Jennifer Lopez - Rebirth (Album Review)

Who would've guessed that Jennifer Lopez' music career would've been her saving grace? Sure, the woman's been regarded as a well-rounded entertainer, not to mention a savvy entrepreneur, with her clothing and perfume lines raking in millions. And with each successive album, no matter what might be occurring in her personal life, she's always stayed on top of her game, her pop-star credibility being sealed with 2002's this is me…then,?which saw Jennifer adopting a more vintage R&B sound. But Jennifer's been through quite a bit in the 3 years since; a rocky relationship/engagement/break-up with Mr. Ben Affleck segueing into a suspicious rebound marriage to Marc Anthony coupled with her 3 consecutive box office flops - Gigli, Jersey Girl and Shall We Dance? - has given some more than an inkling that Jennifer's down and out for the count. And with Jennifer's brief period of lying low, those claims seem all the more accurate. But March 1, 2005, Jennifer broke her silence with her highly anticipated 4th release, Rebirth. Defined by Webster's as "a renewed existence, activity, or growth", what is Jennifer exactly trying to say with this album? That's she a new woman with a new frame of mind? Or that she's still Jenny from the block who just wants to set the record straight? Either way, the message finally comes through loud and clear.

Now Jennifer's vocal skills have always been debatable (even though her recent Grammy appearance shut up more than a few critics, I'm sure) but with a beat that knocks as hard as lead single, Get Right, who needs vocal talents? I'm convinced that Rich Harrison is a production genius and the next big thing to blow real soon. Looping an insane saxophone blare from a James Brown record around staggering bass/percussion equals pure genius on easily the best club record of 2005, thus far. The lyrics and distorted vocals are inconsequential compared to the gravity of this beat. And therein lies the key to what makes this album work so well; the production. Even if Jennifer's not the strongest vocalist, the production is beefed up in all the right spots to amplify what talent she does possess.

Great example? Step Into My World. Even though Rodney Jerkins' middle-eastern vibe isn't anything terribly special, it's still got enough of an ethereal edge to support Jennifer's breathy, come-hither vocals well and makes for a slightly hypnotic cut.

They say if it ain't broke, don't fix it. And since "All I Have" proved to be such a big hit for J. Lo, she decided it would be best to try and duplicate its success by replicating its formula. Just take the same mellow R&B production, splice it with another vintage R&B sample (this time, Shirley Murdock's "As We Lay"), replace LL Cool J with Fat Joe, and you have all the makings for Hold You Down. Too bad, the effect isn't the same. While "All I Have" seemed to have some chemistry between J. Lo & LL and some life to it, even if it's heart is in the right place, this just sounds like a lazy afterthought.

However, the album's quickly raised from its slumber with the pulsation of Whatever You Wanna Do. Rich strikes pure gold again as his drum and horn stampede create one of the most contagious beats you'll hear all year. Yet again, the vocals and lyrics are of little importance since the production is what this record, and the whole album, is all about.

The only song found here that hints at Jennifer's pop roots is the rocking Cherry Pie. A solid, peppy pop/rock jam, the electric guitars and kicking drums spike the song in all the right places and the song's feisty attitude is a perfect match for Jen's vocals. The coquettish lyricism isn't rocket science but makes the song that much more flirty and fun.

But apparently, J. Lo hasn't learned her lesson about dedicating songs to the men in her life (don't tell me she doesn't regret "Dear Ben") but at least she makes it a little less obvious with I Got You. Rodney's created a nice, sunny atmosphere for this record that's tailor-made for Jennifer to gush all over as she earnestly reassures Mr. Anthony, and the world, of their love. It's too soon to tell if J. Lo's predictions come true but when she sounds as happy and heartfelt as she does on here, you can't help but root for the both of them to last.

One of the album's most surprising production moments comes in the form of Still Around. The sound isn't surprising because it's a Grade-A, summery R&B tune perfectly fit for the tale of undying love (featuring a 'cute' spoken cameo from Marc). The surprising factor is the master of production ceremonies; Big Boi. the Big Boi. And considering it sounds like nothing like OutKast would ever dream to touch, it gets bonus points for its summery R&B sound.

On the flip side of affairs, Ryde or Die sounds like one of the better songs Brandy never recorded. Oh, what a minute. She did! Produced by Brandy's then-"husband" Robert "Big Bert" Smith for an album she never released, the somewhat-minimal R&B/hip-hop-tinged production has a slick and mellow feel to it that works well with the song's theme. Jennifer's vocals are a little more detached for this record, which works well in conjunction with the hook's line of only doing these things out of being a fool, but sound a bit overpowered by Brandy's left-on backing vocals, her husky tone proving to be a better fit for this record. Jen did a good job but I think Brandy should've kept this.

Continuing on, the hypnotic/ethereal vibe that Rodney was trying to go for on track 2 has a much better execution by Corey Rooney on I, Love. The staccato percussion and airy synths muted in the back create a strong, magnetic vibe that works well with Jennifer's delicate vocals and the song's simple concept of loving someone.

The last two tracks on the album are where Jennifer really attempts to get personal and address some lingering issues. First off is the obvious Ben diss track entitled He'll Be Back. Laced by Timbaland, who has become an official hypocrite of sorts, lambasting other producers for biting his beats way back on Missy's first album when he's now doing the same thing, recycling old snake-charm flutes and staccato percussion to create what sounds like "Cry Me A River (Watered Down Redux)." It's still got a catchy air about it but I've heard better from the man. But the focus isn't on the production but on the lyrics. And even though it could be about any of J. Lo's many, many past flames, all signs point to Ben as Jennifer remains optimistic about his eventual regrets. Sounds more like wishful thinking than bona fide truth but it's a healing process so cut the woman some slack.

However, that same slack can't be cut for the album's substandard ending, the power ballad (Can't Believe) This Is Me. Produced by Marc Anthony, and not the rumored duet as some thought, J. Lo really tries to bring the dramatics and theatrics to this record by putting forth her best power ballad vocals possible. But she falls short of the mark as her voice just doesn't have enough power and range to carry this song over. However, the song is slightly redeemed by the dramatic production (great live instrumentation) and the kiss-off lyrics, obviously aimed at EVERY link in J. Lo's long relationship chain. A for effort but C- for execution.

Not to worry since we get the remix of Get Right featuring Fabolous as a bonus treat tacked on the end. Although not necessary, it's still a great excuse to hear that fantastic beat one last time.

So what has J. Lo's Rebirth taught us? Well, it's taught me that she's a better pop star than I've given her credit for. Her vocal talent is brought to the light and she skillfully stays within her vocal boundaries. But the production is what made this album. Without it, this album would've been (mostly) nothing but a substandard R&B affair. But with it, it's one infectious album that rattles you from head to toe and back within a nice 48:00 package. Actually, it might've worked even better had it been packaged as an instrumental LP but as it stands, it's Jennifer's strongest offering to date (at least to me) and makes you glad that Jennifer had a plan B.