own, it'd probably feel more than at home on an album that isn't grounded in electronic and R&B numbers.
"This Is Me... Then" is a soulful love alphabetic character dedicated to Ben Affleck.
All-time song: "All I Accept" is a co-ed collaboration on par with other early-2000s duets similar Ja Rule and Ashanti's "Ever On Time" and Nelly and Kelly Rowland's "Dilemma." It has a perfect balance of irksome-jam sexiness and unabashed vulnerability.
Everything from the bluesy introductory vocals to LL Cool J's echoing vocals to the excellent hook ("All my pride is all I take") makes this a lasting hitting.
Worst song: "The 1" should be deleted from this anthology. We wouldn't fifty-fifty miss information technology because there'due south another, slightly ameliorate, version of it on the same tracklist, called "The One - Version 2."
In that location'due south no reason to include two versions of the same song, especially since they're virtually-identical. Information technology just adds unnecessary clutter.
"Rebirth" was musically dull and commercially unsuccessful compared to her other albums — but information technology did nascency i radio striking.
All-time song: Lead single "Get Right" boasts a rhythmic beat and a euphoniously clarion saxophone that are plenty to brand you want to hitting the dance floor. Lopez also exercises her rap-similar skills in melodic verses throughout the track which only adds to its impressiveness.
Worst song: "Whatsoever You Wanna Do" is all dissonance and no creativity. The rail is agonizingly carried by the titular phrase and a blurted "Woah," which gets monotonous less than halfway into the song.
The bridge is also fully comprised of the same toneless phrase, merely with the addition of an elementary "Hey," ultimately creating one big filler rails made upwardly of filler words.
"Como Ama una Mujer" is a ballad-heavy projection sung completely in Castilian.
All-time song: While "Tu" is a considerably long carol, every second of it is absolutely beautiful.
Lopez uses the length of the track to actually showcase her vocal range and breathing techniques over peeled-dorsum production.
Alongside moving violins and spirited electric guitar work, she elegantly stretches out the discussion "Tu" (Spanish for "you") through an enchanting chorus.
Effort was clearly put into "Tu," both vocally and instrumentally, enabling the listener to really feel the passion and beloved she has for that special someone, making this track feel like a genuine love song.
Worst song: The title track stands out in the worst mode possible: with a runtime of half-dozen minutes, it'due south the longest track on the album. My attention span is only so wide, and the piano-heavy, slow-moving orchestration only makes me desire to tune out sooner.
The song does kickoff to build closer to the two-infinitesimal mark, but by and so information technology's too tardily.
"Brave" explores the beauty and tragedy of romance.
All-time song: "Practise Information technology Well" (featuring Ludacris) is reminiscent of her hit 2002 vocal "Jenny From the Block," which is probably why it's then skillful.
The striking audio of a marching band in the background keeps everything animated while Ludacris' clever wordplay and hybrid English-Spanish rap verses add another dimension to this already fun runway.
Worst vocal: "Brave" is another championship rails lacking quality and luster.
Over some very bland production, Lopez explores lessons of love and sides of vulnerability. Her vocals hither are rather restrained compared to the rest of the album, and the instrumentals are zip special, making it a forgettable track and a deep cut to rarely be revisited.
"Love?" is a pure dance-pop anthology with some bangers like "On the Floor."
Best vocal: "On the Flooring" is full of color and personality — from Pitbull's complimentary rap verse at the outset and his various Latin chants to the lovely pairing of Lopez's therapeutic vocals and tropical business firm-leaning sounds.
Worst song: On "Good Striking," Lopez'due south voice is distorted via chaotic, Black Eyed Peas-like autotune, which mostly makes her sound like an unsolicited robot.
As well, lyrics like "I got that proficient hit / Don't you lot wish I was your boo," and "Got that New York swagger," are specially cringeworthy and surely didn't age well.
"A.Grand.A." is a generally forgettable album, with the exception of its 1 standout striking.
Best song: "I Luh Ya Papi" (featuring French Montana) encompasses the standard popular flare, while too embracing some Latin cheekiness.
It's a playful ditty with a elementary, cutesy hook and French Montana'southward verse only elevates it.
Worst vocal: Despite the title, "Emotions" doesn't give much emotion — and lacks variety when it comes to the note changes.
Rather than endeavour to flex her range, Lopez settles for unconvincing vocals in a spiritless piano-based ballad carried by a repetitive hook ("Someone took my emotions / Don't forgive me, I didn't inquire").
This is definitely no "Emotions" past Mariah Carey.
This is an opinion column. The thoughts expressed are those of the author(s).
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Source: https://www.insider.com/jennifer-lopez-best-worst-songs-every-album-2021-7
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