A LONDONER WRITES..

It's Not Right, But It's Okay:
An unimaginative re-hash of 'The Boy Is Mine' - the vocals however are excellent. It will need a hefty re-mix to be a big hit in the UK.(3/5)

Heartbreak Hotel:
Forget Mariah - Faith, Whitney, and Kelly on THE SAME TRACK!!! The vocal arrangement is fantastic. Very R&B.(5/5)

My Love Is Your Love:
We've never heard Whitney like this before - praise Wyclef for bringing us some New Whitney (when we thought we'd heard it all!)(4/5)

When You Believe:
Treacle overload!! Whitney really tries to interpret a mediocre song - she blows Mariah's aimless meandering vocals to the four winds.(3/5)

If I Told You That:
Substandard uptempo number. Skip! (2/5)

In My Business:
Does not reach the funky heights expected of Missy.(a la 'Beep Me 911') (3/5)

I Learned From The Best:
Overproduced, however soaring yet soulful vocals avoid the bland bellowing of Celine Dion. Sounds very similar to En Vogue's 'Too Gone, Too Long' (also David Foster) (4/5)

Oh Yes:
A ballad more akin to SWV than Whitney. Her raunchiest vocal yet!!! (4/5)

Get It Back:
The best Rodney Jerkins cut. Surely that's Brandy (uncredited) on backing vocals!!!??! (4/5)

Until You Come Back:
This song would have suited 1987 Whitney, not 1998 Whitney - she appears to struggle on this one. (2/5)

I Bow Out:
Lyrics stolen from Madonna's 'Take A Bow.' A slick Bayface production. Vocals are rich and silky. (4/5)

You'll Never Stand Alone:
This is reminiscent of the old-style Whitney. Thrilling, though the Shanice Wilson backing vocals are far too loud. (4/5)

I Was Made To Love Him:
Whitney's most soulful cut EVER. This is the real, raw Whitney. Lauryn deserves a Grammy for finally capturing Whitney Live on record!!! (5/5)

Overall impressions on MLIYL:
Despite some truly awesome moments (HH, MLIYL, IWMTLH) this album does come as a slight disappointment, chiefly because many of the producers here do not seem to have respected the fact that they are recording with one of the world's greatest vocalists and have instead inserted Whitney's vocals into their own sound as if she was a second rate R&B starlet!!!! The chief culprit is Rodney Jerkins, who should stickto Brandy records.

I think Whitney should move on from big name producers with big egos. The cuts she produced with Mervyn Warren on 'The Preacher's Wife' OST show that she CAN do it - Compare her version of 'I Believe In You And Me' where her vocal dominates the song, to the David Foster version where here vocals are overpowered in the mix by a Wall Of Schmaltz!!!

Whitney deserves full credit for recognising that her voice has changed, and so she concentrates on the lower parts of her range and interpretation of a song, rather than just screaming her lungs out (e.g. 'Didn't We Almst Have It All'). This is why she sounds more soulful these days, and this can truly be called a well rounded R&B album.

Unfortunately, R&B albums don't seem to get promoted in The UK, so this album will probably not sell very well here. (Currently number 36 in the charts!!!!!!!!). It is however, her best album to date. (4/5)