Judging by Google Image Search, she’s gone through a fair few looks…
[Video][Myspace]
[4.78]
Jonathan Bogart: Utterly respectable grown-woman pop. Wish there was more to say.
[6]
Chuck Eddy: Maybe half as good as the Eagles version. Also, backwards. But the lines about monotony are trust-worthy; Faith certainly appears to be an expert.
[4]
Martin Skidmore: This seems to be a week for comebacks — her last album was five years ago. This is a slow number, sounding fairly classy if unexciting, and she sings it with the skill you’d expect. I didn’t care for the plinky piano or the droney chorus — the whole thing struck me as rather depressing, even enervating, somehow.
[3]
Alfred Soto: This is the way to do simple: let a vocalist of average emotional and average physical range project without forcing her into something embarrassing. I’ve always rather liked Evans, but, still, facts are facts.
[5]
Al Shipley: I was once debating the merits of A Tribe Called Quest’s “Stressed Out” with a friend who liked it way more than me when I decided that “adversity” is the most Faith Evans word in the English language. This is such a typical Faith bummer that I almost combed the lyrics just to see if “adversity” was somewhere in there.
[3]
Jer Fairall: Her self-empowering sentiment initially sits at uncomfortable odds with the lush surroundings, but the more she tries to build towards a defiant climax, the more her brave face is revealed as a defence mechanism. Plus, I could listen to that lovely piano melody for hours.
[7]
Erick Bieritz: Piano and a thin, stiff beat make for compellingly minimal accompaniment, but Faith can’t show the same restraint and riffs too hard over this, building what should be simple resignation to showy histrionics.
[5]
John Seroff: Most of Faith’s music is at least bombastically emotional enough to provoke some sort of reaction; this kind of snoozy, platitudinous Ms. Lonelyhearts letter is just so much wallpaper.
[5]
Katherine St Asaph: Let’s see: a midtempo ballad, with piano dripping over the beat like in “Battlefield,” and oh yes, it’s a song called “Gone Already” about leaving a petered-out relationship. Thankfully, the Tedder similarities end there, but this is still just a decent-to-middling R&B number, breezier than some but nevertheless samey. Even the electric guitar that comes in during the bridge is held back in the mix, like it’s afraid of the drama it’s more than earned.
[5]