Reintroducing Whitney: The original soul popdiva ends a seven-year hiatus with a new CD

IS AMERICA READY to embrace Whitney Houston again, with her new album, "I Look To You" (Arista, B)?

Back in the mid-1980s, Houston pretty much wrote the book for a new generation of soaring, soul pop divas. Twas a text then studied and successfully built upon by everyone from Mariah Carey to Beyoncé to all those over-singing vocalists aiming to make a dent on "American Idol."

But it's been seven years - a virtual lifetime in pop - since Houston last deigned to grace us with a full- fledged new set ("Just Whitney").

And the images of her that remain stuck in our minds are not of that commanding young vocalist just one step removed from a family-steered, gospel choir. What we think of, instead, is that scary, high on whatever, living cadaver duking it out on the covers of tabloids and that ill-conceived TV reality show with her poisonous mate, Bobby Brown, or being ruthlessly parodied by Maya Rudolph on "Saturday Night Live."

Houston has contributed to only a couple of compositions on "I Look To You." Still, it all seems clearly intended as autobiographical work, spiked with inside references. And unlike the defiant "Just Whitney," this tell-all is filled with regrets, even a tad apologetic. (Will she be as forthcoming on her first-in-ages televised interview with Oprah Winfrey, Sept. 14? One can hope.)

The best news, Houston declares repeatedly, is that while that bad girl's been to hell, this now-maturing woman is back on her feet, righted by friends and faith. "Don't call it a comeback," she cautions on the album capping "Worth It," one of two standouts summoned up by R. Kelly. "I've been here for years, through all the drama and pain."

The big drama, first time you listen, is in fretting if Houston still has any voice left after all that self-abuse. Perversely, the album's starter tracks almost suggest she doesn't.

The get out-on-the-dance-floor, vintage Philly soul (Norman Harris meets Alicia Keys)-flavored "Million Dollar Bill" and the romantic vow to "Call You Tonight" both bolster Houston's lead with an army of backing vocals. Yeah, most of those chorus voices on the album probably belong to Houston, too. But excess layering is often done to mask a lead singer's frailties. Not a good sign.

Listen, also, to that rough, gruff and oddly processed voice Houston shares early on "Nothing But Love," a forgiveness-filled shout-out to everyone who's been a part of the storyteller's life, "even the ones who tried to break me." And left her with the scars to prove it.

At this point I started shifting my gaze to the album credits. It turns out that every tune features a separate team of producers who toiled only on the vocals. Another ominous sign.

But then as the set evolves, praise be, it seems the girl starts to heal - regaining her vocal confidence and warmth, coming out from behind those walls of processed sound.

The rejuvenation begins logically with "I Look To You," the album's other work of salvation by fellow sinner R. Kelly. "After all that I've been through, who on earth can I turn to?" ponders the testifier. The answer, of course, is the aforementioned "you" - which might be some really good person (Kelly often plays this non-specific name game) but is pretty much pointed to the heavens by the presence of a "Voices of Praise"-backing choir.

Likewise, Houston's commanding, stripped-bare vocal on Leon Russell's "Song For You" really makes us feel she's on point again, as she sings passionately of playing out her "life on stages with ten thousand people watching."

And in my favorite track from the album, she lives out the prophecy "Like I Never Left" - a swaying, reggae-dance-hall-light duet with Akon that Houston delivers in relaxed and comforting tone.

So stay for awhile, please?

TRIBUTE TIME: Philly-spawned, quiet-storm crooner Frankie Beverly earned his star on the Avenue of the Arts' Walk of Fame last summer. Now he might be even more delighted by "An All-Star Tribute to Maze Featuring Frankie Beverly" (Banter Music Group, B+), a well-woven tapestry of "Silky Soul" performances by the likes of fellow hometowner Musiq Soulchild, Mary J Blige, ("Before I Let Go"), Joe ("Can't Get Over You"), Ledisi ("Happy Feeling") and Avant ("Never Let You Down").

Groove-centric, R&B/soul singer-songwriter Bobby Womack gets his due anew from the impactful stylist Calvin Richardson on "Facts of Life: The Soul of Bobby Womack" (Shanachie, B). Only this classic-styled belter's show capping rap about life-on-the road (yawn) gets in the way.

ANOTHER COUNTRY HEARD FROM: John Fogerty rekindles his down-home country-lovin' heart as "The Blue Ridge Rangers Ride Again" (Verve Forecast, B). Pedal-steel, fiddle and guitars saw away as Fogerty croons keening favorites of yore - from Rick Nelson's "Garden Party" (backed by the Eagles' Don Henley and Timothy B Schmitt) to Phil Everly's "When Will I Be Loved" with rousing support by bud Bruce Springsteen.

Beloved by bluegrassers and jam-band fans alike, the Yonder Mountain String Band demonstrate how-come on "The Show" (Frog Pad, B). Try the driving (verging on Fleetwood Mac-ish) "Complicated" and stretched finale "Casualty."

GLOBAL BEAT(LES): Indian-British composer/musician/DJ Nitin Sawhney is a truly imaginative and resourceful fusionaire. On his new "London Undersound" (Postiv-ID/Cooking Vinyl, A-), he veers into breezy jazz-rock territory with Imogen Heep, makes a flashy Spanish-Indian-electronica connection with Ojos de Brujo and turns on the inner light of Paul McCartney, singing in an otherworldly voice on the mystically minded "My Soul."

Speaking of McCartney, two emulators are nodding. Aussie dudes Jet (named after the Macca tune of the same name) get it going with their harder-edged yet cheer-filled "Shaka Rock" (Real Horrorshow Records, B+). You'll find 'em especially true to his form on "Start the Show," though their "She's a Genius" sounds more like Devo meets AC/DC.

Named after the Beatles' label, the U.S.-based Apples in Stereo pick some juicy fruits for "#1 Hits Explosion" (Yep Rock, B) hitting their emulative peak on "StrawberryFire" and "Sun is Out."

The charming, British-accented Imogen Heep is also newly represented with her own, richly ruminative "Ellipse" (RCA, B), kinda picking up where Kate Bush left off.

Ingrid Michaelson's loss-of-innocence-themed sophomore set "Everybody" (Cabin, B+) is deeper, more impressive than her first.

JAZZ FOR ROCKERS: With Stanley Clarke slowing his pace and Jaco Pastorious long gone, my vote for the most versatile (electric and acoustic) bassist in jazz goes to Brian Bromberg, working out with an all-star crew in funky fusion fashion through snappy originals and giddy covers ("Love Shack," "Sanford and Son") on "It Is What It Is" (Mack Avenue, A-).

On "Double Booked" (Blue Note, B), dexterous keyboardist/composer Robert Gasper imagines performing two sets on the same night in different clubs. First he hangs with his acoustic trio for a mainstream jazz gig, then moves over to a younger-demographic club that calls for swirly electric keyboards, spacey vocals (love Bilal's "All Matter") and the occasional big anthems ("Open Mind").