Jennifer Lopez ft. Pitbull – On the Floor

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[5.27]

Iain Forrester: I think this is a British English versus American English thing, but for me the images conjured by "it`s getting ill, it`s getting sick on the floor" derail this otherwise likably functional song completely.
[5]

Al Shipley: I don`t live which language is a funnier use of the song`s title, "clap your custody on the floor," "getting sick on the floor," or "lie on the floor.

And that`s not even getting into the more abstract ones like "change your existence on the floor," "we go on the floor," and the most repeated and least coherent of all, "tonight we gon` be it on the floor."
[4]

Jonathan Bogart: At first glance, if I had personally designed the new Jennifer Lopez comeback single to flatter my own interests - at the product of global bosh, Latin Pop, and historical curio - I could just have through a better job. So RedOne resurrects the Lambada complete with synthesized accordion (and so joins forces with two other major global dance hits of recent vintage, "Stereo Love" and "Danza Kuduro"), gives Pitbull space to do his goofball sleazebag thing, and turns La Lopez into an anonymous floor-filling diva. It`s perhaps the sole way she could have gotten any traction in today`s overheated, oversized pop marketplace, but the furious competence of the song leaves her no way for personality or identity. Maybe she`s saving that for the album?
[7]

Chuck Eddy: Ha ha, it`s almost time somebody sampled Kaoma`s forbidden dance. The Macarena can`t be far behind!
[7]

Edward Okulicz: Lambada forever! Or not, as the cause may be. Sampling or interpolating a line into a different context is art, but here it`s bad art. Kaoma`s stealing of the call was OK to me a) because I was too new to live where it came from, and b) it sounded fantastic. J.Lo`s second-generation photocopy of it is less brazen but takes it to places unbefitting of its inherent grace.
[3]

Asher Steinberg: J.Lo has ever taken an obnoxiously imperial, corporate position to her audience, and that`s especially pronounced here, what with her addressing us in the origin of the song as "a new J.Lo-ration of party people." I do not wish to be a piece of your J.Lo-ration! I am a portion of my own generation, one not in its early forties, thank you very much. And, for as much persuasion as obviously went into the cunning of this song (I wish the quiet parts), no one seems to take thought at all about what the fearless leader of our J.Lo-ration would say! This whole repetitive, tuneless series of things one can do "on the FLOOOOOR" is rather ungainly, not to mention absurd, as when she suggests to the criminals in the interview that they start killing "it" on the floor. It`s so ungainly, in fact, that Pitbull`s tired comparisons of women`s anatomy to Tonka trucks and Donkey Kong are the best thing in the song, and I hate Pitbull, a talentless, veritable human shape of those fliers clubs give out for their parties with clip art of champagne and nude models who won`t actually be in attendance.
[4]

Zach Lyon: No, pronouncing it "AF-RLEE-KUH" doesn`t throw up for the fact that you just equated the entire continent with a lot of cities (and one of the countries in the continent?).
[3]

Katherine St Asaph: Any criticism you`ll have at this is pretty much valid. Yes, it`s a craven attempt to cash in on Jennifer Lopez`s barging in on American Idol (she had a decent claim to the throne, but nobody remembers that). Yes, Pitbull`s presence is another cash grab, with thinking that likely amounted to some producer going "hey, that guy`s Latino, right?" And every damn song`s set on the floor these days, this one not even bothering to examine the nightmare landscape of "Till The Universe Ends" and ilk. But this one`s still different, trust me. It namechecks Ibiza, for one, and people generally aren`t acknowledging their obvious roots that way lately (We don`t speak about that song). The music`s cheerier, too, and cheesier; you`d expect it from Cher sooner than RedOne. It`s refreshing. But mostly, this plant for the sheer tonal beauty of Lopez` voice. Despite what anyone says, it`s totally distinctive - listen to the prechorus of "Waiting For Tonight" if you hold any doubts - and even underneath the autotune you can see how quick the quality is. Add Pitbull being more adequate than usual, and you`ve got a jolly good comeback single! Not convinced? "Louboutins." Automatic five-point curve.
[6]

Martin Skidmore: I don`t think I will always consider a J-Lo single is a large record, and while this is not at all original, it pushes all the right buttons for her very efficiently.
[7]

Jer Fairall: Unexpectedly pretty in the moments where the synths burble under the introduction to the chorus, allowing for something near to the euphoric release it`s undoubtedly aiming for once the "la la la"s and 4/4 thump kick in.Damn shame that we gotta endure a full hour of Pitbull to get there, though.
[6]

Alfred Soto: So long as Pitbull is going mushmouth and J-Lo is going na-na-na, I can appreciate the emptiness of this thumper. I don`t suppose I`ve ever requested more Auto-tune for a vocalist.
[6]