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Released: 28th February 2005.

Jennifer Lopez - RebirthJennifer Lopez reminds everyone of her existence with the deeply-titled fourth album, "Rebirth", promoted by the distinctive, or rather distinctively annoying, No. 1 single "Get Right". Is there a good reason to be interested in Lopez' music though?

Dropping the dubious "JLo" nickname doesn't seem to be the only change in the actress-turned-singer's new direction, as Jennifer's vastly improved vocals pleasantly surprise on tracks such as "Step Into My World", "Cherry Pie" and "I Got U", which also happen to be the songs with biggest hit potential.

One thing Lopez hasn't learnt is how not to include dull material, as "He'll Be Back" and "Ryde Or Die" will make your fingers hurt from pressing the skip button.

The only duet, "Hold You Down" with Fat Joe, makes an attempt at challenging Lopez' 2003 No. 2 single "All I Have" featuring LL Cool J, but it lacks the character.

"Rebirth" shows a different musical approach, yet it doesn't quite match the polished style of "This Is Me... Then", proving that to keep the fans interested Lopez needs more of an "artistic growth" rather that a mere "rebirth".

* * * (Shane Hamblin)



Jennifer Lopez - RebirthSome things in life are just not meant to be perfect. Ice cream cannot be tasty and healthy, politicians cannot be honest and successful and shoes rarely are posh and comfortable at the same time.

Jennifer Lopez' music is one of those things. Killer beats, hot producers and hand-picked samples would normally guarantee a success, but in JLo's case there's one terrible flaw - her vocals.

It's hardly any news that La Lopez is no Aretha, but in its painful contradictions, "Rebirth" exceeds anyone's wildest dreams. "Step Into My World" and the remix to the remix of the remix (or whatever) of "Hold You Down" show a surprisingly pleasant direction of stripped-down, well-controlled whinings.

Any positive feeling is completely thrown to pieces by the awful "Ryde Or Die", which Lopez must have recorder on her own, as no producer could possibly witness the mimicking of Brandy's vocal style with a straight face.

Yet the most frustrating moment is the big ballad, "(Can't Believe) This Is Me", which starts off like the best song Madonna never recorded, only to be brutally killed by a grossly overdramatic chorus and premature instrumental explosion.

I guess you just can't have everything.

* * (Aneta Janssen)

This release uses copy protection, and might not play on all current or future equipment.

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