![]() ![]() on the dance floor to a song that appeared to feature both their vocals. It was released on February 22, 2011, as the lead single from Lopez' seventh studio album, Love It samples the song ' Lambada ' by Kaoma. Jennifer Lopez posted a video vibing to a Drake song alone in the D.R., Sunday. She piles on Hispanic signifiers - bullfight trumpet in “Ain’t It Funny,” flamenco guitar in “Si Ya Se Acabo” - only to sound like she’s repeatedly remaking Madonna’s “Isla Bonita.” Though Lopez doesn’t repeat the mistake of placing her thin voice alongside a vastly superior singer (as she did in duets with Marc Anthony on her 1999 debut, On the 6), she can’t stand up to the horn sections in “Carino” or “Dame,” either. from the album Love ' On the Floor ' is a song recorded by American entertainer Jennifer Lopez. But her latest nods to Latin pop sound contrived. Lopez hasn’t forgotten her unusual position as a Latina who has triumphed in the American mainstream. When the songs move toward the dance floor - two of them explicitly call out to DJs - stringy sounds are replaced by brittle techno blips, as in the speedy pop-trance workout “Walking on Sunshine” (not the Katrina and the Waves song but a new one whose writers include Lopez and her boyfriend, Sean “Puffy” Combs). Brave is the sixth studio album by American singer and actress Jennifer Lopez.It was released on October 4, 2007, by Epic Records.Inspired by her marriage with Marc Anthony and taking influences by Jamiroquai and Sade, Brave features prominently samples from 1970s songs, and R&B music. Warning songs such as “That’s Not Me” move in nervous, skittering syncopations, layering half-speed vocal lines over double-speed runs, creating a balance that might fly apart with one missed pager beep.įor ballads, Lopez tries to coo and whisper like Janet Jackson, inviting a “sweet kiss on my thigh” in “Come Over,” though you have to wonder about her taste in men in “Secretly,” which praises a guy whom she can smell across the room. But his influence (along with Kevin “She’kspere” Briggs and their shared source, Timbaland) is all over the album, as acoustic guitars and computer-generated harpsichord tones pick out airy, minimalist lattices. American icon Jennifer Lopez has been a pop mainstay since the late 1990s. Rodney (“Say My Name”) Jerkins produced only two songs on J.Lo, and they’re not his best. Modeled around her merely adequate, studio-assisted voice, J.Lo shamelessly follows the lead of TLC, Destiny’s Child, Janet Jackson and Madonna, as Lopez singsongs through one clever staccato construction after another. So it’s fitting that most of the music sounds like jigsaw puzzles: showers of tiny bits and pieces that interlock as complex, coherent songs. In “I’m Real,” one of seven songs on J.Lo for which Lopez shares writing credit, she offers voluptuous good times as long as you “don’t ask me where I’ve been.” While she brags that she’s made you fall in love, an admiring male voice chants, “She’s a bad, bad bitch.” Getting through the post-feminist hip-hop contradictions here is more of a brain twister than finding the bad guy in The Cell. ![]()
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