As strange as it may seem, Whitney Houston has been gone for five years as of yesterday. The tragedy of her and Bobby Brown’s only daughter Bobbi Kristina last year kept me away from writing about any of Whitney’s music on this blog. Of course with a good amount of time away from the negativity surrounding both of their passing bought Whitney’s positive musical triumphs back into perspective for me. Known primarily as a balladeer during the bulk of her career,the huge voiced singer continued to make quality comeback albums during the 90’s and early 2000’s whenever her personal situation allowed. By roughly 2004,even I had to admit she seemed to just disappear from the music scene.
In the late summer of 2009,Whitney burst back onto the scene with what turned out to be the final album she released in her lifetime. This album I Look To You was a very happy surprise for me having been recovering from the then recent passing of another 80’s era musical icon Michael Jackson. It was one of neo soul’s shinning stars in Alicia Keys and her then relatively new husband Swizz Beatz who really came through for Whitney on this album in terms of writing. And right at the beginning too because while the couple only appeared once here,it was a very memorable one at that. The result was “Million Dollar Bill”,a song that for me is one of Whitney’s musical triumphs of her latter days.
A fanfaring drum role starts off the songs 4/4 beat and accompanying chordal bass thumps. The refrain of the song features an elaborate drum solo that keeps putting itself in and out on the one with it’s brushing/cymbal work. It goes from subtle to right in your face right along with Whitney’s scaling,climactic vocals. The rhythm is kept going by a phase filtered Fender Rhodes electric piano right out of the Gamble & Huff school of mid 70’s uptempo Philly dance records. That keyboard solo occasionally takes on a higher,chiming tone on those more subtle moments. The instrumentation takes a total break for Whitney’s final chorus before closing out with a final burst of music and vocal power.
Actually this is one of my very favorite Whitney Houston songs ever. With her huge gospel/soul pipes, I always wondered why she didn’t tend to make uptempo songs a huge priority. Especially since she had so many excellent ones anyway. This song gave a modern production flavor to a classic disco era Philly uptempo dance groove. Especially with how Whitney’s go from nuanced to soul shouting right along with the drums-which themselves go from a light brushing sound to being heavier and higher up in the mix. It also shares a similar juxtaposition in tempo as Diana Ross’s “Love Hangover” as well. Take n on it’s own,it’s one of Whitney’s finest uptempo numbers.