back on this song. We need to work on this song and really produce it out.'" Wake informed Rooney that it would cost too much to rework the song, and Rooney subsequently paid $50,000, stating: "That's how much I believe the record is gonna be a hit for her." Upon hearing the new version, Lopez loved it, and wanted to record it right away. Ric Wake provided the production for Lopez's version, which according to Garvin, differs from the "very German-sounding" Europop version that was recorded by 3rd Party. Richie Jones also produced the song and arranged it with Wake, while providing additional programming and arranging along with "Young" Dave Scheuer. Christensen, Jane Barrett and Margaret Dorn performed background vocals. Eric Kupper and Diego Sánchez played the keyboards, while Jones played the drums and percussion. Scheuer, Franklyn Grant, and Thomas R. Yezzi provided engineering for the song, with assistance from Juan Bohorquez and Robb Williams, while David Barrett served as production coordinator. The song was recorded at various recording locations in New York City, including Cove City Sound Studios, The Dream Factory, Hit Factory, and Sony Music Studios. The song was later mixed by Diego Sánchez at Cove City Sound Studios. As well as Crescent Moon Studio's "Waiting for Tonight" is a dance-pop song with a length of four minutes and six seconds (4:06). According to the digital music sheet published at Musicnotes.com, the song is written in the key of B minor. It follows a chord progression Bm–A6–Fm7–Gmaj7. The instrumentation of "Waiting for Tonight" consists of a piano and guitar. The song has a tempo of 125 beats per minute. Sofia Vyas of Time Out described the song as a combination of disco, 1980s pop, 1990s R&B, and club music. "Waiting for Tonight" has sensual lyrics, with Lopez comparing her sex life to a movie scene. Critical reception "Waiting for Tonight" is the best song of Lopez's career according to Entertainment Weekly, the Chicago Tribune, Slant Magazine, and Idolator, being well received by radio, and with MTV describing the song as "classic Lopez". "Waiting for Tonight" was used frequently as a celebratory anthem, along with another Lopez song, "Let's Get Loud". People magazine stated that "Waiting for Tonight" became one of the "turn-of-the-millennium" club anthems. Lauren Zupkus of The Huffington Post praised it as an "epic dance hit", which was the "perfect anthem for all of our anxiety about