This is streaming. This is the title cut off her new album due 9/1.


http://www.wdkx.com/media...uston.html

This is an obvious attempt to recapture the Pop audience that abandoned her on the last CD. This voice is definately not the Nippy from the good ole days. Her vocal chords are wrecked.

This is fine for adult urban radio, but they need to release Million Dollar Bill ASAP.

R.Kelly wrote this one.

This is actually a beautiful song, I dig it

Hudson said:

I agree that they should go with a double single like Beyonce did.

Nick715 said:

I dont agree. Whitney's main base is Adult. That's where she should be right now..dont fuck it up now.

Liked the song very much! Mariah should have taken this one releasing that Obsessed mess.

NMuzakNSoul said:

His version is better!

I think this song is going to do very well with the older crowd which is her primary fanbase -white old people
Go Whitney!

Was hoping R.Kelly would of kept this for himself. His voice sounded so good over that piano. Whitney's version is dull and sounds like she drank a half pint of Jack Daniels before the recording. So far the 2 tracks I heard from her upcoming cd are disappointing.

Boring.

midiscover said:

Maybe she'll get to sing at the Copa one day.

I don't like it. It's too stripped down for my taste with just the piano. It really emphasizes the weakness in her voice now. She needs to release something more produced with a fuller sound.

Stupid asses

Nick715 said:

VOMIT ... is this the best this knock-kneed lesbo can do? I see a crack-attack coming back, or did it ever leave? Bobby where are you when we need you to knock her into shape LOL...just kidding, I don't support domestic abuse

Personally I think this comeback won't be successful. It will be better than Just Whitney but nowhere near My Love Is Your Love. I hope I am proven wrong because I actually like her much more than, say Mariah or Celine.

This is age-appropriate music for an older fan base, actually, her fan base which is probably the same age that she is now (mid-late 40's).

The song clearly has contemporary gospel leanings, and was received very well in adult urban morning drive formats. I predict it's also going to received well in the formats that play contemporary gospel for the one hour early rise shows, as well as the Sunday-gettin'-ready-for-or-just-got-back-from-chuch-programs.

This is grown folks music, for the demographic that's trying to pay bills, get the kids to school, work through messy relationships, get the car fixed, and keep up the mortage so they don't lose the house. This is for folks trying to balance all these things while still trying to look to whatever power is their source of inspiration or infinite supply. It is in short, a song for folks like Whitney, who have "been through".

So while it's not a My Love Is Your Love, let alone a rump shaker, I don't think that was the point. It's a song about redemption to re-introduce her what is probably an age-appropriate demographic for her at this stage in her life. I would imagine if you're not part of that demo, then this song is not for you . Everything is not for everybody

NYC Listening Party Details - Song-by-Song Breakdown!
At 6pm last evening I scooted up in the rain to the Jazz at Lincoln Center theater overlooking Columbus Circle for the big NYC "listening party" wherein Clive Davis would unveil a big batch of songs (9 in total!) from the forthcoming Whitney Houston album, I Look to You (due Sept. 1st). Yes, Whitney would be there. She wouldn't be singing, but she'd be there. Crazy!

I got there, milled around over cocktails in a big lobby which also held Martha Stewart, Diane Sawyer, Gayle King (no Oprah), gay media mogul Keith Boykin, MTV's Sway, EW's Jess Cagle and Dave Karger, Bravo's Andy Cohen and more media types (and yep, a lotta gays). Soon, we were all swooshed into the big auditorium (with its fab views of Central Park) for the big Whitney love-in. A big 5-foot tall poster of Whitney's new album cover loomed overhead, but hanging even heavier in the air was the anticipation. Can the beleaguered diva actually come back? And more brashly, does she still have the pipes after so many (ahem) turbulent years?

After the jump, more dish on the night, hot pics, video from the event... And a song-by-song breakdown!!!!

Once inside, after ogling Whitney's mom Cissy Houston and cousin Dionne Warwick (legend!) perched in the second rows down front, I took my seat. Vivica A. Fox scooted in. Then after a super brief intro and as a big black screen scrolled down to block our view of the park (no distractions from Ms. Whit-Whit, dontcha know), Clive Davis took the stage.

"Today is quite a day," Davis began, preaching predictably (if still powerfully) about his love for Whitney, her storied rise to fame, her record-breaking sales, her place in the pantheon of singers like Lena Horne, Barbra Streisand, Frank Sinatra, Gladys Knight... And he gave shout-outs to his other current stable of stars (Kelly Clarkson, Leona Lewis, Jennifer Hudson, Kanye West, Jamie Foxx), but this was all about worshipping at the church of Whitney, and how she and Clive spent the past three years preparing this new record. (And I'm sure working on a lot of other "issues" too.) Then, they played this "sizzle reel" for the audience, to get us appropriately amped up on Whitney.

Throughout the evening, Clive would introduce a song, explain its origins (who wrote it, how he and Whitney decided on it, what it meant to them), and here's a quick recap of the nine tunes (there are likely 2 or 3 more to come), all of which he stressed may still be works-in-progress.

THE LOOK OF YOU
in the order played...

1. "Million Dollar Bill"
This first tune (not the first single, we don't find out what that is tonight) played will be this one, penned by Alicia Keys (who's in the house!) and Swizz Beatz, especially for Whitney. The tempo and vibe is bouncy, and the chorus has some hook-y call-out moments. It'd be easy to sing along to. It's got a jazzy, soulful feel, but it's sparkly/spiffy, too. When you first hear Whitney, she sounds deeper, a bit more mature, a little like cousin Dionne Warwick even. This one won't be a belter. Like I said, there are some sing-along moments, with Whitney instructing us "If ya feel good, put one hand in the air," and some audience members obliged. It's cute, but not a home run. After the song finishes, Davis acknowledges Alicia Keys sitting down front near Dionne and Cissy. Woohoo! Ms. Keys in the house!

2. "Nothing But Love"
This one's another uptempo tune, but immediately feels darker. It's basically a very Mary J. Blige-sounding song, with MJB's flair for familiarity and conversational intimacy, transferred to Whitney. In it, Whitney's running through a list of the bad folks who dissed her, or counted her out; even for them she's got "Nothing But Love." Weirdly, the chorus gets repeated speedily, and "Nothing But Love" sounds like "Numba Luuuuv," which is kinda fun, actually. In this one, you also hear a deeper timber to Whitney's voice. And you begin to realize, this woman may not be the sparkle-voiced nightingale she used to be. But it's okay. It's different, and she can still sell a lyric. So far.

3. "Call You Tonight"
Davis tells us this tune is produced by Stargate. And it's another uptempo tune; spry and sassy, good for peppy car ride. Right away, this is vocally closer to the crisp Whitney voice we love and have missed. It's about a lover she's excited about, who she's gonna call tonight. The melody and rhythm reminds me a bit of J-Hud's "Spotlight." And as she bumps and scoots through the perky tune, you get to hear little snippets of Whitney almost hitting some quick high notes, but it feels like right when she gets to the point of nailing one, she backs off. This album is seemingly very, very cautious.

Clive's chatting in between songs, and before this next one he cops... "I know you're wondering, 'Where are the ballads?'" Well, here comes one from the power-ballad factory of songwriter Diane Warren ("My Heart Will Go On") and producer David Foster.

4. "I Didn't Know My Own Strength"
This is a grown-up/adult-contemporary powerhouse. Davis even says that naysayers will scoff "they don't play songs like this on the radio..." But it's Whitney, so who cares? Make us weep! And what you get is a building ballad, all about one's personal strength against the odds... etc. It's tailor-made for a sappy dedication on that amazing/awful Delilah radio show. You will hear it in the grocery store soon. But three-quarters of the way through the song, right as the emotion and drama have built, and you're ready for Whitney to take you (and the tune) up a notch and get to belting with a big key change -- it doesn't happen. No key change. No big payoff. It's all beautifully arranged, but it's not climactic in a big Whitney pay-off "Iiiiii will alwaaaaays loooove yooooouuuuu" sort of way. Maybe that Whitney is just simply no longer with us? This is a good song, but I want the roof raised, the paint peeled and my wig flipped (or at least yanked off and thrown down onstage). This one's strong, but it's not delivering any sucker punches. Hmmmm...

5. "Like I Never Left"
Intro-ing this one, Davis explains that Whitney wanted an "island, feel-good song." Which I guess means midtempo, sunny, buoyant? So they called up Akon. Ayyyyy... The result is -- yes -- a Whitney/Akon duet, basically. It's smooth and a little spunky. Akon's a bit whiney/vocodey, and Whitney's sounding glossy, if a bit robotic. But the casual, upbeat looseness of the song delivers a few more moments wherein Whitney hits some quick, chirpy almost-high notes. I'm yearning for these, and those we get are just tossed away as little shouts and whoops. But it's a good sign... There's gotta be more coming, right?

6. "Salute"
Davis' intro to this brings a great little moment. He prefaces it, saying this one might feel a bit more urban, and mentions something about how they included songwriters from across genres, including... R. KELLY. A woman somewhere in the audience quips abruptly "Whaaaa...?????" which justly gets a laugh. Not sure if R. Kelly wrote this amid his "Trapped in the Closet" madness, but I really like this one the moment it starts. It's upbeat, and feels a little dirty. And Whitney sounds up for some grime. "I'm a soldier girl," she snorts, and I believe her. The beats are solid and choice, and I like hearing her attitude as she's kicking boots at a lover who's no good. It's impossible not to think of Bobby Brown. One line has dirty Whitney actually sing (though it's bleeped): "You think that your sh*t don't stink, but it do." Oh, really? Cissy lets her sing like that? The pristine former-goddess who trilled "The Greatest Love of All" has dug down and brought poo into her tunes? I love it!!! (Though I'm weirdly, eerily reminded of that unspeakable "Being Bobby Brown" moment involving a discussion of constipation and home tactics that Bobby & Whitney used to combat this. TMI, folks, TMI.) Still, "Salute" is my favorite song so far. It's kinda hot. And amid the crunchy beats, Whitney sasses, "Don't call it a comeback / I've been here for years." Okay, we can argue about that, but I'll let it slide as she's hitting the strongest notes we've heard thus far. Maybe when R. Kelly's crazy mixes with Whitney's crazy the results are just some crazy-hot tunes. I approve!

7. "I Look to You"
Another R. Kelly tune!!! And the title track, no less. Davis says that this one just sums it all up, and made sense as the album title. Quoting Whitney herself, he says "This song just says all I want to say about the last few years..." And it says it in a mega-ballad. Weirdly, I like it. And I realize (more weirdly?) that this would also make a killer country ballad for Reba McEntire. Maybe she can pull a "Because of You" and snatch this one from Whitney and sell it to the folks in Nashville? Anyway... This one's all about finding strength, and it's almost got a spiritual/Gospel thing going on. The lyrics could be about God or some unnamed power holding up Whit-Whit through her trials. The voice is sounding crisp, but as you start to wonder throughout most of these songs, how "sweetened" is it, electronically? It's hard to tell. One thing's sure: Whitney's voice, as we hear on these songs, is deeper. Smoking (whatever that may mean) has lowered the timber of her voice. It's still capable of sounding crisp and strong, but it's not about soaring, galactic, bell-ringing high notes. And annoyingly, THAT'S WHAT I WANT. I'm sorry, but no matter what she's been through, this is Whitney F***ing Houston, and if she wants to come back she needs to deliver. She practically invented powerhouse high notes. She paved the way for Mariah's freaky/skyscraping trills and tricks. I'm not hearing that now and it's a little frustrating. The songs are solid, but I want shivers down my spine.

8. "Worth It"
Davis begins his description of this one, addressing Dionne Warwick in the audience. "Dionne, this one floats like you float." Meaning, this is a light, uptempo tune that's gonna sail along. And it also sounds like another Mary J. Blige song; flighty and smooth and very conversational and sweet. Like Mary, in a good mood (think "Just Fine").

This one's very much for all the lovers out there... "I know somebody's gonna make love to this song tonight" sings Whitney, and she sells it. Again, the results are fun and bright and likable. Solid. Fresh. But just not mind-blowing. But again, it's these perky tunes that are delivering the closest thing to a strong, confident high note, but if you blink (if ears could blink), you might miss them.

9. The last song...
We're at the end. And the crowd seems happy. Folks have clapped avidly, hands have been raised during some numbers. The mood is good. But what's the finale? Davis tells us this one's gonna be a cover. But he's gonna surprise us. And this one, he says, was just recorded last night. So it's still very much a work in progress. "I won't tell you what it is, but we wanted to included something that would be a fun throwback, honoring all that Whitney's been..." And he says we'll know it. The descending piano notes begin and the title "A Song for You" appears on the screen above the stage. Yup, it's the killer Leon Russell soul ballad done so well by Ray Charles and Donny Hathaway. And it sounds pretty awesome. Whitney sounds more immediate, a little raw, and really strong. And as the first verse nears the chorus, the tempo swoops up, and it becomes a hot/dance-party-worthy remix! Suddenly, it's a tea dance up in here, the screen behind the stage rises, unveiling Central Park in its evening-time rainy glory, and then here comes Whitney!!!!!

As the crowd rises to their feet, feeling the thumping soul tune, the diva herself steps up on the stage, wearing a snug black Lycra (?) dress, with her frosted hair in curls in a bob-like do. Whitney looks good! She also looks a bit like Cicely Tyson. Well, like a lady caught somewhere between Cicely Tyson and the hot rapper Eve. Which sort of makes sense, when you think about it...

Whitney goes to Clive, they hug, and Whitney's clapping her hands in front of her dramatically, whooping it up with the crowd. She's beaming, and a bit goofy. She steps off the front of the stage, hugs Diane Sawyer, then hugs and kisses mother Cissy, then she hugs, kisses and high-fives cousin Dionne.

Whit-Whit looks "tuff." Hurrah! As the song ends, Whitney thanks the cheering crowd, and then dashes again to the front to her "baby," to hug Bobbi Kristina, who looks good. Girl has lost some weight!

Whitney tells the crowd "I wasn't sure about this," laughing. "I had plans to just live on my island, and maybe open a fruit stand." But she says her mother kept telling her, "I want to hear beautiful lyrics and melodies. Nobody's singing like that anymore." And then Whitney tells us, "I hope that's what you got tonight."

She babbled a bit more about turning so many songs down, being picky... She seems pretty lucid, if a bit spastic. But not crazy. Just goofy and amped up. Mid-sentence she sees Gayle King the front row. "Hi Gayle!" she calls out. "Tell Oprah I said 'hello!' I'll see her soon." Hmmmm... Might we get a big Oprah sit-down soon?

Time's up then, and it's time to go. Whitney wraps it up with a bit more babble and smiling says to the crowd, "I hope you loved it." And then she's done.

I'm glad to see she looks good. And the star-studdedness of it all has been fun. And I did rather like it. But some strong, bold, fierce, solid high notes and some classic Whitney I would have loved.

My fave songs? "Salute" and "The Look of You" -- the two R. Kelly tunes. Also, "Worth It" was nice, if low-key. And I'll be eager to hear some super-gay dance remixes of the ballads.

Will the public at large buy it? We'll have to see...

--by John Polly (NewNowNext)

I love the song!!! but the voice is gone...well its still good but not whitney good

it's alright. her voice sounds just okay, but makes me kind of sad. is she over-enunciating things to compensate?

this'll make a nice dance mix.

This is just for Urban radio, Million Dolla Bill will be sent to top 40 this week, I can't wait to hear the song.

'Like I never left' - Whitney ft Akon:

http://www.youtube.com/wa...re=related



I'm actually quite excited about the whole album release...!

LightOfArt said:

errant said:

c/s.

Hudson said:

This is already doing well at Urban AC.

I don't like it. I've heard another song off the album too and didn't care too much for that either. I can appreciate her efforts to turn her life around as well as her career, but I won't be wasting my money on this one. And I get the feeling that I most likely won't be the only one.

Cinnie said:

Miss Whit told her ass!

I took an Ambien tonight. What are the chances of an overdose after listening to this snoozefest???


Drag queens are practicing their lipsynchs as I snore.

Heard it on the radio yesterday.I was surprised at how much her voice has changed She can still sing,but the "power" is gone.