Interestingly enough, I didn’t hear this particular album until well over a decade after it came out. Some of it might’ve been a degree of overexposure,even within the family to her self titled debut album. Even after this had been out for some time. Produced as before with the Narada Michael Walden/Clive Davis team who were also churning out mid 80’s hits for Whitney’s godmother Aretha Franklin,boogie funk maestro Kashif is also on board for this session. Over the years, I’ve read in many publications that all these “cooks in the kitchen” (when it came to producers) diminished Whitney’s vocal presence.
Considering how much I’d felt Whitney had been bound by her producers when she first came out, this album gave me the impression of being nothing but surface glitter for a wonderful vocal talent. Whitney is also someone who at the time everyone was really rooting for positively. And perhaps we all still do musically anyway. But once I took the negativity of some writers and that of musical pop culture in general,the whole “antieightiesitis” deal,out of the context of this album and really listened to it there’s a possibility this may be Whitney’s most varied and accomplished work of the decade.
For sure the production is big, bright,full of life and major chords but so is Whitney. Her utter joy and rapture in succeeding so much musical blood already in her family is more than apparent. First off this album is home to two of her brightest dance numbers. “I Wanna Dance With Somebody (Who Loves Me)” is a complete late 80’s dance/pop tune but with enough of that gospel/soul style joy from Whitney to make it work. “So Emotional” is meaner and funkier,with something of a Minneapolis/Janet Jackson synth influence.
In a lot of ways Whitney is a far more uptempo based album than her debut,with far more danceable songs. My two personal favorite in that regard are the sleekly jazzy/funk style of “Love Will Save The Day”,featuring a vibraphone solo from Roy Ayers himself and a cleverly chorded hook. “Love Is A Contact Sport” showcases this shuffling retro Motown/Holland-Dozier-Holland type rhythm and a sassy pop/soul atmosphere. Of the ballads my favorite here, probably one of my favorite slower tunes of all of Whitney’s is “Just The Lonley Talking Again”,a reflective,jazzy heartbreak type slow groove.
Ideally, Miles Davis would’ve been perfect playing on “Just The Lonely Talking Again”. And while the name of Kenny G being on it might induce some to cringe…his sax solos do actually gather some some quiet fire here. Of the slower material I honestly prefer Kashif’s “Where Are You” and the gospel powered “I Know Him So Well”,a mother/ daughter duet between Whitney and the husky voiced Cissy. “Didn’t We Almost Have It All”,”You’re Still My Man” and “Where Do Broken Hears Go”? Well two of them were huge radio smashes but were somewhat predictable with what her debut had to offer.
If your a fan of that “big ballad” thing of Whitney’s, the songs just discussed are great examples of that. And taken as they are they really do complete this in terms of being a pop package. Aside from these matters, the album is actually full of some exciting and energetic vocal and compositional surprises. And in the end,the mix of four producers including Jellybean and Michael Masser (along with Narada and Kashif) actually don’t end up being very intrusive at all. Everyone involved realized how to accommodate the “star” vocalist here.
I imagine her abilities and enthusiasm more than carried the sessions too. Not to mention Whitney also doing her own vocal arrangements here. As with the female soul vocalist greats Whitney admired and came from,she elected to remain an interpretive force strongly involved with the creative process. And on these upbeat songs about love,longing,devotion and joy itself are a reminder of all of her talents. And why so many including myself will miss her being around.