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4.4 out of 5 stars39
4.4 out of 5 stars
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on 11 May 2001
Jennifer Lopez's J. Lo is a rich mixture of Pop, RnB and Dance but unlike On The 6 It isn't heavily laced with latin influences or Ballads. So here's a track by track rundown of this album. Love Don't Cost A Thing- Sassy RnB stompin track. I'm Real- Oriental feel, has an eighties edge a track definetly made for the summer, you can imagine cruisind in your drop top convertible and I'm definetly sure that P. Diddy is MC-ing on the chorus. Play-Electronic, sassy RnB dance track complete with a curse word. Walking On Sushine- P. Diddy produced House/trance track better than most trance tracks out there. Ain't It funny-Reminiscent of Enrique Iglesias Bailamos. Carino- J. Lo sings in a sultry Mary J Blige-y way over a backing track more at home on a Santana Lp. Come Over-Sexy Sultry song. One for those nights when your'e alone with your partner. We Gotta Talk- Song with loads of attitude J.Lo sings real good on this one. That's Not Me- Operatic Drama. But I don't think J.Lo actually cooks cleans and washes her boyfriends clothes. Dance With Me- Latin influenced precussive track. P. Diddy produced, reminiscent of Busta Rhymes Put Your Hands Where My Eyes can see. Secretly- Sweet Ballad without any kind of bassline. Sounds familiar to Janet Jackson's Again. I'm Gonna Be alright. Sassy Pop RnB confident song. That's The Way- Darkchild produced pop/RnB track. Dame (Touch Me) - Blazing, latin track. Si Ya Se Acabo- No Idea what she's singing but still sounds Good. Album is more poptastic than the last but this is still good.
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on 11 April 2001
I've never been a huge Jennifer fan but I fell in love with both 'Love Dont cost a thing' and 'Play' when I first heard them and decided to give the album a go. To be honest it's a mixture- some RnB, some latino and a few in-between, album fillers that dont do much. The album would be better if certain tracks were a bit more uptempo, since this is what J. Lo does best. Having said that, track 11- 'Secretly' is a soft, gentle and totally listenable chillout tune, it sounds far better when you have someone there (preferably of the opposite sex) to chill with. I also have to disagree with some of the critics who slated track 5- 'Ain't it funny', which I personally love. It's got such a great (if predictable) melody that makes you want to sing along. 'Walking on Sunshine' is probably the most diverse, with a more electronic sound that took me by surpirse since I didn't expect something like it on an album like this- its a new sound that J.Lo can do nicely. 'Play' is one of my favourites since it has buckets of attitude and just makes me want to dance all the time. Although some tracks are a bit samey, the good tracks are very good and I haven't worn them out yet, and I'm not sure that I ever will. If you love RnB and Latino you will probably really enjoy this since both are used to good effect.
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on 22 September 2001
What can I say about this album except.....FANTASTIC!!! This album hasn't been out of my CD player since i purchased it. This album includes the Ja Rule remix of "I'm Real", which is just as good as j.lo's self written original. This album isn't just for latin music lovers, it has excellant R'N'B tracks, like "Dance with me", slow ballads like "Secretly" and even 4 the Latin lovers theres spanish tracks like "Dame". J.Lo's 2nd album is just as good as the 1st and most of the songs on her 2nd installment are in fact written by herself, she co-produced the album...and did a damn good job too!!!!
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on 25 January 2001
J.Lo's quest to conquer so many mediums of entertainment is unparalleled. No other diva-or otha diva, hun-with the exception of Lopez comes to mind who is able to straddle-that is, in the figurative sense-both mediums to such professional advantage: the Revlon commericals, the films-the latest of which is the "Wedding Planner" which in itself is a seamless testimony to the art of the Lopez multi-media cross-pollinating marketing strategy where the lead single "Love Don't Cost a Thing" to her 'J.Lo' set is also a device to advertise the movie-by calculated conicidence, of course.
Lopez does not rule any particluar one of these mediums, however. The multi-platinum success of the non-descript "On the Six" was itself a study in how to make a Spanish/Rhythm-crossover debut that would have mass appeal without catering to any trend; it had overly Latino ballads, funked-up Puffy numbers, and a middle-of-the-road Diana Ross remake "Promise Me You'll Try" that on paper appeared to be enough to rope in the masses.
On the heels of the Latin invasion, Lopez seem poised to dominate the charts without any serious female rival. Innocuous and bland, the material on "On the Six" did not afford Lopez the same dent that the charasmatic showman Ricky Martin was awarded; "the song made the man and the man made the song", conversely "the woman could not make the song and the song did not make the woman". As for her movies: "The Cell" was an eye-catching objet d'art in which "J. Lo" was yet another piece of scenery to sell the paranormal thriller.
She was a mere player-albeit an instrumental one- not a lead actress in the true sense of Streep or Close, and the same applied to her foray into popular music with '99s "On the Six", she was part of the landscape: her thin voice wrapped around bland arrangements a la "Feeling So Good" that were obligatory Puffy or Rodney Jerkins number with no dibs to the stake she wanted to claim-a way to make us buy it more than superficially,in a way that would present her less as a prepackaged marketing tool who was plainly existing to satisfy a corporate end, and finally to establish her as an artist. Of her latest set "J. Lo", the same may not be said; one may find the origins of certain cuts on "J. Lo" contained within its predecessor, but the craft has been honed-not merely by Lopez but the brigade of producers as well.
The bubbly and buoyant "I'm Real" recalls "Feelin' So Good", but the bounty of producers display an old-school flair that would make Lisa-Lisa, to whom Lopez is paying homage,proud. Jimmy Jam and Terry Lewis of Janet Jackson fame- whose music, voice and style is also a heavy element at play-provide the template of style and production circa 1987's Cherelle with the beat-heavy street savvy attitude of a more current Combs release. It would appear that the Lopez-Combs union has yielded sweeter fruits than the media has led us to believe in view of the allegations. On this set and Dream's new set, Puffy has made a concerted effort to define himself as more than a sampler, but as an originator. Bag and Arthur-of Samantha Mumba and 98* fame-also contribute "Play", another old-school tribute to those who paved the way-again Lisa Lisa of "Let the Beat Hit 'Em", another ode to DJs and house parties.
The inclination to be taken more seriously as an artist led to great speculation about the set in the fall of '2000:"Ray of Light" William Orbit was said to be a collaborator on the then-titled "A Passionate Journey", but the work did not make the set. However, "Walking on Sunshine" is a rousing approximation of the result. Ambiently tribal synths not only evoke the atmosphere and imagery of the video for "Waiting for Tonight", but the precepts for the music lie in "Waiting for Tonight" as well-noteably, the Hex Hector remix of the video. And again, the pervasive fetish with regard to the work of Janet Jackson forms the identity of the cut: "Empty" from Janet's "Velvet Rope" found tribal music with an accompanying "Rooo" from an indigenous South Pacific aboriginal type etching the escapist ode to on-line dalliances; The blissed-out "Walking on Sunshine" employs the same technique aping the scheme using a Latin-American or Cuban vibe.
The "That's Not Me" whips to a "No More Tears (Enough is Enough)"rapacious chorus frenzy amidst a very up-to-the-moment clattering drum 'n bass that positions Lopez as disco diva of '2001-if not a vocal match to Barbara Streisand or Donna Summer. Despite the strides made with respect to the production of the set, Lopez's voice is still thin, but surprisingly is more in-sync with slower productions where wailing or overly emotive belts are not required such as on the quiet-storm "Come Over" or "Secretly". Contrastly, on "Love Don't Cost a Thing", the bridge that calls for a her to reach " A Thing, a thing, yeah yeah" proves to reveal the truth of her limited range. Further, the writers and Lopez occassionally engage J. Lo in laughingly abortive attempts at songwriting that by no means indicate she is at fault: it was a collaboration among a bevy of songwriters-namely "Ain't if Funny" and "Love Don't Cost a Thing":
"If I'm gonna floss I got my own"?........... Is this some figurative expression with which only people in more metropolitan audiences are familiar, or is to be read literally-that J. Lo may spend the night, but she certainly will not bum floss the next morning or that night? To ponder further is the incongruity of the content of the cut: in one breath "Mercedes Benz"is the object of contention, the next is "floss". The ostentatious baroquely epic intro to the cut is even more ponderous in wake of what follows.
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on 16 February 2002
I was quite pleasantly surprised after hearing 'j-lo' for the first time, the album is fairly diverse.The first six tracks are outstanding, coincidentally, all of the singles are here, with 'play' being the standout track of the album, and the one that made me give it a look.Its so uplifting and makes you want to dance. J-Lo's vocals are strong and silky throughout, and work best on latino-tinged tracks such as 'Aint it Funny'.I completely disagree with comments saying that this is a weak track - its one of the best.The only disappointment is the increasing spanish lyrics towards the end, which gets a bit boring.The inclusion of Ja Rule's remix is a fresh contrast of rough rap and smooth r&b, and excels the original track, which is fairly average, and in my opinion, shouldnt have been a single.A potential hit is 'walking on sunshine', which is full of what J-Lo does best, uplift us all with catchy dance tunes.I recommend that you give J-Lo a look, you just might be pleasantly surprised!
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on 25 September 2001
Only reason to buy this Import version of 'J-Lo' is for the I'm Real remix featuring Ja Rule. Even though the recent performance at the VMAs 2001 was slightly disappointing the tune kicks. Play it in your car with the base pumped up and you'll know what I mean!
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on 11 October 2001
Jennifer Lopez is huge. HUGE! 3 number one movies in a row. Officially the sexiest woman in the world. Dammit, she even has a catch phrase instead of a name. But the music has always been her weak point, until JLo - the biggest, loudest, stupidest, funnest pop album of the year bar none.
Thankfully she has abandoned the Latin diva pretensions of her debut On The Six and has adopted a brand new ghetto fabulous image, attitude and sound.
And it's fantastic! Love Don't Cost A Thing totally saturated the radio this winter, but still sounds fresh. It also reflects the album's sound - lots of noise, lots of hooks and lots of Jennifer. Unlike many albums, JLo is refreshingly free of pointless collaborations and instead focuses on Jennifer, centre stage the whole way through.
Some tracks are spacey and futuristic like the obligatory Rodney Jerking song That's The Way (very groovy) and P Diddy contribution Walking On Sunshine.
But basically, the album has a safe, retro sound. Check out I'm Real for some classic 80s pop, or Play for a squelchy disco wig out. Other highlights include the devilishly funky Dance With Me and the sprawling epic That's Not Me.
Even the Latin songs are good. Carino is brilliantly catchy and has a nice live band feel, and Si Ya Se Acabo is the most mature song on the album - authentic, classy and (gasp!) well sung.
Yeah, she's no Mariah, but Jennifer has a sweet, supple voice and handles everything here with ease and confidence, especially the sultry ballads Come Over and Secretly.
All in all, this is definitely not art, but it is good fun, and has a hell of a lot more style and class than most of the crap in the charts. Oh, and the photos are nice too. Genuinely excellent stuff from one of the world's true stars.
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on 2 June 2001
After hearing the rather lacklustre 'On the 6', I was a bit sceptical about the Jennifer Lopez follow up. However, I must admit that if you are after cutting edge pop tunes then this is the only album you need. From slow sexy tunes such as 'Come Over' to the truly uplifting pop of 'That's the Way' or 'Play' you can't go far wrong. Forget Britney - vote Jennifer!
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on 12 May 2001
Wow Jennifer! I'm really suprised!
LOVE DON'T COST A THING- 8/10. Nothing to say. Everyone knows this one. A bit overplayed.
I'M REAL- 6/10. OK, she could have left this one out.
PLAY- 10/10. Whoa! This one is so cool! I love the music that sounds a bit like a computer game when you play it on high speed.
WALKING ON SUNSHINE- 7.5/10. This one is really OK. Cool electronic sound.
AIN'T IT FUNNY- 7.5/10. This one sounds a lot like Madonna's "La Isla Bonita". Not the best.
CARINO- 10/10. Excellent latin track! Very catchy and very good!!!
COME OVER- 10/10. Some may hate this song but I love it! It's really really slow and has a really sexy sound to it.
WE GOTTA TALK- 8.5/10. Very nice and very catchy pop song.
THAT'S NOT ME- 10,000/10. I LOVE THIS SONG!!!! I can play it over and over again for hours. Slow RnB track with a really fun and fast chorus.
DANCE WITH ME- 5/10. One of the worst songs on this album. Terrible chorus. The music is the only reason I gave it +5 points.
SECRETLY- 4/10. I never listen to this one because I always fall asleep in the middle of it. SO BORING!!!!
I'M GONNA BE ALRIGHT- 7/10. OK. Nothing else.
THAT'S THE WAY- 6/10. An annoying "Darkchild" song.
DAME- 4/10. OHHHHHHH........ I hate this song! It's too boring! And I have no idea who Jennifer is singing with....
AI YA SE ACABO- 10/10. Great spanish track. I love it!!! Do not skip over this one! You can really hear Jennifer is putting everything she can to this song.
GREAT! BUY IT NOW!
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on 24 July 2008
Never mind the mention of 'explicit lyrics' in the title for this CD, the track 'Play' has had words removed to satisfy whatever overbearing record execs care about this stuff. I haven't checked the other tracks, that's enough for me to send this one back.
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