The best and worst song from every Jennifer Lopez album

Best song: "Waiting for Tonight" is a pure euro-dance pop song full of zest. It's inspired numerous club mixes and became a favorite of party-goers around the globe. To put it simply, it's iconic.

Worst song: The very tired, prescriptive R&B track "Too Late" sounds like any other mainstream song of the time.

The chorus, "First you say that you have to go away (Oh) / I never should've been with you anyway" only adds to the song's overall genericness with its lack of ingenuity. It also gets old way before the track concludes.

Best song: The exhilarating "Love Don't Cost a Thing" is a bass-booming classic of Lopez's and a must-listen for anyone exploring her discography.

On the track, Lopez fully takes charge, embracing her security and independence as a woman, with straightforward lyrics like, "Think I'm gonna spend your cash (I won't)" and "If I wanna floss, I got my own."

Worst song: "Secretly" is the only ballad on this album, which breaks up the flow of the upbeat tracklist.

While this track isn't necessarily bad on its own, it'd probably feel more at home on an album that isn't grounded in electronic and R&B numbers.

Best song: "All I Have" is a co-ed collaboration on par with other early-2000s duets like Ja Rule and Ashanti's "Always On Time" and Nelly and Kelly Rowland's "Dilemma." It has a perfect balance of slow-jam sexiness and unabashed vulnerability.

Everything from the bluesy introductory vocals to LL Cool J's echoing vocals to the excellent hook ("All my pride is all I have") makes this a lasting hit.

Worst song: "The One" should be deleted from this album. We wouldn't even miss it because there's another, slightly better, version of it on the same tracklist, called "The One - Version 2."

There's no reason to include two versions of the same song, especially since they're near-identical. It just adds unnecessary clutter.

Best song: Lead single "Get Right" boasts a rhythmic beat and a euphoniously blaring saxophone that are enough to make you want to hit the dance floor. Lopez also exercises her rap-like skills in melodic verses throughout the track which only adds to its impressiveness.

Worst song: "Whatever You Wanna Do" is all noise and no creativity. The track is agonizingly carried by the titular phrase and a blurted "Woah," which gets monotonous less than halfway into the song.

The bridge is also fully comprised of the same toneless phrase, but with the addition of an elementary "Hey," ultimately creating one big filler track made up of filler words.

Best song: While "Tu" is a considerably long ballad, every second of it is absolutely beautiful.

Lopez uses the length of the track to really showcase her vocal range and breathing techniques over peeled-back production.

Alongside moving violins and spirited electric guitar work, she elegantly stretches out the word "Tu" (Spanish for "you") through an enchanting chorus.

Effort was clearly put into "Tu," both vocally and instrumentally, enabling the listener to really feel the passion and love she has for that special someone, making this track feel like a genuine love song.

Worst song: The title track stands out in the worst way possible: with a runtime of six minutes, it's the longest track on the album. My attention span is only so wide, and the piano-heavy, slow-moving orchestration only makes me want to tune out sooner.

The song does start to build closer to the two-minute mark, but by then it's too late.

Best song: "Do It Well" (featuring Ludacris) is reminiscent of her hit 2002 song "Jenny From the Block," which is probably why it's so good.

The striking sound of a marching band in the background keeps everything animated while Ludacris' clever wordplay and hybrid English-Spanish rap verses add another dimension to this already fun track.

Worst song: "Brave" is another title track lacking quality and luster.

Over some very bland production, Lopez explores lessons of love and sides of vulnerability. Her vocals here are rather restrained compared to the rest of the album, and the instrumentals are nothing special, making it a forgettable track and a deep cut to rarely be revisited.

Best song: "On the Floor" is full of color and personality — from Pitbull's complimentary rap verse at the beginning and his various Latin chants to the lovely pairing of Lopez's therapeutic vocals and tropical house-leaning sounds.

Worst song: On "Good Hit," Lopez's voice is distorted via chaotic, Black Eyed Peas-like autotune, which mostly makes her sound like an unsolicited robot.

Also, lyrics like "I got that good hit / Don't you wish I was your boo," and "Got that New York swagger," are especially cringeworthy and surely didn't age well.

Best song: "I Luh Ya Papi" (featuring French Montana) encompasses the standard pop flare, while also embracing some Latin cheekiness.

It's a playful ditty with a simple, cutesy hook and French Montana's verse only elevates it.

Worst song: Despite the title, "Emotions" doesn't give much emotion — and lacks variety when it comes to the note changes.

Rather than attempt to flex her range, Lopez settles for unconvincing vocals in a spiritless piano-based ballad carried by a repetitive hook ("Someone took my emotions / Don't forgive me, I didn't ask").

This is definitely no "Emotions" by Mariah Carey.