It was written and produced by longtime contributor Missy Elliott with additional penning from Jazmine Sullivan, Cainon "Lambo" Lamb, and Anthony "J.R. Smashh" Randolph for Monica's seventh studio album, New Life (2012), sampling both The Spinners' 1975 record "I Don't Want to Lose You" and Boogie Down Productions' 1987 song "9mm Goes Bang".

The track was serviced to digital media stores on September 27, 2011, in the United States, replacing "Anything (To Find You)" featuring Rick Ross as the album's initial leading single.

"Until It's Gone" was written and produced by Missy Elliott, Cainon Lamb, and Jazmine Sullivan, all of which had contributed to Monica's previous singles "Everything to Me" and "Anything (To Find You)", with additional writing by Anthony Randolph.

[1] It contains elements of both The Spinners' 1975 record "I Don't Want to Lose You", penned by Thomas Bell and Linda Epstein, and Boogie Down Productions' 1987 song "9mm Goes Bang", written by band members Lawrence "KRS-One" Parker, and Scott "La Rock" Sterling.

"[3] Mark Edward Nero from About.com felt that "Until It's Gone" gave "a few hints where Monica might be headed", and added: "The song, which has a strong piano-based melody, is a lot more sophisticated and melodically complex than anything she recorded during her The Boy is Mine days in the '90s".

"[5] Bianca Roach, writer for news agency Associated Press, felt that "sophisticated killer ballad "Until It's Gone" is proof Monica hasn't lost that golden voice."

[6] ThatGrapeJuice.net felt that the song was sticking to her tried-and-true formula of previous midtempo singles "So Gone" and "Everything to Me" and wrote that it "showcases the Monica fans have grown to know and love – sass, simplicity, and heartfelt vocal delivery.

[8] Less empathetic with its production, Slant Magazine writer Jonathan Keefe found that "Missy Elliott brings nothing more to the ballad than a pedestrian beat and chintzy quiet-storm keyboards,"[9] while Tuyet Nguyen of The A.V.

In an age where so many succumb to the pressures of the music industry’s tyrant electropop, Mrs. Brown stands as proof that staying true to oneself yields more long term satisfaction (and fan approval) than a minor iTunes top 10.