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Note to TIMBALAND: Next time WHITNEY should LOOK TO YOU as her producer!
on December 12, 2009
When one reviews a new release from Whitney, one has to remove the ARTIST PERSONA from the product.
Whitney is amongst the rarest of recording artists who elegantly acquired a long career in the music industry solely based upon her natural talent to interpret lyrics and a melody line.
As opposed to her personal life wavering out of control in the public eye, she never once orchestrated artistic controversy to promote and hype her musical products.
There has never been any gimmicks surrounding Whitney - simply her vocals, the songs and her sheer artistry to deliver lyrical content.
It has been 22 years since Arista first released her second CD, "WHITNEY".
In 1987, a youthful Whitney was vocally ascending toward the top of her game as an artist.
It is now unfair of the public & physically impossible for the artist to accomplish the indistinguishable performance level she achieved in the past.
As a genuine belter, she no longer sustains the vocal dynamics and range she once effortlessly achieved yet she can still manipulate lyrics and transmit raw emotion to her public - one has to only run through "I LOOK TO YOU" to attest to this reality.
In 2009, one must audition & review Whitney's new release on the basis of the work presented upon the compilation.
The bulk of the material on "I LOOK TO YOU" is intentionally manoeuvred toward the past.
The production attempts to hopefully reconnect Whitney with her public.
Tracks have been commissioned to remain on safe ground and therefore sound non contemporary by the standards of current TOP 40 radio in 2009.
The fact this diva now possesses a warm lower register, as demonstrated throughout this release, may impact the overall level of appreciation from fans anticipating to hear Whitney perform with the same angelic tones of the bygone "I will always Love You" era.
The main issue that I have to gripe about with this release is CLIVE DAVIS.
He remains at the head of production on this CD and has a dated vision of his artist, Whitney.
To best orchestrate a Whitney comeback, one should adventurously challenge the talented vocalist & seek out new creative inspiration from new sources - a newer generation of producers that currently impact the sound at TOP 40 radio.
*** A good option to produce Whitney could have been enlisting the services of TIMBALAND who produced massive hits for NELLY FURTADO, JUSTIN TIMBERLAKE etc.
~> Her track "LIKE I NEVER LEFT" with AKON misfires despite the fact that AKON is currently one of the hottest recording artists on the planet. The production of the song was unfortunately done "safe and predictable".
~> MILLION DOLLAR BILL is a great urban pop track composed by Alicia Keys however there is not enough of the same included on this CD to forge and establish a new identity and signal a true comeback for the artist.
Sure it's pleasant to once again hear David Foster produce a Diane Warren track "I DIDN'T KNOW MY OWN STRENGHT" - while a powerful track to showcase live it's highly doubtful this track could currently acquire interest from Top 40 radio.
Fans of WHITNEY should purchase this CD with some reservation as they have to accept the reality of time, life and age finally catching up with their diva.
The best hope for generating serious interest from Top-40;
* FOR THE LOVERS
* NOTHING BUT LOVE
* MILLION DOLLAR BILL
* SALUTE (note: this track screams to be remixed ~ and not by CLIVE DAVIS)