Whitney Houston Like I Never Left Lyrics

Whitney Houston Like I Never Left Lyrics – The last time Whitney Houston attempted a comeback with “Just Whitney” in 2002, she was overshadowed by her constant free fall into tabloid mountain. Drug abuse, marital fights, and wild behavior tarnished her once-royal image to the point that it was hard to focus on anything musical from Houston, and the fact that Just Whitney’s song was good didn’t help matters.

These days, fortunately Houston is in much better shape both personally and technically. She seems to have put her demons behind her, and with “I Look at You” she delivers a very good album that shows that the Queen of Pop still has an amazing voice that can leave you spellbound.

Whitney Houston Like I Never Left Lyrics

Working with an array of songwriters and producers including well-known hitmakers like Diane Warren, Akon, and R. Kelly, Houston is certainly backed by first-class material that can be as captivating as her voice. The disc begins with the winner, “Million Dollar Bill”. This upbeat, funky R&B tune, produced by Alicia Keys and Swizz Beatz, is an instant party start designed to get people of all ages onto the dance floor.

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“Nothin’ but Love” is a mid-tempo ballad that evokes Houston in his heyday in the early 1980s, with a synthesized sound that sounds retro but doesn’t sound dated. The singer sends kisses to her fans and haters with lines like, “I can take the pain but that’s not what my life is about, I wouldn’t blame anyone if I didn’t work my stuff out.. I got nothing else like love for you.”

While Houston did not contribute writing to any of the album’s songs, many appear to have been written with Houston’s many tribulations in mind. The title track, an uplifting ballad written by R. Kelly, alludes to life’s storms and the yearning to heaven for redemption. In Warren’s song “I Didn’t Know My Strength,” Houston sings, “I fell to the ground, I stumbled, but I didn’t fall, I went through all the pain.” And in another R. Kelly song, she shrugs off a lover who’s caused years of her own drama with her own “Salute.” (Bobby Brown, anyone?)

Two of the best songs on the CD have nothing to do with any drama, just love. Like I Never Left, a duet with Akon, is a simple and airy song about reconnecting with an ex-love. Houston’s voice alternately gets louder and yearning. “Worth It” is a song on fire with Houston at her seductive best – she doesn’t use her powerful voice at full speed, nor does she need to woo listeners with the understated beauty of her voice.

As for this voice – one of the best in the business – although it sometimes sounds raspier than in its prime, it is still a marvel (and perhaps not helped by studio gimmicks – a live performance earlier this year proved that vocal abilities for Houston is still intact.).

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There are one or two songs that weigh heavily on the CD – “For the Lovers” is probably the only real miss – but overall, “I Look to You” is an album that puts a sparkle back into Houston’s musical legacy.

A handful of songs on their second album, Datarock relegate to brass knuckles. “Dance is / It’s everything,” asserts the band’s lead singer, Frederick Saroya, punctuating the phrase against a shimmering disco groove. The lyrical tone of the track – “Dance!” is her emphatic title – it seems at once deliberate and absurd. And so, for that matter, he does the rest of the album.

Datarock, out of Bergen, Norway, has garnered something more substantial of a cult following since its 2005 self-titled, self-released debut. (This album made it to North America in 2007.) Saroea and Ketil Mosnes, both multi-instrumentalists, form the core of the band, which also includes such supporting members as saxophonist Kjetil Moster. They stick to a uniform—a red hooded tracksuit, sunglasses, and sneakers—that evokes the faux pas of DeVoe, with whom they recently shared a stage.

Not that Datarock makes even the slightest effort to hide its effects. (“Getting to know Devo was like finally meeting our biological father,” Saroya recently told a British music magazine.) “Red” goes further than the band’s debut in terms of old-fashioned future-futurism, creating a frothy elixir blend of the ’80s. -pop, art rock and new wave.

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If you’re someone affected by the death of director John Hughes, you can take comfort in here from “Molly,” a tribute to Molly Ringwald, Hughes’ muse. You might as well be reacting to Fear of Dying, your aha struggle with Al Smith. And you’ll definitely notice that “True Stories,” with its kinetic transformations by the meter, doesn’t just sound like Talking Heads; The lyrics consist of the collected Talking Heads song titles.

Authenticity, nostalgia, sincerity, camp – none of these are stable in the world of Datarock, which might explain why “Red” looks the way it does. There is a sense of remixing behind everything this band touches. But training allowances are not negotiable, like dancing.

When you’ve been out of a rap game for longer than about 10 minutes, the next thing you do is always called a comeback. This is where Miami-based Pitbull positions himself, proving that he’s still a hit maker with his latest album, “Rebelution.”

Effectiveness is measured in many ways, but suffice it to say that this is a solid return to form for the master.

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“Shut Down (with Akon)” and “I Know You Want Me (Calle Ocho)” are guaranteed ground fillers. The heavy beats, sexy hooks, and fast rap approach of Pitbull are a winning formula.

“REST IN PEACE. BIG AND BUCK / So it’s not, but it’s interesting,” Pitbull raps about Pitbull, in “I Know You Want Me,” and he gives notice that his career isn’t buried yet.

No “Toma” here, his electrified hit from 2004. But what goes into “Rebelution” is solid, perfectly produced and should keep Pitbull’s tracks growing on the dance floor for years to come.

Check out this track: Pitbull pays homage to Florida hip-hop pioneers 2 Live Crew on “Hotel Room Service,” with 808s, repetitive group sing-along hooks and disturbing lyrics. Nobody rocks like Luther Campbell and company, but Pitbull represents just the right kind of bass.

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In 1973, John Fogerty released an album of covers under the name Blue Ridge Rangers. He has played everything on drum, from guitars to drums.

“The Blue Ridge Rangers Rides Again” is Fogerty’s return to the classics, covering such favorites as “Moody River,” made famous in 1961 by Pat Boone, to the tunes of John Prine and John Denver.

Fogerty’s voice is raspy and subtle in all the right places, backed by a backing band playing lap steel, fiddle, and mandolin.

The Eagles’ Don Henley joins in on a smooth version of Ricky Nelson’s “Garden Party,” while Bruce Springsteen adds his blues bent and call-backs from “That’s What I Talk About” to a version of the Everly Brothers’ “When Will I Be Loved.”

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The album doesn’t explode with the kind of wild rock ‘n’ roll growls Fogerty unleashes on Creedence Clearwater Revival, but it showcases the 64-year-old’s rooted, still soul-filled side.

Check out this song: “You can’t please everyone / So you gotta please yourself,” Fogerty purposefully sings on “Garden Party,” the album’s best track because of its lyrics and retro references to Yoko Ono and others.

Busy, wild fracking guitars accentuate the rhythm section. Singer Jesse Elliott is the ringleader of the gang, leading the way with his wide-eyed, folk-rooted songs as he encourages his band to tinker with traditional forms as much as he does.

This US could capitalize on King of Leon’s current popularity, as the title track of this record has its fair share of sexy/thoughtful lead vocals and lyrical verses. And don’t forget “I Want You to Keep It All”‘s melodic guitar flourishes and unforgettable chorus. When the trailer for her autobiography is released, we take a look at the often-surprising R&B star’s best output

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Released when the latest R&B was taking a turn for electronic and futuristic emergence, Whitney Houston put out his self-titled debut LP halfway through. But her line was MOR of a very chic font, as evidenced by You Give Good Love. Moreover, her voice was powerful enough to add emotion and boldness to the smooth environment.

Annie Lennox’s old B-side is transformed into something magical by way of a house-influenced beat, slow-building synth chatter to the arrangement and an infusion of gospel into the chorus. Houston seems imperious throughout, delivering impassioned lyrics about gritty self-improvement with utter conviction.

“I love you,” she tells Curtis Mayfield, author of Look Inside Your Heart, as he begins work. Sure, she chose a gorgeous deep cut for his tribute album cover, which was originally sung by Aretha Franklin for the 1976 Sparkle soundtrack (Houston later produced and starred in the remake). These are big shoes to fill, but Houston does it with confidence.

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