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Music Week
Music Week The standout track on this double CD package is not, as anticipated, the Rodney Jerkins-produced duet with George Michael, 'If I Told You That', but the follow-up duet with Enrique Iglesias, 'Could I Have This Kiss Forever'. Houston's entire output since 1985 is brought together in a double-CD package. CD1 features classic ballads such as 'Saving All My Love For You' and 'Greatest Love Of All', while CD2 boasts the more upbeat hits including 'I'm Your Baby Tonight' and 'How Will I Know'. Only doubts about her promotional availability, Radiohead and the Spice Girls can stop this being one of the biggest albums of the year. Whitney in USA Today May 9,2000 Whitney's "Greatest" Lined Up In Smart Order Greatest-hits packaged by nature are built on an artist's best work. But they often do little more than collect the star's top-charting hits and throw in a few unreleased tracks as filler. The 36-track Whitney: The Greatest Hits (four stars out of four) puts its subject in context by smartly arranging the material so it's easy to follow Whitney Houston's 15 year progression from ingenue to mature singer. The set is divided into two discs, the first cataloguing her hit ballads in their original forms. The second disc acknowledges her impact on the club scene with dance remixes of 14 songs. There also are a few hard-to-find bonus numbers, such as her Star-Spangled Banner at the 1991 Super Bowl, a 1986 duet with Jermaine Jackson and the theme to the 1988 Olympics, One Moment In Time. The set does its job well, encapsulating a career that's still a work in progress, as evidenced by new duets with Q-Tip(produced by Raphael Saadiq),Enrique Iglesias(David Foster)and George Michael(Rodney Jerkins). Most telling is Same Script, Different Cast, on Which Houston trades lines with vocal power house Deborah Cox. There was a time when Houston was the diva-on-the-rise taking on established stars, But the track is a reminder that a generation of "Next Whitneys" has come up since You Give Good Love in 1985. Meanwhile, the original Whitney-whose tabloid troubles have often gotten as much attention as her music-has grown edgier but still seems to have more love to give. By Steve Jones, USA Today.
ALBUM SPOTLIGHT REVIEW: WHITNEY HOUSTON (Billboard - May 20, 2000) Whitney-The Greatest Hits For Houston, who's celebrating her 15th anniversary at Arista and who recently received her sixth Grammy Award (for "It's Not Right But It's Okay"), the timing couldn't be better for this two-disc, 36-track career retrospective. One disc, subtitled "Cool Down," includes such signature Houston ballads/downtempo tracks as "Greatest Love Of All," "All The Man That I Need," and "I Will Always Love You." The second disc, subtitled "Throw Down," places the spotlight firmly on the singer's many forays into clubland and includes such exclusive remixes as Jellybean & David Morales' mix of "Love Will Save The Day," the Dronez's mix of "I'm Your Baby Tonight," and Junior Vasquez's mix of "How Will I Know." Special highlights include three newly recorded duets: "Same Script, Different Cast" with Deborah Cox, the Metro mix of "Could I Have This Kiss Forever" with Enrique Iglesias (the song originally appeared on Iglesias' album "Enrique"), and "If I Told You That" with George Michael (the song originally appeared on "My Love Is Your Love" sans Michael). Also included is the summer-ready "Fine," which was produced by Q-Tip, DJ Quik, and Raphael Saadiq. Quite the stellar collection.
Music365 Review Two disc set from multi-platinum uber-diva. Bit long.Whitney. Has she gone barmy? The cover of this overdue, if a little over-stuffed, Hits comp, has La Houston wielding a large powerdrill around a room of platinum discs, with the sort of abandon that says just one thing: drugs. Barmy cover-concept aside, the collection is thoughtfully separated into the 'Cool Down' (Ballads) and 'Throw Down' (Groovers). So, it will be of no surprise to most sane humans that Disc One stretches the meaning of the phrase "a bit difficult to stomach" into new realms. Kicking off with the sweet debut 'Saving All My Love For You', it continues in its electric piano intro fashion - a little bit shopping centre, a slight dash of Moonlighting, the same postcode as Kenny G - before the hysterical 'I Will Always Love You', which still rocks in a you'll-only-understand-it's-qualities-whilst-slumped-paralytic-at-a-wedding-reception-way, before limping through some later non-starters. 'Throw Down' is more platable. There's a new duet with George Michael ('If I Told You That') that sounds like somebody involved was rather fond of Brandy & Monica's 'The Boy Is Mine'. The recent creative makeover of 'My Love Is Your Love' and the storming, really rather ace 'It's Not Right But It's Okay' stand miles above her wretched version of 'I'm Every Woman' and the plastic '80s Beverly Hills Cop funk of 'So Emotional' and the large-patterned-fashion-mohair-jumper-encrusted-with-jewellery of 'I Wanna Dance With Somebody' and 'How Will I Know'. It's safe to say that this would've been utterly horrible if it was released three years ago before her recent alright stuff, but the presence of some horrendous housed up versions of the likes of 'The Greatest Love Of All' tacked on at the end leaves a sour taste. A bit of selective pruning rather than the full-on snort of bad ideas and repeated wailing would have made a far more agreeable single disc. That's agreeable as in finding-water-torture-more-agreeable-than-say-being-ripped-in-half-by-horses kind of way. *** Ian Wade Tue May 16 2000 13:56 BST
NME Review Whitney Houston – Greatest Hits (Arista) Amazon.com The Greatest Hits Whitney Houston Christopher John Farley 05/22/2000 Time Magazine Time Inc. Page 144+ (Copyright 2000) Divas, one would think, have to keep up with the latest styles. But what's most remarkable about this DVD collection of videos, from You Give Good Love (1985) to I Learned from the Best (2000), is that Houston's sound and look seem timeless. Dressed, for the most part, in simple, elegant outfits and singing comfy pop-soul, Houston has created a body of work too mainstream to belong to a particular decade. in one of the DVD's "special features," she talks about her 1985 TV debut. The band was playing too slowly, so her mother Cissy began to conduct. Whitney learned from the best. --By Christopher John Farley
Clearly, she has the hits. The problem with this album is that she doesn't
always present them in the best possible way. little of this goes a long way. While a celebratory anthem like "I m Every
Woman" or a simple pop ditty like "How Will I Know" works with a booming
beat, it s hard to see the value of adding one to "Greatest Love Of All" and
"I Will Always Love You" (two of the four songs reprised from the first CD). Sonicnet.com - Whitney — The Greatest Hits, Whitney Houston (Arista) Same Cast, Different Mix By Eric Schumacher-Rasmussen Two discs, 36 songs, four new tracks — how can you go wrong? Well, for starters, you include remixes instead of the original versions of 14 of Houston's dance songs, meaning that if you want the original version of "How Will I Know" or "I Wanna Dance With Somebody," you have to buy her 1985 self-titled debut album. Of course, if you're a Whitney fanatic, you probably already have it, so you're only buying The Greatest Hits for the new songs. "Same Script, Different Cast" features plucked harp strings and piano behind a duet with Deborah Cox, the two singers bemoaning that they chose the same loser for a lover. "Could I Have This Kiss Forever," a duet with Enrique Iglesias, buries Houston's voice in Spanish guitar and synthesized strings. Such examples demonstrate Houston is only as good as her material and her choices have been spotty; a point the remixes drive home. The original version of "My Love Is Your Love" (RealAudio excerpt) is subtly seductive, while producer Jonathan Peters' house rhythms only distract from Houston's vocals on the remix (RealAudio excerpt). Then again, the Thunderpuss remix of "It's Not Right but It's Okay" offers a solid, club-conscious alternative to the original. Not better, just different. But if you don't already have all the original albums, remixes — no matter how good — aren't what you want. I guess that just gives the label an excuse to release yet another compilation down the road.
Atlanta Constitution Review 05/18/2000 Barnes & Noble.com
Although her vocal prowess is unbeatable,
the quirky Houston has always taken a backseat, personality-wise, to dance-floor-driven
divas such as Janet Jackson and Mariah Carey. But Houston proves she knows how to get her
party on with the "Throw Down" disc's club-ready remixes of "The Greatest
Love of All" and "I Learned from the Best." Another surprise treat is a
revamped version of the sassy, up-tempo "If I Told You
Jam! Showbiz - WHITNEY: THE GREATEST HITS With this week's release of a double greatest hits CD, Houston
may start making headlines more for monster record sales than her behind-the-scenes
antics.
Two discs with 36 tracks make up the definitive retrospective of Whitney Houston's remarkable career thus far, showing her as one of the few artistes for whom the word "diva" is truly applicable. This rewarding greatest hits package combines one set of supreme hit ballads with a collection of sizzling pop-dance remixes. Both are enhanced by fresh duets with Enrique Iglesias, Q-Tip and George Michael.
During Every decade in R&B, there’s one female artist whose vocal style, mixed with the right material, stands tall. In the 60s there was Aretha, the 70s Diana and then Whitney in the 80s. Seven albums, a staggering 140 million sales and an enormous list of awards later, Whitney brings out her greatest hits. The 36-track double CD complication takes you through a musical journey from her days of doggy pop wigs in tracks like I Wanna Dance With Somebody, to her vocal blossoming in I Will Always Love You. New Material like Fine produced by Q-Tip and Raphael Saadiq – take Whitney to even greater heights, changing Whitneys vocals to a much lower tone, with an added hip-hop bassline. An ideal gift for die-hards and, for those that think she’s a blan ballad singer, this album proves why she’s still perched on the diva throne. 4/5- Alive and kickin’ ass. Essence Review Of 'Whitney The Greatest Hits' Whitney-The Greatest Hits (Arista) reminds listeners of the enormous talent this artist demonstrated on "You Give Good Love" 15 years ago, how she has grown, and the fact she has a long career road ahead. The 36-track collection has two CDs, one brimming with ballad hits, the other with signature cuts and new club mixes. Special gems include new duets with Enrique Inglesias, George Michael and Deborah Cox, who trades sassy lines with Whitney on the emphatic "Same Script, Different Cast." As always, Whitney shines.
CD Now Review Ego and the obnoxious album cover (which shows Houston mounting her platinum albums to a wall) aside, Whitney Houston's long overdue Greatest Hits album is a very comprehensive set, including nearly all of the songstress' hits as well as a collection of choice remixes. Divided into two CDs, the album's 36 tracks trace her career from her highly polished pop singles of the mid-'80s to her more recent, hipper R&B leanings, leaving few stones unturned. Disc one plays it straight with nearly all of Houston's hit ballads, ironically showing just how similar the musical arrangements to her early songs were. Oddly, the set leaves off her 1998 duet with Mariah Carey, "When You Believe," from The Prince of Egypt Soundtrack -- perhaps the result of diva rivalry? The new song "Same Script, Different Cast" and the newly re-recorded "Could I Have This Kiss Forever" feature duets with fellow R&B chanteuse Deborah Cox and Latin heartthrob Enrique Iglesias, respectively. The former expertly borrows a piano riff from Beethoven's "Fur Elise" behind Houston and Cox's beautifully paired vocals, while the re-mixed latter track displays a sultry rhythm that resuscitates what was an otherwise lifeless ballad from Iglesias' Enrique album. Disc two, focusing mostly on club versions of Houston's hits, reads like a who's who of remixers of the past 15 years -- Jellybean, C+C Music Factory, Junior Vasquez, Hex Hector, and others are represented. The collection smartly includes the greatly-improved-over-the-original "It's Not Right But It's Okay," remixed by Thunderpuss 2000, and the highly danceable Clivilles and Cole mix of "I'm Every Woman." Also included are one new track, the funky, mid-tempo "Fine," and a revisited version of "If I Told You That," a song that rips off the musical arrangement of the Brandy/Monica hit "The Boy Is Mine," with a guest appearance by George Michael. Unfortunately, Vasquez's remixes of Houston's "I Wanna Dance With Somebody (Who Loves Me)" and "How Will I Know" do not fare as well as the CD's other mixes; both come off as '80s-pop fluff despite his efforts. Surprisingly, Vasquez's take on "The Greatest Love of All" nicely updates the ballad into a slick house track. Two noteworthy inclusions -- "One Moment in Time" from The 1988 Summer Olympics Album and Houston's live rendition of "The Star Spangled Banner" from Super Bowl XXV -- round out Greatest Hits, bringing to an end an expertly organized, if ego-inflated, album. Vibe Magazine Remixes of her past hits hold up
impressively, thanks to the exubeant rhythmic intuition of such track masters as Junior
Vasquez and David David Morales. On several new duets, though, Houston easily outclasses
her collaborators: Enrique Iglesias on the sinuous, Latin-flavored " Could I Have
This Kiss Forever," George Michael on the lithely thumping "If I Told You
That," and Deborah Cox on the sassy " Same Script, Different Cast." -Elysa Gardner
St. Louis Post-Dispatch Whitney Houston "The Greatest Hits," Arista Records. Superstar Whitney Houston 's simply titled greatest-hits
collection, rumored for a couple of years, finally sees the light of day as a double CD
featuring more than 30 songs. The Throw Down side begins greatly with "Fine," a
wonderful composition from the hands of Raphael Saadiq and Q-Tip. "If I Told You
That," a stellar cut from Houston's "My Love Is Your Love," is revisited
with newly added vocals from George Michael. After these two songs, the second CD is
overcome with a number of DJ-ready remixes of her upbeat hits. This may sound like a dream
for true for dance music fiends, but truly, the original
Sensational As Ever
Thankfully, Houston finally has released a greatest hits CD. The double album contains almost all of her hit singles from the past 15 years, plus a few new tracks. The first CD, Cool Down, has all the popular ballads. Song after song, her voice, smoky and soaring at the same time, is just amazing to listen to. Of course with the good stuff must come the not-so-good
stuff. The good: In case you missed The Bodyguard soundtrack, all five of the hit songs
are on this album, including "I Will Always Love You" and "Run to
You." The not-so-good: "Exhale (Shoop,Shoop)" and "Why Does It Hurt So
Bad" from the Waiting to Exhale soundtrack are here, too. They are too mellow.
LA Weekly Review There were two jaw-dropping, stunning-for-all-the-wrong-reasons R&B moments during the recently televised Arista tribute special. The first was when Aretha Franklin — black cornrows swept up into a scarifying blond weave, a fleck of what looked like gristle sitting high on her cheek — inexplicably peppered her most awful hit (“Freeway of Love”) with shouts of “Jesus! Jesus! Jesus!” while Boyz II Men shuffled aimlessly behind her. The second showstopping bit occurred when Whitney Houston and Bobby Brown — Sonny & Cher by way of HBO’s The Corner — enlivened Houston’s dreary diva medley with an out-of-left-field segue into the hook from Trick Daddy’s hood-rat anthem “Who Dat” (“Eye-yi-yi-yi-yi . . . Who dat? Who dat? Who dat?”), and spectacular television was enjoyed by all. Thank god for non sequiturs. Sadly, they’ve been all but airbrushed from Houston’s new greatest-hits collection — which is why it’s damn near unlistenable. The first of the two discs is the “Cool Down” side, i.e., the ballads. One track slides too smoothly into the next, with Whitney’s voice — so strong, so assured, so boring — anchoring saccharine production and even sappier songwriting. All the big hits are here: “You Give Good Love,” “Saving All My Love for You,” “Greatest Love of All,” “I Will Always Love You,” “My Love Is Your Love.” With the exception of the Wyclef Jean–produced, reggae-tinged “My Love Is Your Love,” they’re practically indistinguishable; it’s painful to listen to more than one “hit” at a time. Two new songs are added to this mellow batch of familiarity: “Same Script, Different Cast” (a duet with fledgling diva Deborah Cox) and “Could I Have This Kiss Forever” (a duet with offensive ethnic stereotype Enrique Iglesias). Cox and Houston sound eerily alike, which ironically sparks a bit of chemistry between the women — narcissism as aphrodisiac. Too bad it’s wasted on yet another trifling song about the doglike nature of men. Iglesias pants and sighs his way through his lines, trying to smolder but whimpering instead. The “Throw Down” disc is filled with astonishingly bad dance remixes of old hits like “I Wanna Dance With Somebody (Who Loves Me),” “How Will I Know” and “So Emotional.” Hex Hector and Junior Vasquez (and an uncharacteristically uninspired David Morales) take recordings that at least once had some minor charm or appeal (or, in the case of the Annie Lennox–penned “Step by Step,” were actually good) and turn them all into the soundtrack for an endless awful night at Rage. New material on this disc includes another duet (“If I Told You That,” with George Michael) and Whitney in solo mode on “Fine.” On paper, the Houston-Michael coupling is inspired: Together they symbolize two-thirds of the sex-drugs-and-rock-&-roll triptych. But Michael simply adds his pinched, nasal vocals to the track that was originally found on Houston’s album My Love Is Your Love, the result of which is two people singing at one another and daring the listener to care. Only on the stellar R&B track “Fine” does Whitney stand out. Co-written by Raphael Saadiq (Tony! Toni! Tone!, Lucy Pearl) and produced by Saadiq and Q-Tip (and mixed by DJ Quik), “Fine” is soulful, funky and tight as hell. And the vocal performance ranks among Whitney’s best. A lot of moaning fans have used this career retrospective to make the case that Whitney Houston’s voice ain’t quite the spectacular instrument it once was. It’s not, and so what? Sacrificing flawless and soulless technique is a small price to pay if the end result is a singer who actually feels the lyrics, who climbs inside the words and transforms them into something living. That’s not to suggest we should swing to the other end of the spectrum and splash unearned props on the heads of folks like Mary J. Blige, who’s all raw emotion but just can’t sing. It’s also not to shrug away the horrendous live performances Houston has turned in for the past year or so on various awards shows. But it is celebrating the middle ground that should actually be the aesthetic apex for truly great singers: talent, technique and soul. Too much of modern R&B is either pointless and excessive screaming, or chilly stylistic perfection stripped of any human connection. Whitney has been a hugely influential presence in modern pop music — with almost no significant music to show for it. She’s the clear model for the likes of (early) Mariah Carey, Deborah Cox and even Christina Aguilera, all of whom have lifted her diva moves, aesthetics and vocal tics. But that’s not the stuff legacies are built upon. Now that Whitney seems to be lifting her own private-life cues from the Esther Phillips story, she’s finally gotten interesting. Her voice has a grainy, simmering texture that snags coolly on funkdafied riffs, making her comfortably at home with Missy Elliott, Q-Tip and DJ Quik in ways she could never be with, say, Diane Warren. Here’s hoping she pulls a David Bowie move, uses this greatest-hits enema to retire her catalogue, and keeps on the career path and possibilities so clearly marked out on the very fine “Fine.” Ebony - July 2000 Whitney-The Greatest Hits (Arista) reminds listeners of the enormous talent this artist demonstrated on "you Give Good Love" 15 years ago, how she has grown, and the fact she has a long career road ahead. The 36-tract collection has two CD's, one brimming the ballard hits, the other with signature cuts and new club mixes. Special gems include new duets with Enrique Inglesias, George Michael and Deobrah Cox, who trades sassy lines with Whitney on the emphatic "same Script, Different Cast." As always, Whitney Shines.Q Magazine Whitney Houston The Greatest Hits Reporter.pl - Poland Review Word on this album had been prominent a few weeks before it's official release - especially on the internet. The content of the album has changed on several occasions with songs being added, taken away as well as changes in collaborators and producers. Even the photography and style of the cover has changed since original inception.And all this to celebrate Whitney Houston's returns in the year 2000 and the 25th anniversary of Arista records, the record label responsible for her 15 year career output - my God how this time has flown! So everything had to be in the right measure for such an artist and such anniversary. And it is. They resigned from the original suggested title - "The Greatest Hits of The Greatest Voice of All", but with excellence, it is substituted by the picture on the cover. Whitney is dressed in an impeccable evening dress, stepping up on an aluminium painter's ladder, with a blue drill which she uses to screw her Platinum albums into the wall of the room (and also the floor and ceiling!). On the floor in chaos lie a dozen or so similar discs. Need I say any more? Probably not. Inside we have two CDs and on them literally everything in the form of 35 songs - sixteen American and British number one hits plus songs which have never been released on a Whitney album before as well as dance remixes. And of course, a few more or less new compositions. In a word, everything for which so many love her and others hates her. All the songs deserve commenting on. Unfortunately, there is no way to write about all of them as it is two and half hours of music and is therefore enough material for three, not one album . So, I've decided to write about only a few songs and it will be the lesser known ones. We have already heard so much about some of them. We have a few surprises here. There's a place on the album for a song which wasn't a single and came from debut album - All At Once. A lesser known song in Europe called 'I Believe In You And Me' is here from The Preacher's Wife soundtrack. A duet with the brother of Michael, Jermaine Jackson also features. It is a sweet production from 1984 called If You Say My Eyes Are Beautiful. There is also the theme song from the Seoul Olympic Games, One Moment In Time, which never featured on a Whitney album. I'm Your Baby Tonight, from the album of the same name can be found in two versions - the first is probably only known to a small group of European fans as it is the American version of the songs. The second is the Dronez Mix and I don't exaggerate in saying that it is not even a 21st, but a 22nd Century remix. The same with the remix of 'Greatest Love Of All. In the opinion of my Radio DJ friends, it is one of the best if not the best house productions in the short history of this sort of music. Supporters of harder dance rhythms will probably find the remix of 'I Will Always Love You' by Hex Hector to be pleasant enough, but in my opinion this respected wizard of sound didn't show all his ability here or showcase the song itself. An excellent job of It's Not Right But It's Okay by remixers Chris Cox & Barry Harris, known very well for their good club and dance remixes. Also falling into the hands of remixers is the duet with Enrique Iglesias called Could I Have This Kiss Forever. The mood of the songs is reminiscent of Bailamos or Rhythm Divine, but this time Enrique is in the shadow. We can clearly hear one voice and that is Whitney. The song will be promoted in the Latin markets and has been promo'd in Mexico. If we listen to If I Told You That, well, George Michael sung probably the best he could in this production by Rodney Jerkins. Neat and turned up, at times it would seem that George wants to be Miss Houston - however, it is a listening pleasure. I have to agree with opinions that the duet is designed to increase sales of the CD in Great Britain. Generally, this collaboration wasn't necessary for her or him. But thanks to that we listeners have a 'tasty piece of music. Also by way of tasty - which is really the majority of this CD - are two new songs which are left to the end of the CD. The fantastic Fine is produced by Q-Tip (know for his work with Janet Jackson on the superb Got 'Til It's Gone), this is a very modern composition. In mood, it is close to Got 'Til It's Gone and My Love Is Your Love from the last Whitney project, but it is enriched by new delivery, especially in vocal arrangement. Melodically, the vocals appear to be simple but this is just the initial perception - clearly Whitney is the best. For the listener and fans, Whitney shows off the range of her voice on this CD and proves once again that she can sing anything. And she is doing it! For the doubters, you will believe when you hear the last of the duets, Same Script, Different Cast, this time with Deborah Cox. In opinion of a lot of critics, Same Script, Different Cast is is one of the most interesting and best female duets in years. And I agree with this opinion. As previous collaborations on Count On Me with CeCe Winans and Heartbreak Hotel with Faith Evans and Kelly Price showed, Whitney's duets with artists such as Mariah or George had these artists achieving their best results. With Deborah she achieved something more, creating almost a new trend, another way, another completely new and fantastic degree of initiation. This song is as much lyrically enticing as is it's instrumental composition. The leading role, two excellent actresses. It has no distractions or unnecessary sounds or useless vocal acrobatics, and showcases each others vocal ability. I always say that the simpler the song the more beautiful it is. Even for just this duet, one should buy this CD. Another reason - almost one million English and Irish bought this CD in the last few days, so in it's first week of sales it makes debuts at Number One on the British Chart overtaking the very popular Britney Spears. When we factor in that Whitney didn't release any singles to promote the album... At this time, with pleasure I present :The Greatest Hits of The Greatest
Voice of All. And if you want to check out a Whitney Website - (to check if the CD
is worth it?) go to www.classicwhitney.com. Guardian: Whitney Houston Modestly waiting 15 years to compile her hits meant that Houston had too many to fit on one CD, so disc 1 is devoted to ballads, disc 2 to uptempo stuff. No prizes for deducing that the latter is eminently more listenable. The likes of I Will Always Love You and Greatest Love of All weren't just a waste of one of the potentially great soul voices; they opened the door for Celine Dion. But Houston remembers her gospel and R&B roots often enough to counterbalance the slush with rootsier offerings like I'm Your Baby Tonight and It's Not Right But It's Okay. New duets with George Michael and (especially titanically) Enrique Iglesias complete a couple of hours of diva-style fun. (CS) VirginNet: Whitney - The Greatest Hits Not the most exciting release to hit the shelves this season, but you can't argue with a good tune and there more than a few of them here. Whitney has been knocking out the emotionally wrought, but perfectly groomed, plastic soul tunes for fifteen years now and made history in America when her first album (1985's daringly titled Whitney Houston) was thr first by a female artist to enter the charts at number one. Since then she's notched up hit after hit (30-odd of which are here) and influenced a whole generation of younger pretenders like Mariah Carey and Toni Braxton.With this many quality songs to choose from (Saving All My Love For You, I Wanna Dance With Somebody, My Love Is Your Love) it seems strage that this 2CD set is padded out with four rather lacklustre "dance" mixes and there are odd omissions (like My Name Is Not Susan). However, all in all this is a substantial product and a fair representation of Whitney's incredibly successful (commercially if not always artistically) career. But mainly one for the fans, there's nothing new (apart from the aforesaid appalling dance mixes) to win over new listeners.
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