surprisingly boring

The WH/MC duet is a prime example of the problem in pairing two high-profile singers with divergent styles more for expedient commercial marketing than for compelling artistic appeal: the song either plays to the strengths of one participant at the expense of the other, or it seeks the middle-ground at the expense of both. In the case of WYB, Babyface evidently has tried to strike a balance in order to pander to distinct audiences, and the result is a surprisingly boring, disjointed compromise.

There is scant harmonizing, and while the voices do not clash, they are not particularly complementary. The contrast indeed only serves to underscore WH's superior vocal artistry. Although both women have great pitch, range, and control, WH's voice is a revelation of celestial grandeur.

Her vocals possess a clarity that command attention whether or not she is softly caressing a word or belting out a gospel flourish. She can clearly generate stunning volume, but her power derives from the definition and authority of her emotive phrasing and virtuosic shading, as she shifts effortlessly from a soft whisper to an unbridled wail, from melancholy reserve to joyful abandon, from anguished insecurity to bold resolve.

MC's technical acrobatics are mostly hollow overindulgence, and when she pulls back, she chokes and chews on notes, her unmodulated breathy embellishments sounding uncertain, unconvincing, and insubstantial; moreover, her coloratura octaves, already a bit shrill for my ear, are becoming increasingly reedy.

In contrast, when cutting loose, WH unleashes a force of nature of impassioned transcendance, and when employing restraint, she subtly shapes notes with multi-colored nuance; her soprano, a marvel of incomparable crystal purity and full-bodied tonal roundness (recall the rising endings on both "A Song For You" from the "Welcome Home Heroes" concert and "IWALY"), has grown less dewy, but nonetheless conveys rich texture and sinuous sweetness.

Regardless, WH's efforts cannot redeem "WYB." It has no solid structure, meandering along without any apparent regard to organic melodic progression, then stopping abruptly as if the songwriter had run out of inspiration. The bridge, moreover, seems like a mere slapdash afterthought, and the histrionics near the end a calculated attempt to insert melodrama that is utterly incongruous with the sentiment.

The lyrics are trite, but whereas the lack of fresh insight in a universal theme might be elevated from banality by profound wistfulness, as in the sublime delicacy of "Exhale," or by poignant intensity, as in the dynamic ebb and flow of "IWALY," the bombastic arrangement of "WYB" only emphasizes the pretentiousness, following the example of the cheesy, overproduced MC/BIIM collaboration "OSD." Hey, this is my opinion -- no more, no less.

A competitive choice is not the issue: artistic preference is a matter of spiritual connection. WH's voice stirs my soul; MC's voice, even if technically fine, leaves me cold -- as does "WYB." Those who complain about comparisons and criticisms ought to be more respectful of freedom of expression. Y'all are free to disagree -- or to agree, so I will wrap up by acknowledging my appreciation of the informed, thoughtful entries from Lisa and Blackatlantic. Let the debate rage on!