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Pop/Rock - Released July 24, 2012 | Epic

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Pop - Released June 1, 1999 | Work

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Pop - Released April 7, 2016 | Epic - Nuyorican Productions

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Pop - Released January 1, 2011 | Nuyorican Productions - IDJ

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Pop - Released January 23, 2001 | Epic

Most snickered when Jennifer Lopez made her pop move in 1999, figuring that it was no more than a one-off vanity project. As it turns out, she was as serious about her pop career as she was about acting, and even if she didn't possess a particularly distinguished voice, she was earnest and had some good mainstream pop singles, delivered with some seriously sexy videos. On the Six was big enough of a success to raise expectations for its sequel, J.Lo, the first self-styled blockbuster of 2001. Essentially, this is the same album as On the Six, only a little longer with a little less focus and not as many memorable songs. This lack of winning singles becomes a drag, since at over an hour, the record meanders much longer than it should. Yet, meander isn't really the right word, because the album sets its tone from the start, with the ingratiating "Love Don't Cost a Thing." From that point on, the tinny, skittering drum machines, smooth midrange, and alluringly thin vocals remain the same from song to song, with the occasional Latin cut thrown in to vary the rhythm somewhat. Since both the production and Lopez play it cool, not hot, and there's not that many hooks, it all tends to blend together. Those that have hooks need a couple of spins before they catch hold, whether it's the aforementioned lead single "Love Don't Cost a Thing," "I'm Real," "Play," or "We Gotta Talk." Lopez's strong suit remains dance tunes, not ballads, which tend to disappear in this reserved production and mannered vocals (no more so than "Secretly," which never seems to gel). So, J.Lo winds up as musically a mixed bag. Its longer running time makes it a little less appealing than its predecessor, yet it has just about the same number of strong songs, all of which sounding of a piece with On the Six, which makes it a success on a certain level. Still, there's this certain feeling of staid complacency and ordinariness that makes J.Lo feel less fun than her debut. © Stephen Thomas Erlewine /TiVo
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Pop - Released January 1, 2011 | Nuyorican Productions - IDJ

Given her promotion to the Paula Abdul seat on American Idol, there’s a distinct irony in having the first sounds on Jennifer Lopez's Love? all twisted through a vocoder: she may be judging the pop purity of legions of hopeful singers, but even she can’t resist the siren call of the computer. Of course, Lopez was never, ever about singing; she was about style, particularly the kind that passes for fashionable at glitzy high-rise discos. She was lucky enough to launch her career at the turn of the millennium, when it was still possible to have big dance crossover hits, but as her career marched on, the beats took prominence over the melody, a particular problem considering how slight Lopez’s voice is. She’s sweet enough a presence, but she needs powerful hooks to cut through the gloss, which she by and large doesn’t do on Love? Instead of being a return to the high-glitz pizzazz of “Love Don’t Cost a Thing,” this is pop in form only, never quite mustering up the energy to be infectious, never having a hook to drag a listener into its orbit, so listless that neither Lil Wayne nor Pitbull can drag it into focus. It’s high-sheen wallpaper, so flimsy that it peels away immediately after application. © Stephen Thomas Erlewine /TiVo
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Latin - Released September 24, 2020 | Sony Music Latin

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Pop - Released November 19, 2002 | Epic

Don't pay attention to the title, which is absolutely nonsensical and bewildering -- it suggests that This Is Me...Then is a compilation, which it isn't, and it also suggests that this has some sort of theme, which it doesn't -- and concentrate on the music, which is the strongest, sultriest, best music Jennifer Lopez (who has abandoned the moniker J-Lo) has recorded for any of her three albums. This, of course, doesn't mean that it's a radical musical departure, though there are differences here -- the glitzy dance-pop has been phased out, there's a stronger urban soul vibe, particularly on the lush surfaces and sexy grooves -- but it does mean that the album has a solid set of songs and a sharp production pitched directly at the mainstream of 2002, yet with nice allusions to classic soul and early-'80s pop-funk and soft rock. Since Lopez is a celebrity and a regular feature on gossip pages in the early days of the 21st century, and since she's unabashedly mainstream -- her only attempts at street-cred are on the laughable lyrics to "Jenny From the Block," where she insists that success hasn't spoiled her yet and she's the same ol' Jen she's always been (if so, why the paparazzi on the back cover?) -- it's easy for some listeners to dismiss her, but it's harder to make to make a pop album as easily enjoyable as this. Sure, there are some flaws -- as mentioned above, "Jenny From the Block" is silly and no matter how much you love Ben Affleck, "Dear Ben" is unbearably mawkish -- but all mainstream pop albums stumble through filler. What counts is the overall feel and the highlights. Here, the feel is sexy, stylish, and fun, and there are numerous highlights, all feeling effortless. And if you think that's easy to do, take a listen to a few other pop-R&B albums from late 2002 (Stripped and Charmbracelet come to mind) and hear how good this record is. © Stephen Thomas Erlewine /TiVo
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Pop - Released February 5, 2002 | Epic

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Pop - Released June 9, 2000 | Columbia

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Latin - Released October 11, 2019 | Sony Music Latin

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Pop - Released January 1, 2011 | Nuyorican Productions - IDJ

Given her promotion to the Paula Abdul seat on American Idol, there’s a distinct irony in having the first sounds on Jennifer Lopez's Love? all twisted through a vocoder: she may be judging the pop purity of legions of hopeful singers, but even she can’t resist the siren call of the computer. Of course, Lopez was never, ever about singing; she was about style, particularly the kind that passes for fashionable at glitzy high-rise discos. She was lucky enough to launch her career at the turn of the millennium, when it was still possible to have big dance crossover hits, but as her career marched on, the beats took prominence over the melody, a particular problem considering how slight Lopez’s voice is. She’s sweet enough a presence, but she needs powerful hooks to cut through the gloss, which she by and large doesn’t do on Love? Instead of being a return to the high-glitz pizzazz of “Love Don’t Cost a Thing,” this is pop in form only, never quite mustering up the energy to be infectious, never having a hook to drag a listener into its orbit, so listless that neither Lil Wayne nor Pitbull can drag it into focus. It’s high-sheen wallpaper, so flimsy that it peels away immediately after application. © Stephen Thomas Erlewine /TiVo
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Pop - Released March 27, 2007 | Epic

Marriage can change a person, and it sure seems to have changed Jennifer Lopez. Ever since she tied the knot with salsa superstar Marc Anthony, Lopez has quietly receded from the tabloids, retiring her J-Lo appellation in the process, and turning toward the same Latin audience that is Anthony's constituency. She took a supporting role as his wife in the biopic of legend Héctor Lavoe, El Cantante, but before that hit the theaters in the summer of 2007, she released her first all-Spanish album, Como Ama una Mujer, in March. What's startling about Como Ama una Mujer is that it sounds as if Lopez is not only content to play his wife on screen, she's content to now make music for housewives, which this album most certainly is. This is a slick, ballad-heavy affair that pointedly avoids any current trends either among Latin record-buyers or crossover artists, along with pointedly avoiding the intoxicating, glittery dance-pop of her English-language releases. Certainly, it's not as daring as Shakira, but it's not as thrilling as any random video you'll see on Latin MTV -- and it's by far the most sedate Lopez has ever been on record. She acquits herself well as a vocalist -- she never indulges in vocal gymnastics, and she can carry a tune strongly. © Stephen Thomas Erlewine /TiVo
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Latin - Released April 26, 2018 | Sony Music Latin

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Pop - Released March 1, 2005 | Epic

The last time Jennifer Lopez made an album -- 2002's This Is Me... Then -- she was deeply love with actor/Academy Award-winning screenwriter Ben Affleck, a relationship immortalized in the video for "Jenny From the Block" and "Dear Ben," a ballad that rivals Billy Bob Thornton's "Angelina" as the greatest celebrity love song of the 2000s. Of course, the relationship was also immortalized in the notorious Martin Brest disaster Gigli, released eight months after This Is Me, and that film's abysmal box office was the beginning of the end for the couple, whose engagement was called off in early 2004. Lopez rebounded quickly with a marriage to Latin pop singer Marc Anthony and with the new romance came an opportunity to restart her career -- hence Rebirth, the title of her fourth album. While she doesn't avoid the subject of her highly publicized romantic life, she does bury two seemingly confessional ballads at the end of the record (not counting the album-concluding reprise of the opening single, "Get Right"). Voyeurs may find interest in "He'll Be Back" (a tune not written by Lopez, but a breakup song that certainly recalls the Bennifer saga) and "(Can't Believe) This Is Me" -- a collaboration with her new husband that suggests Lopez may not have learned the lesson of Gigli -- but they're easily the worst moments on an album that's otherwise a sleek, sexy blast. Apart from those turgid ballads, Rebirth is a straight-ahead dance album, alternating between sweet, breezy pop tunes like the irresistible "Still Around" and hard-driving club tracks like the surprisingly heavy, infectious "Cherry Pie." Lopez may not be a flashy singer, but she's appealing on record precisely because she and her collaborators -- chief among them executive producer Cory Rooney -- know those limitations and present them in tuneful packages with big, exciting beats. Since it doesn't deviate from the blueprint she's followed on her first three albums, it's hard to call this record a literal creative rebirth, but song for song, Rebirth has more energy and better hooks than her other albums. It may not be deep, but it sure is fun -- and after the tumult of 2003 and 2004, Lopez sure does deserve to have a little fun. © Stephen Thomas Erlewine /TiVo
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Pop - Released November 27, 2020 | HITCO

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Latin - Released July 4, 2017 | Sony Music Latin - Magnus

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Latin - Released November 17, 2016 | Sony Music Latin

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Pop - Released October 1, 2007 | Epic

Brave follows Como Ama una Mujer, Jennifer Lopez's first Spanish-language album, by a matter of seven months -- a quick follow-up by any measure, but perhaps one that reflects the lack of buzz Como created. On paper, Brave should be the polar opposite of its immediate predecessor -- it's in English where the other was in Spanish, that album was moody and dramatic, this is light and peppy -- but despite these superficial differences, the two albums have a number of similarities, chief among them that they are the work of a woman settled and happy in her marriage. Jennifer kicks off the album with "Stay Together," an anthem of monogamy where she declares that heartbreak and dating are so passé, that toughing it out is the new trend, and the rest of the record kind of plays off that theme, as nights out on the town are traded for cozy nights at home. While Lopez may have domesticity on her mind, Brave is still a dance album, filled with bright beats and happy hooks, but this isn't music for clubbing, it's dance music for home, maybe background music for some chores. As such, it doesn't sound fresh -- there's nothing that reflects any current dance trends, not even a passing nod at Justin Timberlake's neo-electro or crunk -- it sounds stuck in 1999, when J-Lo released her first album, or perhaps even in 1989, when she was a Fly Girl on In Living Color. It's the sound of a housewife looking back and remembering when things were a bit more carefree -- it's nostalgia, but tempered with happiness, since she's perfectly content with where she's at now. So, Brave is comfortable, it doesn't try too hard, it doesn't have many surprises, but it's cheerful and not without its charms, as it's a throwback that's done without a hint of self-consciousness or irony. It's nothing more than modest music for mellow good times, but it's lively enough to be fleeting fun, with enough good tunes for a mild party, preferably one that's held at home. © Stephen Thomas Erlewine /TiVo
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Pop - Released May 17, 2018 | Epic - Nuyorican Productions

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Jennifer Lopez in the magazine