The Singles Jukebox

And the not-so-likey, likey, likey…

[Video][Website]
[5.17]

Josh Langhoff: Around the scaffold of a four-chord dembow-derived banger, Caracas-born producers Motiff and Oscarcito toss a Coco-caliber color splatter of flute, guitar, trombones, and shouting, climaxing in a burnished guitar solo by someone who deeply admires Carlos Santana. Lopez’s anonymity remains her voice’s most recognizable feature, but she and Wisin command the track anyway, connecting their lines to the drums while their accompanists underline and highlight.
[6]

Stephen Eisermann: A song about nasty, sweaty, passionate sex should be equally grimy, sexy, and intense, and this song isn’t that. Jenny and Wisin do their best to sell the lyrics, but against this dated kitchen-sink production, they come across as two people trying too hard.
[3]

Alfred Soto: Like Penélope Cruz in Almodóvar films, Jennifer Lopez is fresher and friskier singing in Spanish, and while “Amor, Amor, Amor” gives her no opportunity to coo like Andrea True, she does sound like something is at stake. Wisin’s flute hook helps.
[6]

Will Adams: It’s only occurring to me now how well brass can work in EDM buildups. Meanwhile, Lopez is at her warmest and most inviting in years. I just wonder if she’s able to carry a song by herself at this point.
[6]

Edward Okulicz: You can’t fault Lopez’s professionalism, but despite giving it her all (as she always does) the major takeaway from this is that flutes and brass can contribute to the bang quotient of a fairly minor banger. All the presence Lopez has in the video disappears when I listen to the song in isolation, which to me seems a constant when she sings in Spanish. It reminds me of how she once said she didn’t think she could act well in Spanish. Might as well have credited the flute as a guest performer for its sterling contribution.
[5]

Katherine St Asaph: It’s a bad sign when you’re a star at Jennifer Lopez or Wisin’s level, yet you’re upstaged by a flute sample.
[5]