Whitney Houston has been in the game a long time and she has jumped back into the R&B fray with "I Look to You." From the New York Times:
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โI Look to You,โ with Ms. Houstonโs longtime mentor Clive Davis as her co-producer, is more subdued, canny and cautious. She still sings about the power of love, though itโs not always benign anymore. The album is split between songs that hint at her travails and songs that try to ignore them, like the lightweight, Motown-tinged first single, โMillion Dollar Bill,โ written and produced by Alicia Keys and Swizz Beatz.
The title song, written by R. Kelly, harks back to Ms. Houstonโs heyday, only to reveal how much she has changed. Like โI Will Always Love You,โ the Dolly Parton song that became Ms. Houstonโs signature hit in 1992, โI Look to Youโ is a gospel-rooted ballad that builds up to a vow of devotion before humbly tapering off.
In 1992 she sounded tearful but clear and airborne, making triumphant octave-wide upward leaps. โI Look to Youโ is a prayer, a desperate appeal to faith: โAfter all my strength is gone, in you I can be strong.โ Now her voice is thicker and lower, and her improvisatory phrases are shorter. They curve downward as if tugged by gravity, making her approachable, even sympathetic.
Ms. Houstonโs back story also infuses the upbeat, electronic โNothinโ but Love,โ which promises love to โeven the ones who tried to break me,โ and a hymnlike Diane Warren song, โI Didnโt Know My Own Strength,โ which aims to become an inspirational diva standard: โI crashed down and I tumbled, but I did not crumble/I got through all the pain.โ The albumโs final song, also by R. Kelly, is โSalute,โ a sparsely arranged minor-key breakup song that jeers, โYou say Iโll never do better/Yeah, right, whatever.โ
For danceable tracks, the album draws on other current hit makers, including Fernando Garibay, Stargate and Nathaniel Hills (a k a Danja). And Ms. Houston collaborates with the producer and singer Akon on midtempo songs promising reconciliation โ with a man, but also, perhaps, with the audience that now listens to Beyoncรฉ, Keyshia Cole, Rihanna and Ledisi. At times, in the wistfully insinuating โLike I Never Left,โ her voice is nearly indistinguishable from Akonโs computer-tuned croon. Sheโs tentatively climbing back into the pop machinery, no longer invincible but showing a divaโs determination.
Get the full scoop here.
Have any of you heard th full album yet? If so, what did you think?
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