This album (Houston’s sixth original release) is only a week old, and already I’ve read some pretty slamming reviews by jaded critics who were obviously expecting the Whitney of old to come bellowing through the speakers. Well, I gotta say, that’s not going to happen, and if this is what you want, then don’t bother with this album – just stick to the Greatest Hits sets.
The truth is that Whitney has a new singing voice due to her vices of old (remember kids, “crack is whack”), but it certainly hasn’t taken her long to adjust to it. Her voice is still pleasant enough for ballads and her conviction alone is more than enough to make the grittier R&B tracks on I Look To You work very well.
In one way, it’s a relief for me because the pointless vocal gymnastics that peppered her ‘90s output (“I Will Always Love You” and “Exhale (Shoop Shoop)” being the main offenders) are long gone. The only challenge for Ms. Houston will be if she decides to tour again, which will call for her to reinvent her showstoppers of old like “I Have Nothing” and “Didn’t We Almost Have It All.”
That being said, Whitney’s pipes are still in fine form, and if you can get over the fact that her range isn’t what it was, then there’s no reason why you can’t enjoy this album for what it is. It’s obvious that the directive for the writing team was pretty straightforward, Whitney is a survivor and she wants to believe in love again. Nearly all of the songs are woven around these sentiments, and although it’s not a bad thing, it can be a tad monotonous at times.
The material is expertly produced, and although it sounds fresh, you can still hear 1980’s calling throughout most of the record. The opener “Million Dollar Bill” could be mistaken for a Grace Jones track until Houston’s unmistakable voice cuts in to bring us up to speed with where she’s at right now. The track was co-written by Alicia Keys, and as well as being the perfect choice to open the album with, it remains one of the strongest tracks Whitney has recorded in years.
The edgy intensity that made her 1998 release My Love Is Your Love so great is replaced with an almost carefree attitude that’s most prevalent on “Nothin’ But Love.” She could have used a little more punch to drive it home with, though, because the nature of the lyric is very much a “me against them” kind of song.
“Call You Tonight” is a sweet song of love and adds a little heart to record – never a bad thing. Next up is the title track, the first straightforward ballad of the album. The lyrics are defiant and so is Houston’s performance, which finds her testing the waters of her reduced range seemingly effortlessly enough.
“Like I Never Left” credits Houston with a co-write and features the album’s only guest appearance by Akon. The arrangement is very ‘80s though, and it’s one of only a couple of true throwaway tracks to be found here. Faring much better is another clear highlight in “A Song For You,” an awesome dance track that features a gutsy reading from Houston.
This is followed by the other throwaway song, not surprisingly penned by Diane Warren. “I Didn’t Know My Own Strength” is a cliché-ridden survivor lyric that just seeps of the kind of stuff fans will lap up. Even Whitney can’t rescue this doozy, and she actually sounds bored with this one.
“Worth It” and “For The Lovers” bring some life back into the proceedings. The former is an easy R&B groove that is sweet enough, but not exactly memorable. The latter brings the funk back in style as Whitney weaves around the punchy track with ease.
“I Got You” is another strong track that is a perfect vehicle for Houston these days, as is the album’s closer “Salute,” which is no doubt directed to the ex. This one is more in-line with the sound and style that worked so well on My Love Is Your Love and possibly features the most poignant lyric of all (“Don‘t call it a comeback / I‘ve been here for years / Through all the drama and the pain / Through all of the tears”).
So Whitney has made it through whatever battles she endured, and reasonably unscathed as she tells us. At one time, Whitney possessed the greatest voice I’ve ever heard, and although it has suffered somewhat, it should in no way hamper her future endeavors if she uses the “new” voice to her advantage. I Look To You works best when Houston digs deep for the soulful deliveries on the ballads, but she also handles the dance tracks with ease, and in spite of a couple of duds, this should remind everyone her journey is far from over.