She can only dream of getting to meet Ian Brown…

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[4.33]

Alfred Soto: OK, seriously, fuck this woman. I haven’t heard naked self-regard this uninterestingly pretty since that Genesis song about the homeless. She would rather starve than go without her man? Cry without her pie? What is she on about? Go on — let her sing for her supper on a street corner. She can take her Yamaha too, although she’s so clueless that she’ll probably take the baby grand instead. Gimme Susan Boyle over this person’s attempt to fill a void with Clive Davis-backed dependency cliches.
[1]

Anthony Easton: Solid, as solid as anything that could come next and came before, a universal, mythic solidity that talks about the archetypal without resorting back to sad-sack sameness or cliché. The last minute or so floats on its own pure skill.
[7]

Ian Mathers: Look, the only things I can remember about this song are the numb thump of the drums, that gracefully spiralling piano part and the bit where Keys sings the chorus what feels like several million times. There are probably other parts to the song, and as words the chorus probably isn’t deathless, but she sells the living bejeezus out of it.
[8]

Hillary Brown: It’s the rare 4-minute song that feels far shorter than its length, but maybe it’s that this one seems like it’s going to go much bigger than it ever ends up doing. It’s got a nice little hook to it, though, and Keys isn’t oversinging.
[6]

Al Shipley: This doesn’t quite feel like a lead single for Leeshakeez. It doesn’t beat you over the head with an endless belting hook like “Fallin’” or “No One” (which is a good thing), but its restraint doesn’t pay off with anything as transcendently sumptuous as “You Don’t Know My Name” either. Still, we’ll probably be hearing this every day through Christmas, so I’d prefer understated to overbearing.
[6]

Andrew Casillas: It appears that Alicia and the Kerry Brothers have gone back to the well, with this virtual carbon copy of “No One.” While their last comeback single had the benefit of one of Keys’ most assertive vocals, this doesn’t raise itself more than a few inches off of the ground. What this track needs is a strong cup of chai tea.
[3]

Martin Kavka: The flat affect with which Keys sings the long notes in the chorus is precisely how I sound in my physician’s office when I’m feverish and having a sore throat checked out. Perhaps she has the swine flu.
[1]

Tal Rosenberg: The drum fills are a nice touch, except that they don’t fill up much: The song is hollow formula: Here’s a limp piano, here’s a repetitive chorus, everywhere’s a dud.
[3]

Matt Cibula: Silly Alicia — we don’t want music with good taste, we want music that TASTES GOOD.
[4]