It has been eight years since Whitney Houston put out an album that reflect her mood and feeling without the constraints of a movie/soundtrack which will dictate the mood and the songs.
"My Love Is Your Love" is Whitney Houston musically and vocally on a new vibe and level. The songs that play out the story of this album are nothing less than a roller-coaster ride which, in turn, is a reflection of many of our lives these past eight years. It's not just been a journey for Whitney Houston. Writing this review is a daunting task, but also a special one, this represents the Internet's first review of the album and as yet, no publication has reviewed this set.

The packaging of "My Love Is Your Love" sticks closely to one set of photographs from the "street" photoshoot. Classy and simple, there are no gimmicks or statements of grandeur. The cover is as shown above - no lettering, just the photo of Whitney. The booklet does not contain lyrics to the songs; just the production credits for 12 songs.

Three statements make for interesting reading in Whitney's closing notes:

- And To Whom It May Concern (I think I know you know who you are): If your distant objective is worthy of a long journey, don't try getting there by shortcuts that transgress the rights of others.

[A feeling of pride over one's own integrity and respect for Whitney is predominant when one can stand tall, head high and say "Whitney Doesn't Mean Me Here" - I think we all know the group of people Whitney refers to here. I learned from bitter experience - Manish.]

- To all of the fans who have shared this journey with me domestically & internationally: Whitney loves you much.

[How proud I feel to be a Whitney Houston fan yesterday, today and for always. Whitney's acknowledgment of the community of fans building around the world is heartwarming.]

- "The events & characters depicted in this album are fictitious, & any similarity to actual persons living or dead, or to actual events, is purely coincidental."

[For those who take things just too literally!]

Okay - Here goes - a track-by-track review of the new album...

It's Not Right But It's Okay

The xylophone intro on this anthem (that's what this song is!) doesn't forewarn the listener as to what is about to follow. Quite understated initially. Whitney's first few lines on this opening song from the album immediately tells us that this is not an album of the Whitney we already know, more that it's the Whitney we've yet to hear. The lyrics remain contemporary as Whitney sings about her partner who supposedly left to be out with friends "last Friday night" ('..Six of y'all went out, but four of you are really cheap, 'cause only two of you had dinner....I found your credit card receipt') - the evidence of deception.
"It's Not Right But It's Okay" runs into an infectious chant with the persistent xylophone backdrop which simply adds to the flava of the song. As an opening cut, this jam is definitely the one that sets the stage for what is about to be quite a listening experience.

Heartbreak Hotel [Featuring Faith Evans & Kelly Price]

One of the most impressive songs on this set, Soulshock and Karlin are on production on this cut which they wrote with Tamar Savage.
Whitney sticks mainly to the verses and Faith & Kelly take the run on the choruses. It makes the song very accessible and not a battle for vocal supremacy. It works so well. The song is mid-tempo and runs a relaxed mood. It pulls no punches, no vocal acrobatics, just soulful interpretations of the lyrics.

The breakdown on "Heartbreak Ho-tel, it's justa Heartbreak Ho-tel..." is so cool. Definitely a Whitney classic for future years. A daring title to play with too considering the history of "Heartbreak Hotel" for Elvis - it's not the same song, just the same title.

My Love Is Your Love

"If tomorrow is judgement day, and I'm standing on the front line, and the lord asks me what I did with my life, I will say, I spent it with you...."

This is without a doubt the most emotive, haunting song of the album. The first listen is amazing! I defy anyone not to be moved by this song. It's possibly the first Whitney song to be so obviously about social issues, although this is linked into the message of faith. Wyclef Jean does an amazing job of bring together the essence of Whitney with his production and writing talents. The churning, reggae vibe is persistent and is definitely a massive song for Whitney. This one has to be a single. Radio won't get enough of this.

Bobbi features at the beginning and end of the song with two spoken parts - quite suitably included. Whitney's vocals are soft and clear and at times echo adding that haunting effect to the song. What a classic.

When You Believe (From "The Prince Of Egypt")
[Duet with Mariah Carey]

The version of this song is different in production to that which is currently being played on the radio throughout the world. Babyface is still there, but this version is far less "Disney" and a lot more class. It doesn't have that grand "epic" sound to it and ultimately it benefits from not being too sickly sweet. The intro is cut down thus Whitney comes in quietly and quickly which pleasantly takes you by surprise as apposed to the single version which perhaps is better suited to the movie itself where a grand introduction to each artist's part is expected and delivered.

Whitney is far more relaxed and believable than Mariah on this song. It is a shame that technical expertise seemed to be far more important that emotional expression when it came to the final inclusion of Mariah's verse. The cutting is evident against Whitney's far more naturally sung verse.

However, that aside, the song is a classic and probably the best song - and maybe the only song - in which these two quite diverse vocalists will ultimately be suited.

If I Told You That

The piano intro on this is classic house anthem/ urban dance cut would initially lead you to believe that this song comes straight off Lauryn Hill's "The Miseducation Of Lauryn Hill" set. I don't know how long it'll take to get over Whitney say "DarkChild" on this Rodney Jerkins production (a trademark on a lot of his works). I'm just not sure if it becomes Whitney. It swiftly brings in the swirling orchestra and transforms to the pop/R&B structure which it maintains throughout.

A positive cut, the song tells the story of the desire to evolve a friendship into something more. The classic like "If I Told You That...." is to find out how the object of Whitney's desire would react at being told there is a chance of more than friendship.

The actual chorus is quite "pop" and repetitive through the song, but the secondary chorus that comes in underneath it towards the end adds just that bit more dimension to this song. This is the album's "I'm Your Baby Tonight" in many ways.
This song didn't grab me instantly but has grown on me rapidly. Another radio favorite.

In My Business [Featuring Missy "Misdemeanor" Elliott]

I was quite nervous about this track. I love Missy's work, but I just didn't want this to turn out like her recent pairing with Melanie B., or "Baby Doll" from Mariah's "Butterfly" set. I am really into this jam - it doesn't ooze of Missy, it's quite clearly a collaboration and not Whitney singing Missy.

The story behind this song is one which Whitney has pleaded for. She's just never sung about it. It tells of her bemusement that people persistently are scrutinising her marriage to Bobby Brown, judging him and her. I laughed to myself when hearing some of the lyrics here. Straight away, I could link it back to newspapers, reporters, radiostations and Whitney Houston Websites who tell Whitney that she doesn't need Bobby. You know who you are. Listen to this song. How's it feel to have Whitney sing a song about your attitude?

Can I check my surprise at hearing Missy's rap which quotes "Too many girls they dislike me, Since I got you they wanna fight me, 'Cause I'm the chick walking round with the ring, Tell me why these 'ho's they don't even like me."

This song is brilliant. Don't worry, just love it.

I Learned From The Best

I originally heard just 30 seconds of the chorus on Arista's Website and was surprised at the bitter tone of the lyric here. Of course, the song itself does explain why Whitney sings "I Learned From The Best, I Learned From You" when it comes to knowing how to break a heart (having had a broken heart from the other party).

The song's style and production is very close to that of "Too Gone Too Long" by En Vogue. The fact that it's written by Diane Warren and produced by David Foster (as was "Too Gone Too Long") explains the reason why.

This song could easily pass as a James Bond theme song! (I don't know if that's a good or bad thing!). I do know that if you ever wondered what Whitney singing James Bond would be like, I think this is quite close to the mark.

An impressive song - especially when it comes from the pen of Diane Warren - which closes beautifully with a long note, the kind we've not heard from Whitney in a while.

It's too early to tell whether I will go on to put this song up as a Whitney classic or whether I'll file it with "You Were Loved" and "Didn't We Almost Have It All" as songs which just didn't quite hit the mark for me. It has all the ingredients of being a prime dirgy ballad. Diane wrote it after all.

Oh Yes

This song is over 6:30 long (i.e. the longest on the album). Written and produced by Missy once again, but this time, it's a really (really) seductive ballad. Quite daring in it's structure. Whitney sound great on this one. It has subtle moans in the backdrop, and whisphered words. The chorus has a great hook. If Arista had to choose a ballad to release as the next single, this is the one they should go for.

Despite it's length, you don't notice the time. It unfold wonderfully, weaves it's lyrics perfectly and builds to a height without making an obvious transition which we'd call a "bridge".

Get It Back

Rodney Jerkins is all over this album and my initial dismay has proved to be unfounded. The backdrop on the hip-hop jam is similar "It's All About The Benjamins" by Puffy Daddy (you know the one!). Still, no sign of a sample, you can hear the tinkles of the keyboard which also littered the brilliant DarkChild remix of Luther's "Night's In Harlem".

As with every song on "My Love Is Your Love", Whitney is vocally care free here and thus adds a refreshing, edgy vibe to the song. The addition of the sweeping strings add further dimension to this song. Whitney really pulls this one off.

Until You Come Back

You know you're running into the realms of vintage Whitney Houston from the grand opening notes for this song. It's a cross between "I Have Nothing" and "Why Does It Hurt So Bad".

If we have to define each song on this album, this is the "jazzy" one, but it's feel isn't as obvious that you could categorize it in one genre.

"Until You Come Back" is better than I thought it would be. It's written by Babyface and Daryl Simmons (who last worked with Whitney on "Queen Of The Night").
There is a full orchestra in the song and it adds a great deal of excitement to the song without it becoming out of place on the album. Well done Babyface, you did it.

I Bow Out

Diane Warren wrote this song. What makes it different is the fact that the production is handed over to Babyface and Rodney Jerkins. I was very unsure as to how these two would collaborate on this song, but the results are so cool, such a great sound and lyrically, Diane doesn't tread too far into her overused book of tricks.

Elements of this song remind me of "Long Ago" from Mariah Carey's "Daydream" - Just the beginning, but it's there.
The mixture of Babyface, Rodney, Whitney and the orchestra brings "I Bow Out" to us on many levels. It's the late night wind-down, the evening jam, the Friday night drive through the City.

You'll Never Stand Alone

When I learn that Babyface is producing a Diane Warren song, my mind has instant images of a claustrophobic formula ballad. It leaves me cold.

When it comes to "You'll Never Stand Alone", I have to say I am pleasantly surprised...I think. The production is far more fluid than previous albums on which Babyface had produced for Whitney (that can be said of all his production on this set). The song itself is what we're used to from Diane. Most people know me not to be a big Diane Warren fan.

I do like this song. I think it's still to grow on me. I can say right now that it's one that I wouldn't dread playing (as I do with "You Were Loved"). It is a formula ballad, but Whitney sounds really good and she carries the lyric so well - all the way through.

I Was Made To Love Him

Heavy on the bass, ya know Lauryn Hill is on the mix here. This is just brilliant!! One of the best songs Whitney has ever covered - ever recorded!. Vocally really relaxed, Whitney glides through this with conviction and style. I don't know the Stevie Wonder original but I'd love to know what his thoughts on this are. Really the coolest jam from Whitney. The trademark harmonica is here which just oozes of Stevie Wonder. No clue (yet) as to whether it's him here. The backing vocals are really good on this too. I need to know who's on this one. "I Was Made To Love Him" may not have been intentionally left off the tracklisting (due to time constraints) but it fits in perfectly as the bonus cut. and closes "M y Love Is Your Love" just perfectly. None of the other songs could have closed this set like this one.

Closing thoughts...

I'm sure I've said this before - It's too easy too call this album the best Whitney has ever produced...but it's a fact. It really is. What started out as excitement about the trickles of information and then short soundclips climaxed in thirteen songs on a CD called "My Love Is Your Love". I was scared about this moment. Not because I feared not liking it (although that was part of it), but because having the songs meant that was it - the end for another few years. However, now on my fourth play of the album, I am so relieved that this album grows and grows on you. It's a classic of immense proportions in a critical juncture of Whitney's musical career. The album pulls no punches and doesn't pretend to be anything or anyone else. It's Whitney. That's what makes this album a resounding success at the end of the day. When the last song finished, I didn't come away feeling I missed something. It's all here.

Well Done Whitney. This is Classic Material.