Rolling Stone (1/10/91) - 3 Stars - Good - "...amounts to a case study in how much she can get out of her luscious and straightforward vocal gifts within a dance-pop framework...refines two of her signature styles: state-of-the-art dance pop and baroque ballads..."
Q (1/91) - 3 Stars - Good - "...Listen to more than a few bars of this album's opening hit-single track and you swiftly begin to appreciate the absolute and utter professionalism which has been at the heart of Whitney Houston's success..."
Time Magazine (1/7/91) - "...She comes within striking distance of classic saloon soul here and proves she's stepping up to fast company..."
Personnel includes: Whitney Houston, Stevie Wonder (vocals); Chris Camozzi, Paul Jackson Jr. (guitar); Gary Bias (alto saxophone); Steve Tavaglione, Kirk Whalum (tenor saxophone); Kenny G, Gerald Albright, Tom Scott (saxophone); Raymond L. Brown, Michael "Patches" Stewart (trumpet); Reggie Young (trombone); Frank Martin (piano, keyboards, vibraphone); Wayne Linsey (piano); Neil Larsen (Hammond B-3); Babyface (keyboards, bass); John "Skip" Anderson (keyboards, drums); Louis Biancaniello (keyboards, programming); Kayo, Francisco Centeno (bass); Narada Michael Walden (drums, bass); Stephen A. Ferrone (drums); L.A. Reid (drums, percussion); Paulinho Da Costa, Rafael Padilla (percussion); BeBe Winans, Cissy Houston (background vocals).
Engineers include: Jon Gass, Barney Perkins, David Frazer.
While Houston's voice always provides some interesting listening, this is somewhat of a disappointing release, with very few memorable songs. While she attempts to make a larger foray into dance music, she fails to make the crossover impact of artists such as Mariah Carey and Taylor Dayne. The two high points she does reach on this album come in the form of ballads -- the uplifting tale of another's love being enough to provide happiness in "All the Man That I Need" and the powerful verses surrounding a love lost through one's own devices in "Miracle." ~ Ashley S. Battel