〈ヒップホップ・ソウルの女王〉メアリーの最高傑作との呼び声高いセカンド・アルバム。当時栄華を極めていたバッド・ボーイ・エンターテインメントの総帥ショーン"パフィ"コムズの指揮のもと、ヒップホップとR&Bの融合を高度なレベルで成し遂げたエポックな作品。タイム誌〈史上最高の100枚〉選出。1994年発表。

発売・販売元 提供資料 （2020/12/02）

Perhaps the single finest moment in Sean "Puffy" Combs' musical career has been the production on this, Mary J. Blige's second proper album. The production is not exactly original, and there is evidence here of him borrowing wholesale from other songs. The melodic sources this time around, though, are so expertly incorporated into the music that they never seem to be intrusions, instead playing like inspired dialogues with soulsters from the past, connecting past legacies with a new one. This certainly isn't your parents' (or grandparents') soul. But it is some of the finest modern soul of the '90s, backing away to a certain extent from the hip-hop/soul consolidation that Blige introduced on her debut album. The hip-hop part of the combination takes a few steps into the background, allowing Blige's tortured soul to carry the album completely, and it does so with heartwrenching authority. My Life is, from beginning to end, a brilliant, wistful individual plea of desire. Blige took a huge leap in artistry by penning almost everything herself (the major exception being Norman Whitfield's "I'm Going Down") in collaboration with co-producers Combs and multi-instrumentalist Chucky Thompson, and everything seems to leap directly from her gut. Blige's strain is sleekly modern and urban, and the grit in it comes from being streetwise and thoroughly realistic about the travails of life. My Life, nevertheless, emanates from some deep, dark place where both sadness and happiness cohabitate and turn into one single, beautiful sorrow. ~ Stanton Swihart

Rovi