Mariah Carey Stays in Cruise Control on E=MC2
April 11th, 2008 | 6:30 pm est |
Two weeks prior to the April 2008 release of E=MC2 — Mariah Carey’s tenth album and the sequel to her big 2005 comeback The Emancipation of Mimi — the diva broke Elvis Presley’s record of being the solo artist with the most number one singles on the Billboard charts. Lots of publicity surrounded “Touch My Body” reaching number one, as well it should: busting an Elvis record is always news but this particular record served team Mariah well, as it paints Carey as being a diva that’s bigger and better than the rest. An unintentional side effect of this very record is that it also tacitly pointed out that Mariah has been around a long, long time: 18 years, to be exact, roughly two years shy of the two decades that it took Elvis to establish his record. Unlike Elvis — or any other major artist that’s been around for two decades, for that matter — Carey seems determined not to look back, to exist in some kind of eternal now, never acknowledging that she has a past, unless she’s wielding her divorce from her ex-husband/ex-record label chief Tommy Mottola for some kind of sympathy, something she does once again here via vague allusions to naivety and “violent times” on “Side Effects.” Mariah refers to that separation so often that it’s hard not to think of it as something recent but it happened a long, long time ago — well over a decade prior to the release of E=MC2, to be precise — but as the separation was the pivot point for Carey’s career, it’s easy to see why she keeps returning to it, even if the emotional heft of her singing about the pain has long since diminished.
After that separation, Carey restyled herself as a relentlessly modern R&B diva, chasing every passing trend in a given year, a move that often kept her on the top of the charts — apart from the post-millennial stumble of Glitter, of course — but had the side effect of making Mariah a musician who became progressively less mature with each passing year, culminating in the hazy soft-porn fantasies of “Touch My Body,” the single that broke Elvis’ long-standing record and will likely only be remembered for that achievement. Like so much of Emancipation and E=MC2, which is a virtual replica of its predecessor in almost every way, “Touch My Body” is all about sound, rhythm, and texture and not so much about song, something that helps sustain Mariah Carey’s run at the top the charts, but something that also pushes melodic hooks and in the process singing into the background. As Carey’s multi-octave voice has always been her calling card, the one thing that even her biggest critics grudgingly acknowledged her unassailable strength, this is a little odd — especially on the T-Pain duet “Migrate,” where she succumbs to auto-tune — but it not only makes Mariah modern, it also camouflages her slightly diminishing range, so it does have a dual purpose. Sometimes all this production good and occasionally it’s married to a full-fledged, hooky song, as on the excellent “I’m That Chick,” a sleek slice of Off the Wall disco that’s nearly giddy in its energy and melody, and perhaps on “I’ll Be Lovin’ U Long Time,” which also has a lightness that so much of E=MC2 lacks. Everything else pushes the rhythm and bass to the forefront and mixes Mariah into the middle, so it becomes a wash of sound — sound that is designed to be fashionable, but like so much fashion, it’s tied to the time and dates quickly. Which is why it’s misleading to judge Mariah based on her new record of possessing the most number one singles, as she’s not about longevity, she’s about being permanently transient, a characteristic E=MC2 captures all too well.
I think this captures everything I thought after listening to the record.
Just one thing - the duet with T-Pain is called MIGRATE not MIRAGE. Not that it matters much.
Mariah’s holding on by a thin string…Touch my Body is such a weak song, even for Mariah.
I have a love/hate relationship with Mariah Carey. In her qwest to always remain “hip” she pumps out these songs, that like cotton candy taste sweet, but only lasts for a minute or two (much like what the reviewer stated). I’m still waiting for Mariah to release a “serious” r&b project. Something that I’ll want to listen to now, and that will hold up 10-15yrs from now.
Mariah is capable of an Aretha Franklin’s,”Sparkle” or Rufus feat. Chaka Khan’s “Ask Rufus” or even a Minnie Riperton’s “Adventures In Paradise”. She’s made enough records for the kids, and now it’s time to make a record for her “adult” fans. Mariah hasn’t really “impressed” me with here singing since her “MTV Unplugged” cd. Having said all of that…I REALLY DO LOVE MARIAH CAREY!
Thanks for the heads-up Jemil, typo has been fixed!
I think that you should listen to the album one more time before such a mixed review. Listen to songs like “I Stay in Love” or “For the Record,” or “I Wish You Well”. It’s not the best record, but I think people are underrating it, possibly as a lashing out at her for breaking Elvis’ record (especially with such a mediocre song). The album deserves at least 4 stars, if you ask me.
Mark M., please!!!! look everybody’s entitled to their own opinion. But the track Toch My Body must be one of her weakest to date. Now in all honesty I don’t own the album and I think I intend to. But judging the way her catalogue has been slipping post-Butterfly I don’t expect much of E=MC2. As for her singing, I don’t know man. Something happened to her voice; listen closely to angel who sang Love Takes Time (heack, even My All) and listen to the Nasally squeeky, hoarse mouse who tries to sound sexy. Look this might be my personal opinion, but Mariah has definately lost standing in my book artistically. But at the end of the day she’s richer than I’ll probably ever be…
I for one am not mad at Mariah for breaking Elvis’ record. It’s a big accomplishment, and she certainly isn’t lacking talent. At the same time, it’s hard not to notice how much thinner her voice is sounding. Stephen’s point that the production covers up that shortcoming is a valid one. But it certainly won’t stop her from having hit records. Mariah’s songs may lack maturity, but she’s smart enough to recognize what works.
I’m not a big Mariah fan by any means, but I happened to receive an advanced copy of the record due to my line of work, and I must say that I was pleasantly surprised and rather impressed. While the last record brought her back, it was highly overrated. The only song I was truly impressed by was We Belong Together. The rest of the album was mostly modern adult contemporary R&B fodder. I too was shocked by the deterioration of her voice.
I completely disagree with Erlewine’s review. Her new CD is far from an artistic breakthrough or a creative endeavor, but it’s by far her most enjoyable pop record in over a decade. What shocked me most was how pristine her vocals sound. Maybe it’s due to the weight loss, or maybe she had throat surgery, but her voice doesn’t sound nearly as thin or shrill as it did on The Emancipation; she sounds like a powerhouse again, particularly on the track “I Stay In Love”. What annoyed me most about post-millenium Mariah was her heavy usage of breathy, almost undiscernable vocals. This record is almost entirely her belting it out like in the old days, (”I’ll Be Lovin U Long Time” took me all the way back to “Dreamlover”) and when it isn’t, you can actually understand what she’s singing.
If you’re looking for something innovative, then a Mariah Carey album shouldn’t be your bag, but if you want to hear a consistently solid, sing-a-long pop record drenched in delicious and inescapable melodies by one of the best vocalists of our era, then this disc is essential. The Emancipation of Mimi was only a tease, but this is the real deal. I honestly don’t think she’s made a better disc in her entire career, save maybe Butterfly.
Expect some big hits from this one: Migrate, For The Record, I Stay In Love, I’ll Be Lovin U Long Time, and Side Effects. The only tracks I could see myself skipping over would be the insipid “Bye Bye” and the cheese-fest lead single.
Mariah is and will be Mariah. she made history in the music industry. about this new album is too much good. i will say she have 3 or may be 4 numbers 1# For The Record, I Stay In Love, Bye Bye. the real point here is Mariah Carey is the best female vocalist at this moment. God Bless Carey and America because she born there. keep singing
I agree with David to some extent. Her voice does sound better on this record. Plus, I reiterate that “Touch My body” is probably the weakest track on the album. Heck, I can’t stand it. But to tell the truth, I gave it 3 of 5 stars on my initial listen, and after subsequent plays realized that the album is pretty good. In the context of Carey’s career, it’s definitely not a “sophomore slump”. But I guess everyone has his or her opinion.
But I’ve never understood this thing with some critics to speak of “maturity” and “artistic accomplishment” and the like. I for one know that I’m not capable of producing anything of it’s caliber.
And it’s also somewhat confusing that when Carey plays it safe she is criticized, but when she steps into new territory (regardless if it’s a small step, a la “Glitter”) she is ridiculed.
I listened to all the songs from the album already.
I LOVE it!!!
It seems the only element missing was rock style songs, but other than that. Then album is one of the BEST albums I’ve heard.
The Ballads, the disco, the Hip-hop, the carribean flavors were all Incredibly GOOD!
More than half of the songs has Single potential!
I think haters just want some Rock, but didn’t get it, that’s all.
And STOP saying the lyrics are immature.
The lyrics on Bye Bye, was very Mature/Deep !
She intend to have fun, she feel like a 12-year old.
Not every song need to have that effect like Bye Bye.
And her True fans will Absolutely LOVE her lyrics in “For the Record”!
It’s a pity that Mariah Carey lowers herself with each reease to a new low - lyrically and vocally. I think the actual review of the new CD should definitely contain a remark about how weak and soulless her vocals are on the new record.
Its title, the lyrics, the vocals scream mediocrity to the second. All what is done here is just to ensure the mass appeal and an absolute will to achieve no.1 no matter the cost. I guess having no family or no life in general is the reason Carey is acting like a spoiled girl who is still living within her pony-rainbow-world and shows no sign of waking up.
Other voices lik Celine Dion for example showed always what real class and consistency is about. Especially as a live performer. Here Mariah Carey’s vocals don’t even compare.
I totally DON’T understand how people think the lyrics suck?
Compare her Lyrics to the likes of Soulja Boy, WAY WAY WAY WAY WAY BETTER!!!
I mean, you look at what she writes… and what another quality writer (Babyface) writes what’s the Difference?
I’ve been waiting for your review of Mariah Carey’s new album, Mr. Erlewine, because like Sal Cinquemani at Slant Magazine, you really like Mariah Carey’s music and know she has potential to rein as one of the best modern Pop/R&B artists of her generation, but can’t help feeling disappointed that she continues to release music just to stay current with the teen/tween crowd. Also, like Mr. Cinquemani, you know that Mariah has this potential based on some of her greatest singles that weren’t released (i.e. “Vanishing,” “If It’s Over,” “The Wind,” etc.) I agree with Mike: it’s about time Mariah make a serious R&B album. She gives us hints that she’s capable of doing that with songs with a Neo-Soul swagger (like in the unreleased track “I Feel It” that’s leaked all over YouTube), but she’s such a music machine that artistic integrity often takes a backseat.
Mariah complains that she never gets respect for being a singer/songwriter, but it’s hard to give someone that type of respect when their image is so misleading. I do agree that her voice isn’t what it use to be anymore (I doubt she could do give the same vocal performance as in the first 30 seconds of “You’re So Cold” from “Emotions”). However, even with her diminishing voice, she still remains one of the best. “I Wish You Well” was one of the few songs that proves that she can give a gritty vocal performance when she wants to.
Mariah has written some good songs, but I still say she cateres to the “youngin’s”. That’s not a bad thing, I just wished that she had made a real r&b record (w/o gimmicks) before her voice was shot. I still say her best live performance to date was on the MTV Unplugged and that was years ago.
After almost 20yrs in the business it was inevitable that her voice would begin to tire (look at Whitney), but she (along w/Whitney) on a bad day, sound better than 90% of the female vocalist out there now.
Mariah’s albums will always contain a couple of strong singles, but one would be hard pressed to find one completely “solid” album/cd. Unless of course you were to go back to her first two records.
I’d like to hear Mariah make a record without the hip/hop samples, feat. rappers or hip/hop “beats”. I want to hear a great voice, real instruments, solid lyrics/songs with strong backing vocals. Why?…Because Mariah is capable of it! Lord knows many of those other singers out there are not. They need “all” of the “beats”, “nursery rhymes”, “guest rappers” and studio wizardry available.
Just read your post Preston…Thank You, at least “somebody” out there is feelin’ me!!
One more issue that I’d like to address and that’s Mariah’s trump on Elvis. Record sales are record sales and Mariah is one of the hardest workin’ women in the music biz today. However, in a time when an artist can take “one” hit record and literally “sweep” the Grammy’s, I am less impressed by any of today’s performers breaking the records set by “old school/back-in-the-day” artists.
Lauryn Hill, Alicia Keys, U2 and OutKast are very talented/gifted artists but there Grammy “sweeps” off of one hit song still baffles me. How could Marvin Gaye only have one Grammy, Diana Ross “0″ and Patti Labelle “1″(and that win she shares w/Lisa Fischer) while these others with one and two albums have truck loads?
Alicia Keys, Beyonce’…they each have about nine/ten Grammy’s , that’s almost as many as Aretha Franklin and Ella Fitzgerald! There is something the matter when artists who have consistently proven themselves over a “lifetime” of excellence in their craft, can be trumped by relatively new artists with limited catalog and proven staying power. Case in point…”WHERE” is Lauryn Hill? She had one hit record, was touted as a musical genius, swept the Grammy’s and then………….(silence). She has about five Grammy’s and Diana Ross who ruled the airwaves/charts with the Supremes during the late 60’s and continued solo in the 70’s’80’s has none!?!(WTF)
It just seems to me that all of these accolades are dolled out onto these artists and they don’t have to do much (compared to earlier artist’s career’s) to earn them.
Mariah may have beaten out Elvis fair and square, but some of these “records” being broken and awards being given out to some of these artists are premature and a joke.
@Mike:
The trick with the Grammys in particular is that they have added so many categories in the past 20-30 years that it’s too easy to rack up a high number count. Add that to that fact that it can be easily argued that music overall (and especially R&B and Pop music) aren’t as good as they were 20 years ago, and someone who makes a great album one year (like your example of Lauryn Hill) can easily win 6-10 Grammys while older artists were only really eligible for 3-4 a year.
If you really want to compare, I’d so something like looking at the categories that existed in, say 1975 (epecially when it comes to Pop/R&B), and distill the past 10-20 years into just those categories, and then see how many these new artists have. That’d be an interesting project. Hmm, maybe I’ll do it myself and come back with the results.
i like too much about her music roots, when she made her vocals ufff there are nobody like her. Mr Don. have e little right about the lyrics, but I with mike wished that she had made a real r&b record.
Lovell:
Thanks for the insight and I hadn’t even considered the increase in categories. I hate that I’ve become that person who seems to always bring up the glorious music from the 70’s/80’s’, but it was simply superior to what is being produced today.
I hope that you will take on the task you mentioned in your post. I’m eager to know what you discover in your findings.
Just with a quick glance:
The Only R&B categories were male performance, female performance, duo or group, and album in 1975. They’ve added four more R&B categories since 1975. Using Beyonce, with the old Categories, she’d have 4 (Female Performance, Duo or Group (with Luther Vandross), and best R&B song in 2003 and Duo or Group (with Stevie Wonder) in 2005), and 2 would be for duets.
good point lovell. you make reference to duet. will be so good miss Carey make a full duet album, in R&B style, will be nice invite to houston, Aretha, babyface, michael bolton, George Michael, I say will be the best of the best, with deep lyrics, the best vocal, and in front of all Mariah Carey
Seb, just cut it.
Many of you love to slap any type of vague, indiscriminate description with no idea what it means. You say Carey’s voice is “soulless”. In what regards? How would a soulful voice sound?
Thanks Lovell for checking out those stats! I’m sure that would shave a few Grammy wins off of Beyonce’. Luis, I agree with you in that a duets album would be a welcomed addition to Mariah’s catalog. I like her duet of “Endless Love” w/Luther Vandross and she performed, “With You I’m Born Again” with John Legend. I don’t believe that it’s available to purchase, but the two did great job with it. I’m also a G.Michael fan and would like to see what sort of calaboration he and Mariah would come up with.
You’ve got us all wrong Mark! We, well I’m going to speak for myself here. It’s not that Mariah is w/o soul, on the contrary, she is very soulful. However, her musical efforts suffer (artistically) in her qwest to remain “hip”. The constant use of samples, rap artists, and hip-hop beats have lead to a few too many hip, yet disposable songs.
It is my belief that someone of Mariah caliber of talent (song writing, vocal ability) sells herself short by being too “gimicy”. This of course has not stopped her from making hit records (which I guess now-a-days is the be-all-end-all), but it has hindered her from creating songs that can withstand the test of time.
I believe there is “soul” in nearly every form of music if you listen close enough. Unfortunately, alot of music can loose it’s soul when it is coming from a place of sugar-coated, glossed over- gimmickry. It appears to be fullfilling, but utlimately leaves you starving for the real thing. Just my opinion.
I always found it odd when people accuse Carey of being “soulless” when I feel that Carey is one of the few singers who can actually send chills down your spine when she wants to. And to dismiss Carey as soulless and then prop up Celine Dion is laughable. Carey may be a lot of things, but soulless ain’t one of them.
I actually like the new album. I think her voice doesn’t sound as hoarse here as it did on “Mimi”. In fact, the best cut on the album, “I Wish You Well,” her voice sounds as strong and gritty as on the memorable “Vanishing” from her debut. I know Mr. Erlewine has been critical of Mariah’s voice lately, but all divas cannot remain the same after a 18/20 + career. Aretha Franklin’s voice in the 80s sounded drastically different compared to her days at Atlantic Records. (And if we want to talk about divas who followed trends then Aretha Franklin definately followed them when she signed with Arista Records and Clive Davis had her record albums with a simliar sound to Whitney Houston. None of Aretha’s albums in the 80s had signs of that Southern Soul sound that made her famous.) Aretha’s timbre was huskier and she used more of her head voice than chest. We can’t fault Mariah for having a slightly diminishing voice when many divas, past or present, have suffered the same thing. I think what’s important is if Mariah can still deliver a punch to a song with a stunning vocal performance, and judging the new album, I stay she still has it. “I Wish You Well” proves that even with just a piano and background vocals, she can move you with her singing like on her debut.
Now, I agree with Mike that Mariah Carey has too much potential as a singer/songwriter to not make at least ONE serious R&B album for her fans who followed her career since day one. It would be great if she worked on a whole album with James Poyser. However, I don’t think this is going to happen, because we all know that once Mariah finds a formula in her music that’s succesful, she doesn’t change it until the public rejects it. But it’s close to 20 years now that Mariah Carey’s been in the business, and I think it’s about time for her to go back to her soulful roots from her first few albums and create music that will define her legacy. Her 90s albums will do part of that, but even with those it’s mostly the hit singles people remember, not the great tracks that were unreleased on her album that displayed versatility.
Thanks everybody for the great, great thread — this is a really terrific stretch of comments. Now I’ll chime in with a couple of thoughts.
Preston, maybe you’re right that I’ve been a bit too critical about Mariah’s voice, but you’re also right that a diminishing voice is something that just happens with age. What I find odd about the recent records is that there are attempts to disguise that diminshing within productions that deny that Mariah’s is getting older; if anything, she’s making music that’s more adolescent now than she did on her debut. Which is what you and Mike are alluding to — that she not only should do this, but she could knock it out of the park because she does have the soul to do that. (A common misperception is that the technically proficient lack soul, which isn’t true at all.) And I, like a lot of you here, do think that she not only could make a good album but that it would be a success…but her track record of the last decade suggests that she’s more interested in staying at the top of the charts instead of making music that is more about the song and how she sings it instead of the feel of the track. (And for the record, i have NO problem with that kind of production, it just goes against the what Mariah’s strengths are as a singer.)
And as for staying at the top of the charts — Lovell is completely right that the Grammys are overloaded with categories, which inflates the count for current artists and the same logic applies to the charts which have changed drastically in the years since Soundscan. Not just that, but the whole system is pretty much jerry-rigged to produce records like Mariah’s new number one singles record — which is impressive, but doesn’t take into account historical context. Then again, chart positions are never a definitive final word on a song or album, more of a guideline to its popularity at the time and it should always be taken with a grain of salt or two.
One final thought — do you guys think Mariah would be able to pull off an Amy Winehouse/Mark Ronson-style kind of neo-soul production? That MAY have been a way for her to both seem contemporary and a bit age-appropriate (although those Ronson rhythms could sometimes use a little more breathing room).
Preston:
“Ditto” my friend to every point that you made! I remember hearing the song “Vanishing” for the first time and boy didn’t the hairs on my neck raise. That’s why Mariah urks me so by some of her output. I can’t even recall tunes from all of those “theme” projects; Rainbow, Glitter, Charmbraclet…???
Those albums/cd sounded rushed and uninspired and subsequently flopped. Now, those same records released by some of these other so called “divas” that lack Mariah’s talent, would have been seen as triumphs. I expect more from Mariah, because I know that she’s capable of rising to the challenge.
I also agree that liberties should be afforded to Mariah and Whitney (Celine’s voice while not as soulful, still sounds great live)as far as “live” vocals go. They are two “power-house” vocalists and after 15-20 yrs. there will be signs of strain. Althought both music veterans B.Streisand and G.Knight still sound absolutely incredible live.
Your also right Preston in there is a noticable difference in both Aretha’s voice and music output during the 80’s. Even with this noticable difference Aretha “still” remained soulful. “Jump To It”, “Freeway Of Love”, and “Sister Are Doing It For Themselves” nearly out “souled” most of the competition then and still hold up today. It’s no fluke that Aretha is the “Queen”. A title that was “earned” and not just bestowed after one or two hit records.
S.T.E:
That’s it!!! It’s not the lack of soul, but that glossed-up production camaflog the wear-n-tear of M.Carey’s voice. That coupled with the juvenile themes in many of her songs, equal an ear full of “cotton-candy” tunes. I agree that it is time for Mariah to let go of this need to reach for “titles” (i.e. “best selling female artist”, “most number ones in One Hour”, “most albums release in One Month” etc.).
I believe that Mariah is a gifted enough artist to make nearly any production style work. When the talent is there, I’m not a hard guy to please: Bass, Guitar, Drums, keyboards, good song material and Mariah. No sampling, rappin’-n-scratchin’, endless layering of high-notes for mood effect…Just sing Mariah!
Oh, since your hangin’ with us S.T.E. Great site and reviews that are always “on point”. Whenever it’s time to check out/purchase new/catalog music, I always run a check through the site here first. You guys know your music!
That should be “camouflage” in the previous post.
Well, STE, can you blame her (and her production team) for attempting to camouflage her vocal faults? For someone whose vocal prowess has been the focal point of her music, it seems only natural that she would try to hide, instead of embracing, the wear and tear in her voice. No artist would declare his/her weakness, especially given the media’s enjoyment of preying on the weak.
But just to be clear, Carey may be one of my top three favourite vocalists, but I doubt that she could pull off Amy Winehouse. They’re different right down to the very soul, and Winehouse, unlike Carey, isn’t afraid to bare her raw, abused soul.
At the same time, Amy can’t pull off a Mariah; Mariah is more versatile.
STE, thank you for your insights and review! Although I haven’t heard the album yet (I’ll be getting it on Tuesday), your description of this album and MC’s trend to stay current at the cost of not producing a more serious R&B album seems to really hit the nail on the head.
Re MC’s voice: I think any reasonable person would agree that it really is an amazing gift and one of the best; however, something does seem strange. I agree that it seems to have “deteriorated” (granted, it’s still one of the greatest in the world!) since the late 90s, and I agree that her voice is often being buried in the production on the last few albums (particularly her IDJ releases).
When I was in college, we had a top Ear Nose & Throat doctor speak to us about the voice, vocal chords, etc… He somewhat furtively mentioned that one of his patients, who was a major music superstar with a whistle range, had abnormal vocal chords and that it exceptional that this singer could even sing due to that condition. I’ve always wondered if he was referring to MC. More than any other female artist of her caliber (e.g., Celine Dion, Christina Aguilera), MC seems to discuss often how she has to take special care of her voice (e.g., spraying misted water in her throat in between song performances, having humidifiers in her bedroom, etc…) Maybe I’m overanalyzing it and it’s just the aging process. I’ve just always wondered…
Anyways, thanks for your thoughtful reviews, STE. They are a treat.
NOTE: I can’t wait to hear “I Wish You Well” due to the “Vanishing” comparisons. How excellent is that song? Can you imagine being 19 or 20 years old and able to sing something like that? Wow! I’m wondering if any of this week’s Idol contestants will dare attempt it.
I’m hoping Carly Smithson will pick one of MC’s lesser-known great ballads (Vanishing, Lead The Way, Can’t Let Go, If It’s Over) and really shine with it. I’m also wondering what song “rocker” David Cook will sing. Maybe “Bringin’ on the Heartbreak”? (To me, that’d be a copout, but what else is he going to do? -For the record, I’m not a fan of Cook’s.)
Thanks Mike, appreciate the kind words. And thanks Mr. Erlewine for responding to my comment. I agree with Mike that I often check and see what critics at All Music have to say about a certain album I’m interested in before buying it. Furthermore, I admire how Mr. Erlewine is no music snob and will give credit where it’s due. (Most rock critics have total disdain for Pop and R&B music, so it’s refreshing to read Mr. Erlewine who has a great ear for ALL music.)
Mr. Erlewine, I always felt that Carey should make a Neo-Soul album. She have certain songs on her latest albums that hints to that sound (on “Mimi” there’s “Mine Again,” “Circles,” “Fly Like A Bird” and “I Wish You Knew”; “Charmbracelet” there’s “Subtle Invitation”; and “E=MC2″ there’s “I’m That Chick”), and as I mentioned in a prior post, there’s an unreleased track entitled “I Feel It” leaked on YouTube that was originally recorded as a single for “Mimi”. That track had so much swagger and 70s Soul, Minnie Riperton would’ve been proud. So, yes, Mariah Carey should record a Neo-Soul album (she always had a slight Minnie Riperton sound to her music, e.g., “Underneath the Stars” and “Bliss” being two off the top of my head). And she should revisit tracks like “Vanishing,” “If It’s Over” (the “MTV Unplugged” version was better than the recorded version on “Emotions”), “The Wind” and those Motown-inspire uptempos like “You’re So Cold” and “To Be Around You” and realize that her strengths was at making soul ballads and uptempos, not at being a R&B/Hip Hop diva. No matter how hard and ghetto fab Carey tries to be, she’ll never be Mary J. Blige. (Why can’t Carey realize that even Blige herself noted how she admired Carey’s early albums and emulated her singing when listening to songs such as “Vision of Love” when living in the hood?). Most singers who look up to her as an influence often cite “Vision of Love” than “Fantasy” as the one song that inspired them to sing. I don’t think Carey understands that it’s not the “Fantasy” remix with Puffy that solidified her importance with R&B listeners; it was those first few albums that built her a strong R&B following that admired her ambitious mix of Whitney Houston, Minnie Riperton, Aretha Franklin and early Motown on her debut, “Emotions” and “MTV Unplugged”. I’m in the minority who feels that the “Fantasy” remix wasn’t as innovative and important in her career that she makes it out to be.
On one hand, I can’t fault Mariah Carey for being a music machine whose goal is to produce successful albums and #1 singles — that’s all mainstream artists goal. But on the other hand, there’s a flaw in a music machine that places success before artistic integrity. The difference between Mariah Carey and someone like Madonna is that Madonna know who she is as an artist, and rather than following trends and getting in line with others, she often creates them and leads the way. (However, one can’t say that about Madonna now with her latest single that sounds like a throwaway Gwen Stefani/Nelly Furtado track.) I totally agree with you Mr. Erlewine that Carey’s mistake is that she refuses to go back and look at her past. Or maybe she is miscalculating when she looks back at her past and gives too much importance to songs like “Fantasy” rather than “Vision of Love”. Because each time I hear a R&B or Hip Hop artist talk about Mariah Carey, they NEVER mention “Fantasy” but “Vision of Love”. It’s Carey’s soul offerings that gave her legitimacy and importance to R&B listeners, not her quest to become a Hip Hop diva.
The refrain in “Touch My Body” is an exact ripoff of her own song
“We Belong Together”. I would expect better from an established artist.
If not for quest to stay relevant (starting with the Fantasy Remix)we would talk about Mariah the same we do about Whitney (which when we do is often not about the music) or say Lisa Fischer or Caron Wheeler (not at all). In some ways Glitter was a streching out; a love letter to the funk and freestyle she grew up with. That it turned out to be a disaster is why it may take awhile for her to strech out again (neo soul huh, don’t wait on a Maxwell or Dwele duet). I also find it interesting what a revisionist approach critics tend to take. The only love and appreciation I remember her getting in the 90’s was from the fans that took her to the top of charts, not the critics who dismissed her records as middle of the road. They’ll probably do the same to Leona Lewis who will likely take the exact same path as Mariah.
Too bad that review was barely even about the album. It was more like a review of her career….
One more thing; I have no more of a desire to hear Mariah approach a Winehouse-Ronson cheeky 60’s retro style ala “You Know I’m No Good” than I do hearing Amy belt out “Vision of Love”. Amy’s not a vocal diva and Mariah’s soul isn’t that tortured or compelling.
Hi Stephen. I love your review of Mariah’s album. Even as a Mariah fan, I can’t help but agree with almost everything that you said. I have a few points to add though: 1) I’ve never heard a credible artist/ living legend (Stevie Wonder/ Aretha/ Rolling Stones, etc.) make so much “artistic albums” lately that transcend time. In fact the last great Stevie or Aretha album was way back when their music was the “it” music. My point is maybe Mariah is making that same choice by doing “it” music that is defined by her time. Aretha and Stevie are legendary singers/songwriters like Mariah, but they couldn’t compete in today’s format. 2) That is where Mariah’s next ability comes to play: she has an extraordinary knack of being able to sing and write music that is able to compete and ride with the times, and seems to be the only one right now who’s capable of doing that. 3) She did popularize the pop-hiphop format. So if you feel like she’s jumping on the bandwagon, it’s more valid to say that she’s only re-doing what was hers in the first place. Almost all of the top 40 music we hear on radio are derivatives of what she was doing 10-12 years ago, albeit more progressive.
Stephen, you’re writing your review from the perspective of somebody who’s used to hearing classic pop/r&b/ rock tunes. What for you will make new music classic? Will contemporary music have its place as a classic? E=mc2 doesn’t advance music by any means, but it does showcase some of the best-written and well-produced r&b music in the past few years. Songs like Side effects, I stay in love, I’ll be loving you long time, and Thanx for nothing are amazing. You can rarely hear new artists sing songs like that with emotion and soul.
Mariah is pop music and always will be she defines each era of the music business. Wannabe artists in the late 90’s started following her signature singing methods and failed. In the early 00’s JLo stole her songs and formulas from the underrated Glitter album and received world wide success (Mariah was ahead if the times with that effort). In the past coupe of years RnB artists have followed the We Belong Together/ Shake It Off style songs. E=MC2 is a classic Mariah album, probably her best since Butterfly and will stand the test of time. I believe one will be able to listen to this album 10-15 years down the line. This album is everything The Emancipation of Mimi wasn’t. Mariah is so versatile she doesn’t need to make an entire neo-soul album, you can make an entire CD from certain tracks off her past few albums. She responds to all styles of music and singing capabilities that she is able to please her listeners while still remaining diverse. This album has got it all I don’t understand why people can’t accept it for what it is and it ain’t no mediocre effort on her part. This album has clever lyrics, solid production and classic Mariah melodies that are infectious. Times have changed if you want old Mariah go listen to her past. I enjoy her transition in the music industry and have had no complaints. She’s a legend and this effort will be remembered and rewarded in the near future.
I have been a fan of Mariah Carey since 1990, when she first arrived on the scene with “Vision of Love”. Interestingly, I never discovered her first single until I actually fell in love with her second one - “Love Takes Time”. I remember thinking, “Who is this woman whose voice is so enthralling?” I have bought every album, followed her career intensely over the past 18 yrs, and have remained a loyal fan through all the highs and lows. That being said, no bias involved, I think her latest offering is AMAZING. Lyrically, she displays versatility - the same person who offers a deep introspective look a past abusive relationship (”Side Effects”) is the same person who writes a gospel-esque “I Wish You Well” and a cheeky “Touch My Body”. While “TEOM” has plenty of remarkable tracks as well (my favorites - “Mine Again”, “We Belong Together”, “Stay the Night”, “I Feel It”, “Circles”, “One and Only”), I think there was far more filler on that album with songs like “Get Your Number” and “To the Floor”. “E=MC2″ doesn’t have a single song that makes me want to push the fast forward button.
As far as her artistry is concerned, she has always been a hip-hop aficionado. I think we would have heard much more hip-hop flavored records from her since day one had Tommy Mottola not been instrumental in marketing her as a pop artist. Unfortunately for her, the public only knows her as the artist behind “Fantasy”, “Honey”, “Touch My Body”. My opinion is that her finest work is never released to radio - listen to “Vanishing”, “Alone in Love”, “Underneath the Stars”, “If It’s Over”, “Melt Away”, “Looking In”, “Close My Eyes”, “Whenever You Call”, “Outside”, “Stay the Night”, etc. Another problem is that her music often falls into the Beyonce category instead of Mary J. Blige or Alicia Keys, artists whose work tends to be more critically-acclaimed. But, you also have to realize - this is a woman who lists “Ante Up” as one of her favorite records. And there is nothing wrong with that.
There is no doubt that she is capable of more - I, too, would love to hear her put out an album with a more mature sound. But, I also feel like she doesn’t get enough credit as an artist. She’s underrated, especially for a woman who displays immense versatility in her voice and songwriting abilities. She has basically started the R&B/pop diva + rapper formula when she chose to work with ODB, who at the time was a hardcore rapper nowhere to be seen on mainstream radio. And she undoubtedly serves as an inspiration to several artists today - Beyonce, Kelly Clarkson, Kelly Rowland, Jordin Sparks, Nelly Furtado, Christina Aguilera, Jessica Simpson, Rihanna, Leona Lewis have all cited her as an influence.
I really love the new album the songs may be excessively produced but it sounds great! I know you guys are maybe wanting something raw but when Mariah does raw (see bringin on the heartbreak, your girl) she doesnt get the recognititon. As for the lyrics some of these “bye bye”, “side effects, for the record and i wish you well” show some of her best and most mature to date, as for the voice? Its changed but not diminshed it still sounds strong and amazing after all these years listen to “i stay in love” and going back a little “fly like a bird”? amazing!! Its a testament and she is one heck of a talent, long reign the queen!
Stephen,
Here’s my problem with your writing — you, like many critics, mask your ignorance on certain subjects with lofty “music expert” airs. I remember laughing out loud at your Emancipation review, in which you accused Carey of aping Beyonce Knowles stylistically. Hilariously, much of this theory was hinged on the fact that both artists used the same photographers (Markus Klinko & Indrani) for their album covers. That kind of “she looks like her! she sounds like her!!” reportage is what I’d expect from a tabloid journalist.
Mr. Erlewine, I am an avid reader of many of your music reviews. However, I’m a little frustrated with your opinion on this one. You deride the album for its poppy, in-the-moment, hit single feel. But isn’t that what Carey has always been about? Save for maybe 1 or 2 albums in her career (1997’s ‘Butterfly’ comes to mind), she has never made any sort of ‘deep’ record. ‘E=MC2′ is not a work of art, but I do believe it stands out in her discography. And when you review an album of her’s, aren’t you comparing it to her other albums? To me, the album is a great step up from ‘Emancipation’. The melodies are more complex, the vocals are straight-forward and not screechy or loud, and lyrically, the song at least offers two intriguing songs (’Side Effects’ and ‘I Wish You Well’). Also, while the Mottola divorce may have been long ago, she has not sung about it very much at all in her music, so it’s not like it’s an over-used topic. For her to sing about it on an album that is otherwise all about fun shows the issue was clearly weighing on her mind.
In summary, I understand some of your comments on this album, but I do not see what is so lacking about it that warranted your thoroughly mediocre review.
This is one of the most on point reviews I’ve read.
A very strong review, and I agree on everything.
Even though it’s hard not to love Mariah.
I’m patiently waiting for some house remixes of “I’m That Chick”.
RE: Jason -
Mariah doesn’t need her music placed in TV commercials to solidify her stature as a successful artist. If she lacks soul how has she out sold all the artists you mentioned? People can relate to her lyrics and her deliverance of the songs she presents. She’s been slanging all her life you don’t know much about her so you should just shut your shit or back it up with facts. Why you hating so hard on her if you don’t know shit about her as a person or as an artist. Her songs are much more memorable than the artists you mentioned because her music always comes up on radio, weddings, funerals, jams etc. Mariah’s music covers every spectrum of life experiences, know artist can cover as many genres or as many emotions into one career that Mariah has built. Save you hatred she’s gonna keep cranking out more #1 hits and sell enormous amounts of records because her music is timeless. Don’t base your review on her as a person because it doesn’t justify the music although her personality is portrayed through her music. She’s a kind human being who gives her all in her music and helps others in healing and becoming better people. Look at yourself and fix your own self before you go hating on others for no reason, shes still going to be making millions and breaking more records regardless of what you might think of her. As Mariah states to haters, “I wish you well”.
Out of sheer curiosity (and perhaps ignorance), can someone please tell me what a “classic” OR “soulful” record is?
I wish to not name artists, especially those who have thrived on the 60s and 70s, and have, in effect, “revolutionized” the R&B genre, but I’m sorry, I am so tempted to ask all those who always reference them as THE artists — are you still listening to their records now? I mean, come on.
If certain demographics find solace in listening to Mariah Carey records, does it make them a tad bit inferior to the rest of the supposedly artistic world? If so, why? They have buying powers, too. I am sure they hold respectable positions in any industry they’re affiliated in. They eat the same, if not better, food — and don the same, if not (again), better clothes as the rest. I guess my whole point is “individuality.” Cut it out — give the girl a slack for she is just wanting to enjoy her delusion to being “eternally 12″ and hence, expresses that feeling in almost any and every way she can get her hands too.
I am not a die-hard fan, trust me. But it’s irking to see that people spend a lot of time expressing their discontent to whatever her current release is. You know what? Don’t buy, it’s as easy as that. Go ahead and find yourself a recent Aretha or Stevie or Michael record and then with your speakers, go to the church and listen to that until you chance on another one. Good luck, mate! And Celine or Madonna or Whitney? Come on. You’re much better than that.
You have to give it to the girl. Yes, she chose “Touch My Body,” but have you not gotten the memo that even she herself finds it a humorous track?
This record, as I’ve just gotten it yesterday, is like all her previous ones that are injected with a ton of fun. Now if it sells or not, let her — it’s her formula, it’s her choice, and in then end if she fails miserably again, then let her stand up and regain herself — as she already did and I believe will still be able to do. But for now, can you just skip it if you don’t like it?
Just for all of you, guys! Visit her concert and check out all those “loss of voice, lack of soulfullness, etc”. I saw people who were ecstatically crying while she performed Hero, One Sweet Day, We belong Together, My All and others. So don’t judge people,til you know them better.
STE, excellent review. John H., you have touched on what I have felt for years. Ms. Carey has been viewed from the start, by the R&B audience, as a Whitney wannabe; a tool to infiltrate and dilute Ms. Huston’s sales and influence. Not in the least her Caucasian heritage and disinclination to emphasize her “blackness”, her often ham handed early claims to love hip-hop and rap, caused much disdain and derision, which made many of us furtive Mariah lovers.
Now, if taken in context, her years prior to Butterfly were a study in mainstream formula, aimed squarely and commercially at middle America and gauzy AC/crossover formats, while her amazing vocal talents kept many R&B purist waiting for growth and maturity in her lyrics to match her vocals.
Ms. Carey has spent the years since Butterfly playing catchup. After “freeing” herself from her “hell”, she is hell bent on making the music she claims she always wanted to make, but those early and formative years with Columbia Records is what keeps her making the music safe. Not given the reign to grow naturally, being stifled and marketed has skewed her natural vocal instincts, but sharped her desire to compromise her musical instincts. She still has to be seen as the successful vocalist, that has been her stock in trade since day one.
sIn my opinion, her unreleased personal cuts on every release up to Glitter, were dripping with pain and longing and a realness, drawn from her desire to be unrestricted and not beholden to sales or critical expectations or the demands from her fans.
I have long since accepted that no one but Ms. Carey and her ex-husband know what happened in the 8 years they were together and the 3 additional years afterwards, but there is no denying Ms. Carey has quite a bit of emotional trauma left over and control issues that she is dealing with from that union. Not to mention the deep insecurity and bald neediness that is laid bare more and more with each successive release. Until E=MC2.
The innocence and promise she started out with is gone, and only when she is at peace with where she’s at and where she wants to go, will we get what some is alluding to, “the old Mariah”. I predict her next release will be the one. She will find the success of E=MC2 as her validation and will return to what was termed so many times early in here career, to self indulgent sonic vocal pyrotechnics. And I will be right there waiting. I have enjoyed having Mariah allowing us into her journey, instead of not recording or playing to the chorus, she’s just doing what she feel she needs to do. Right or wrong, for what it’s worth, but taking the chances and putting it out there.
Hello all :)
I really enjoyed reading all of the comments here, and though I do not agree with everything said, I will say that the level of maturity in everyone here is a nice suprise. I love the fact that several of you are self-proclaimed Mariah lovers, and some of you are opposite, and yet, you’re all carrying on a nice calm debate of Mariah’s music. It’s nice for a change, because I am so sick of the usual “SHE DA BEST F-U!!!”… blah! I appreciate the level of intelligence that you have all showed, because it really means that you all respect and love music.
That being said, I am a HUGE Mariah fan, (yes I’m one of those obsessed fans that buys all the magazines just to cut her picture out of them haha!), and I can pretty much say that I have a right to comment on what’s going on here, seeing that I have 425 MC songs on my iPod at this very moment, and know every one of them like the back of my hand. I also sing, which Mariah has non-directly taught me how to do since I was 10, way back in 1990, when I got the first album.
Ok so my point, is that the public will NEVER hear the songs that endear Mariah to our hearts; the introspective treats that we know only by being a Mariah fan, and being there from the beginning, and we have to realize that Mariah is a “special” type of person, that pretty much likes to say “you think I can’t do something… well just WATCH ME”… and she will continue to make the music that she enjoys whatever reviewers/the public/the world thinks about her. She says over and over in her own words, that although the early successes that she had were amazing, they were not 100% her, and one can hate on her personality as much as they want, but at least she has the guts to go with her own personality, and not be afraid of what other people say.
Growing up as a young girl, and now that I am a woman (28), I respect Mariah for that very reason. SHE as well as her music is a source of strength for me, and millions of other people that just feel a little out of place. If people want to criticize her music all day, then so be it, but for me, it’s about 50/50 personality/music that has had me hooked for 18 years.
However effed up this world may be; pain, suffering, war, sadness, death, whatever.. Mariah makes POSITIVE music, and music that gives HOPE to people everywhere. Whether it’s a light and sassy fun song like “Touch My Body”, or an inspirational tear-jerker like “Hero”… she has been absorbed into the social fabric of the globe, and that makes her realavant today.
Postivity is sometimes poo-pooed on by the “creadible” music industry, but you know what?? Sometimes people just need a little moment of fun. That’s it.
I’m sorry that this was such a long post, I just had to say a few things, for MC’s sake! I hope that everyone enjoys the new CD! I know I am patiently waiting for tomorrow to get mine, so I can hear what all the fuss is about :P
And remember people, it’s only music!! There’s no need to hate on anyone in music, cuz there is a place for EVERY type and style of music in this world!
M
Not a fan here, but I would not read too much into her breaking Elvis’ record.
Mariah had the advantage existing in a totally different era musically where listeners have FAR greater access to music than we ever had. MTV, being part of that picture & sheer larger #s of people buying music than Elvis’ day. The market is much larger today. Tracking record sales has changed since Elvis’s day.
Also, Elvis had a bit of an interruption in his career in going into the military. Mariah had, of course, a nervous breakdown, but she can still record while going to see a therapist.
While rock music has always been a commercial endeavour, it is used now as almost solely that. mariah’s songs can be heard in car commercial, soda commercials, on tv shows and since commercials are on tv, on radio, in movie theatres, on the internet and in video/dvds, people are more inundated with pappy artists such as mariah.
The Hateration has began. I got an advance of this CD a while ago. Mariah’s vocals are incredible on this cd. While she may not have the vocal energy she had 18years ago on Unplugged’s If It’s Over. She can still throw a “I wish you well”, We belong Together, Fly Like a Bird and outsing every other woman on the charts for the last 5 years. Mariah’s vocals have matured. She’s an incredible vocalist now, not all showy and oversinging everything (like Christina Aguilera). To mention Celine Dion who has NEVER sang with feeling, she just oversings, basically because she does not understand the english Language.
While Mariah’s pop/rnb type music might not appeal to everyone, you can’t take away the power and beauty of I Stay In Love and that ending note, or the Sexy come-on to Cruise Control. I wish you well brings to mind Vanishing, I’m Free and The Wind and Still remains spiritual and you never lose sight that God holds the key.
This CD may not have the Power of a Fly Like a Bird where you finish the song and the hairs on ur neck are at attention, but this is a Solid CD, to which i listen to start to finish.
Only issue with the CD, Bye Bye is a serious ballad, the vocals should have be sang in her Mid-register, not whispering, and then belting at the end, a little predictable. NOt sure it’s gonna be the “hit” they want it to be. I Stay In Love……will break your heart, trust me on that. It’s We Belong Together part II.
Aside from the review I want to say that Mariah’s most redundant mistake is that she keeps mentioning/obsessing over Tommy Mottola’s manipulations, which ENDED TEN YEARS AGO. She needs to stop giving that jerk free publicity every time she makes an album. Magazines haven’t mentioned him in years-Mariah should follow their example. She’d be emotionally and artistically better off for it.
I think this review is fair, and I believe that Erlewine is the only critic out there who is actually saying the obvious: that Carey’s vocal power is diminishing. This has been bothering me for some time. The accolades about Carey’s voice were spot-on ten, fifteen years ago, but she is no longer “the voice”. I saw Carey in concert during her “Adventures of Mimi” tour, and I was shocked at how much her voice has deteriorated. Her lower register was croaky and wobbly, and I couldn’t tell if the higher notes sounded good because they were still intact or were enhanced. Watching her performance during “The Hills” premiere, it just confirmed my thoughts. Mariah Carey is only 38, and her voice should still have some power, but I’m not sure what she has done to her voice.
Having said that, I’ve heard most of E=MC2, and I do like many of the tracks. I think her voice does sound a bit better than it did on “Emancipation”, but Erlewine is correct that the production masks Carey’s vocal flaws. The songs have catchy hooks, so the album will be a monster success.
I don’t know if Mariah would suit the neo-soul sound perfected by Amy Winehouse. Unlike Whitney Houston and even Madonna, Mariah has rarely strayed away from her comfort zone of the safe R&B/pop music she has recorded for almost 20 years. It’s hard to imagine what Mariah would sound like because she is not a risk-taker in that sense. But it would be interesting to hear her try something unexpected.
I keep hearing that Mariah needs to make a serious R&B album and it makes me want to laugh. She has done that. Butterfly is probably one of the best most inspiring, heartfealt, true R&B albums ever put out there by Mariah or any other R&B singer. The lyrics were top notch (Close My Eyes, The Roof, Breakdown), the production was slick but not overdone, and she was sanging like we all know she can (Outside, Butterfly, My All). I put that album above most modern R&B classics such as Mary J. Blige’s My Life. The Butterfly album lacks, for good reason, the repetetive nature of most R&B albums (Keyshia Cole’s Just Like You, Mary Blige’s My Life). So Mariah has made the adult R&B album she needed to make. I still listen to that album. My daddy loves that album. Most people that are not Mariah fans either love that album or at least one song from that album.
Now, on to the new album, I love it. I have been listening to it everyday since I downloaded it(will be picking the legal version up tuesday). Yes her voice isn’t what it used to be, but she doesn’t sound as strained on this album as she did on The Emancipation, which makes the album more listenable. But when her vocals were still cristal clear no one was checking for Mariah and I remember critics saying her vocals were not good (Glitter). When she was performing extremely well live (Charmbracelet promotion)no one was concerned with Mariah. Again everyone talked about how bad her vocals were, when in truth she sounded 10x’s better live during her promotion for Charmbracelet than she did on the album (which isn’t bad).
The comments critics make about Mariah never seem to match up because they either don’t like her, don’t know her material (especially compared to others like her that are not as successful), or they dismiss certain aspects of her musical career. I look at someone like Mary J. Blige, who gets more critical acclaim than Mariah but doesn’t sell as many records, and is easy to see that they write the same music. Their sounds and lyrical stylings are not all that different, yet Mariah gets treated as if she is not on the same level as her. For example, Thanx 4 Nothin’ could have been easily sung by Mary J. Blige and I will be willing to bet that it would get a different reaction.
On another note, for a record company to support Mariah it takes a lot of money. The record company, especially in this climate, needs to make its money back and hopefully have a surpluss. Island has been having a hard time getting a lot of their artist to sell (even Janet Jackson), so they have to make money with Mariah. Kids are buying albums now and if it doesn’t appeal to them they won’t buy it. Mariah is not safe. No one is safe. Kelly Clarkson and Christina Aguilera thought they were safe, but now they have to return to form instead of making the music they want to make. So please people keep in mind that this is a business first.
“If she lacks soul how has she out sold all the artists you mentioned?”
Two words: Pat. Boone.
Well it looks like members of Mariah Carey’s offical fan club have joined the debate (smile). Reguardless of whatever you guys think, Clive Davis’s “Whitney Houston” gave birth to Tommy Matola’s “Mariah Carey”. It is evident by listening to Mariah’s first two (and best) projects that both she and Matola sat for hours listening to Whitney’s first two records before entering the studio. That’s why Mariah has always been commpared to Whitney and will “always” remain in Whitney’s shadow (reguardless of #1’s).
Preston, I was with you man 100% until ragged on my girl Whitney!(smile) What’s up with that!?!! Look, we all know both Mariah and Whitney deliver prestine vocals in the studio. The test is the “live” performances and if you compare, you’ll find that Mariah comes up short(big time). Whitney hasn’t always sounded great live, but at least she sings without any pre-recorded vocal tracks, which is more than I can say about Mariah.
I haven’t had the opportunity to listen to Mariah’s new cd in it’s entirety, but I doubt if anything will sound as great as her first three releases. I know you don’t want to face it Preston, but Jason E. definately made some relevant points in his post. Mariah is all about the record books over musical integity.
Having said that I think that everyone who has posted thus far acknowledges Mariah Carey’s talent and are fans. Let me also say that I’ve enjoyed this tread and agree with Mandy M. on everyone’s respect for the music and each other. Thanks guys!!!
Dude you can’t even pit up Whitney in the same caliber as Mariah. Mariah wrote her 1st album in its entirety even before she got signed to Columbia Records. She has written, produced collaborated and conceived all her projects. Whitney doesn’t produce or write any of her songs thats why she has not and will not remain relevant in this industry. Even if she get the best writers and producers like Celine she will like her, fall and flop. They both sing and have great voices but have recently lacked emotion in their past efforts. Its very difficult to reach #1 in any format on the billboard charts now a days, there are a lot of factors that play a part in reaching that stature. Mariah has maintained it because she works hard for it and rightfully deserves it, as it shows. We all know Mariah can sing what does she have to prove to anyone after 18 years in the industry? Nothing. How are all these factors you brought up relevant to the review of the new album? This post is for reviewing her album not comparing her to every tom dick and harry in the industry. Her talent and records prove that shes a force to be reckoned with, hate on her all you want she’s still going to be making more #1s , be true to her music, be more relevant, have more fans and make more money than you, your Whitney or whoever you choose to put her up against. The album by the way is pure pop genius, 5/5.
mariah carey sounds over autotuned (melodyne) on this album, what is the point in over tuning someone it doesn’t sound good and mariah especially doesn’t need it. For some reason we notice this type of problem in a lot modern r & B albums. I for one am a producer and am disgusted at audio engineers that don’t know how to use the production software properly i think their just 2 lazy to learn how to use it. If i want a robot sound i’ll use a vocoder, not by improperly tuning someone, it just sounds fake to me their is no point in overtuning someone other than trying to save time in the editing room and being lazy, which unfortunately a lot of modern r&B producers seem to be doing as of late.
Just saw Mariah’s perfomance on Oprah and…her background singers sounded great! She on the other hand sounded raspy and did not hit nary a high note she tried. The voice is hit, but as a personality I like her alot. I only wish “someone” would tell her that she is not the fifth memember of Bone-Thugs&Harmony!
Sing Mariah and stop trying to be so freakin’ hip!!!!! You’re much too talented for all of that.
@D
Mariah can pen a nice tune and the lyrics to that song she sang on Oprah are not bad. Just because Mariah can write a song, doesn’t make her a superior vocalist (especially over Whitney Houston). I don’t think your right about it being difficult for an artist to have a number one single. I actually think its quite easy and Mariah will probably “sweep” next years Grammy awards with her “classic” single “Touch My Body” (snicker).
I will give Mariah this…She knows the importance of the remix! I’m looking forward to seeing which DJ’s she’ll work with on the remixes for E=MC2.
If I had the time I would write much more than I am about to but I’d just like to touch on the Whitney Comparisons, the deterioration of the voice and comment made about breaking the Elvis Record. Firstly, she and Whitney Made Similar Material and you will always find comparisons early on but Let’s be real here. Mariah “chooses” not to sound like Whitney. IT is evident from such hidden gems on CDs and unreleased songs as “Vanishing”, “Close My Eyes”, “There for Me” and The uncomparable “Lead The Way” that Mariah is THE best vocalist of all time Male/Female. (Although it can be argued that Men and Women should not be compared vocally). Mariah is a better artist that Whitney because she is involved in the total creative process and adds melodically and emotionally whereas Ms. Houston(Whose Talent is Clear and Undeniably God-given) simply communicates a song vocally, and does this well. All that being said, Mariah can cover all notes Whitney can hit…and then some. Whether or not her delivery is appreciated it’s much more artistic than any other vocalist’s. That being said there’s no deterioration of the voice, at least not on any recognizeable level. The voice is a human instrument and many factors contribute to it’s performance.(What you ate that day, how you are feeling, overall health, smoke filled room, acoustics etc) and please dont tell me that you can hear the deterioration on CD because she has the money and the resources to “fix” all that if that was the case. Sure she has some days where she doesn’t sound like the CD but that’s because we are so used to Mariah sounding perfect that when she deviates, which is often more a melodic choice than an accident, it’s offputting to some. THe voice is there and I’m sure of it.(See “Yours”, “My Saving GRace” Performances during Charmbracelet Era, “Vision of Love” on BET and Pepsi Smash, which I was privalged to attend, and “Don’t Forget About Us” also on Pepsi Smash. Then Argue that point. I would argue that it’s much harder to top the charts than before. Everyone who knows anything about music knows that it’s a declining idustry and the days of the Multimillion hardcopy single are done (Heartbreaker being one of if not the last. Mariah Carey has consistantly topped the charts through a couple different period of music and although she doesn’t regard herself as an Icon she clearly has inspired the ENTIRE generation of singers today (Beyonce, Christina Aguilera, JEssica Simpson, Leona Lewis, Kelly CLarkson, Alicia Keyes etc) you need only to look at their frantic hand waving and realize it’s Carey inspired. Difference between Mimi and The King? She wrote all of her material, produced all of her material, and is a Vocal and Physical beauty. This doesn’t detract from Elvis but most of his fame came from his hip shaking and being banned from the waist down. So let’s take all these things into consideration before we diminish the star that is Mariah.
Mike, I’m not trashing Whitney Houston. I have a lot of respect for Whitney Houston. And you’re right, Whitney Houston IS/WAS a better singer live. But you can’t honestly say with a straight face that Mariah Carey hasn’t paid her dues and delivered kick-ass live performances in the past. You cited MTV Unplugged as one of your favorite albums from her and she delivered one of the best live performances of her career from that show. Also her Daydream concert and Madison Square Garden was vocally on point. I’ll admit this much: she does not have the confidence of a stage performer like Whitney Houston. When Whitney Houston grace the stage, she knows she’s the sh*t; Mariah often seems amazed and shocked whenever she gets a huge reaction from the audience whenever she sings, as if she’s unaware of her talent. The reason both have different stage presence is that Whitney Houston got her training in the church, Mariah mostly learned how to sing from her mother and listening to soul and jazz recordings.
However, I do think Mariah Carey is more of an artist than Whitney Houston. Whitney Houston goes into a studio and just sings a song, whereas Mariah is writing the lyrics and crafting the melodies with her co-producers. Not to mention she personalizes her music by sharing her life experience as a mixed-race woman living in a racially segregated America. All one gets from Whitney Houston is a powerhouse voice that sings love ballads. Mariah Carey offers more of her background into her music than Whitney Houston (and Celine Dion). Whitney Houston may be the better singer, but Mariah Carey is the better artist.
But for Jason E. to say that Mariah Carey has no memorable songs and she’s not a legend, despite being in the game close to 20 years, and still going strong is insane. She has out-lasted many of her contemporaries as they continue to struggle for a big hit (even Madonna is following Mariah Carey’s blueprint by working with Hip Hop/R&B producers on her latest album to score big in the US market). Now, I agree with you, Mariah Carey needs to step her game up and make a SERIOUS album for her fans who miss the soulful offerings from her debut, “Emotions” and “MTV Unplugged”. You’re right 100%: she has the talent and potential to make a “Come to My Garden” and “Adventures in Paradise”. I also agree that these half-ass performances Mariah’s been given with backing tracks is disappointing me. Not even Whitney Houston with hoarse voice and all would lip-synch to a backing track. Fans deserve better.
Preston, the fact that Mariah co-writes is nice but thats not the point people are making. The fact is, Elvis, Aretha, Whitney, Ella, Gladys are regarded highly, more highly than Mariah eventhough Mariah writes and they don’t. They get standing ovations, life time achievements, documentaries, music history texts etc, Mariah rarely does (if at all). The reason is because she has always played it safe. She makes songs that are designed to go #1 but then what? They are not remembered. People still remember Beatles songs, 40 years later. They even made a movie on their catalog. This is the kind of stuff that proves how respected an artist is. Mariah just hasn’t cemented an impressive enough legacy and its a damn shame because she has the talent.
Colson, you’re not making your case if all you can cite is standing ovations, music history texts and lifetime achievement awards. Look, I’m not trying to sound like some Mariah Carey press agent; I’m someone who respects her but understand that she’s flawed. But for you to add Whitney Houston in the same mix with Aretha, Ella, Gladys and Elvis is just plain silly. Whitney Houston’s catalogue as an artist overall is very weak, and if it wasn’t for “The Bodyguard” soundtrack, who knows where her career would be (”I’m Your Baby Tonight” was a flop critically and commerically before releasing “The Bodyguard”). Now I can sit here and run down all the achievements and respect Mariah Carey has earned over her 18 year career, but what’s the point? You already start from a bias point-of-view when you say that her music is mostly safe. Anyone who has listened to Mariah Carey’s albums — all of them not her post-”Butterfly” work — know that she actually took more risks musically than her rival Whitney Houston.
Whitney Houston’s first two albums were overblown, soulless Pop fluff, and if it wasn’t for her getting boo’d at the Soul Train Awards (something that NEVER happened to Mariah Carey) she would have never teamed up with Babyface to give her a New Jack Swing sound. Carey started off with a soulful promise with “Vision of Love” (and on her debut there was “Vanishing” which pays homage to Aretha Franklin’s Atlantic Records period). “Emotions” was a even MORE soulful than her debut album with songs like “Make It Happen,” “If It’s Over,” “You’re So Cold” and “To Be Around You”. I can’t think of a single Whitney Houston song that can rival the grit and soul of “Vanishing,” “If It’s Over” or even the Jazz torch ballad “The Wind”. You see, when you only judge Mariah Carey by her hit singles and not take a full look at her catalogue, you limit her artistry to hit singles. Carey has taken a lot more risks than Houston and Dion. Carey’s makes her music far more personal than Houston and Dion. Now, I don’t deny that Houston is a legend herself, and she has made memorable hits. However, it’s extremely dishonest to downplay Mariah Carey as if she’s nothing more than a bland music machine. If anything, it was the music machine that Clive Davis created for Whitney Houston that Carey and Mottola followed and perfected. (Carey not only took Houston’s formula to new heights, but inspired Houston to go more Urban herself with “My Love Is Your Love”.) All of Whitney’s 11 (or is it 12?) number one hits aren’t memorable either. I’m sure only a few people can think of a hand full of Whitney Houston songs (mostly from “The Bodyguard” and her debut album). Let’s not act as if everything Whitney sent to #1 people hold in the same high regard as “Respect” and “Natural Woman”. You kill your entire argument when you place Houston in the same team as Franklin.
Preston, I’m not a fan of Houston at all, I’m actually indifferent towards her but I always thought it was common knowledge that she is more respected than Carey. I’m not putting her in the same team as Franklin. My point is that those are examples of legends that are more respected than Mariah, all of which that didn’t wrtie all their songs. Thats my point since someone brought up the old “she write her own songs” thing. But if it makes you feel any better, than ignore Whitney and the rest of my post is still true.
Mariah has some decent album tracks, but only fans know that because only fans bought the album. Thats the thing. basically all her hits sound the same. If she cared about her legacy than she would do something about it, release something thats different. She has never taken any risks, always played safe. And again, I’m no fan of Whitney but at least she had the guts to do a gospel album.
I’ll admit this much: “Dreamlover,” “Fantasy” and “Heartbreaker” sound the same, but you can’t say the same thing when one compares “Vision of Love” and “We Belong Together”; “Emotions” and “Honey”; etc., etc. Houston has more respect than Carey because many in the industry feel that Carey had an easy ride when she married Tommy Mottola and didn’t work hard for her success. That’s where that all stems from, it has nothing to do with her music when one compares it to Houston’s. I’ll agree that Aretha, Elvis, Ella and Gladys have better catalogues, but to throw Houston in that same group is way off. (By the way, legends like Aretha and Gladys will always have more respect than Houston and Carey based on the fact they’ve been active for such a long time. Aretha Franklin can fart on an entire album and win a Grammy. That really doesn’t help your case when you bring Franklin or Knight into the picture.)
Furthermore, I find it lazy when one says “only fans know the other tracks that aren’t commerically-conscious” or something like that. If people are music fans and listen to artists’ whole albums rather than judge them only by hit singles, then they would know if the artist has more to offer or not. It’s like when I hear young people tell me that Aretha Franklin is a one-hit-wonder with “Respect”; or Minnie Riperton only had one decent song and that’s “Lovin’ You” — refusing to even hear the albums that carry those singles. You don’t judge the artist by the hits they’re known for, you judge them by their entire catolague. Moreover, the music business is just that: a business. And to hold something against Mariah Carey for making singles that’s accepted by the public is pretty silly when that’s EVERY mainstream artists goal (same with Madonna working with Timberlake/Timbaland). Maybe the reason why Carey doesn’t release anything different is that the public may reject it and prefer for her to just sing Pop/R&B ballads and uptempos. (Critics are often indifferent to her anyway. If she doesn’t use her voice enough, she’s allowing the melody to dominate rather than her voice; if she uses her voice in the same abrasive style as her first two albums, she’s accused of being more “technical than meaningful; impressive than expressive; style over substance”.) Furthermore, Whitney Houston releasing a Gospel/Christmas album with “The Preacher’s Wife” was not taking a risk. It was a soundtrack to a holiday movie, and many of the songs had R&B ballads and dance numbers along with a few Gospel tracks. It wasn’t a full-blown Gospel album comparable to Aretha Franklin’s “Amazing Grace,” that’s for sure.
Finally, I didn’t use the “she writes her own music” just to make her look more important to others. I said that compared to her contemporaries like Houston and Dion that she personalizes her music more than those two. Houston and Dion are just plain ‘ol singers while Carey’s not — she was even nominated for producer of the year at the ‘92 Grammys. And while Carey isn’t a concept artist ala Madonna and Janet, she falls in between the two groups, and that’s why it’s hard for some critics to write about her music; it’s hard to categorize her. You stating that “she has never taken risks, always played safe” into a mantra doesn’t change the fact that her entire work — not just hit singles — says otherwise. Dismissing Mariah Carey as some type of inferior R&B/Pop artist would rival the type of music snobbery one can find when reading Robert Christgau. Thankfully, Mr. Erlewine is not that shallow and does his homework.
@Preston
I have truly enjoyed sharing this on going dialogue with you and its obvious that you know your music. Again, you make valid points Preston…but so does Colton! To say that Mariah is a better artist than Whitney simply because she writes her own material is somewhat “reaching”. There is absolute artistry/genuis in song/lyric interpretation. Carol King is a prolific songwriter, but her interpretations of her own songs pale in comparison to other singers covers.
Carol King wrote and sang, “You Make Me Feel (Like A Natural Woman), but who has the classic version? Aretha. “Get Here” is an amazingly penned song by legendary songwriter Brenda Russel, but whose version was the hit? Oleta Adams. Dolly Parton wrote “I Will Always Love You” and WHO totally transformed this ordinary tune into a bonafide classic…”Whitney”. So, you can’t say an artist is less than simply because they don’t write their own material.
Reading your posts Preston actually made me pull out some of my Mariah Carey music for further investigation. You’re right in that alot of her projects contain gems that never see the light of day. “Now That I Know” from the Daydream cd a superb vocal performance. It was back then that Mariah was singing like she had something to prove and now it just seems like it’s all about what’s “hot”, what are kids into?, what the latest “lingo” I can throw into my song? because I’ve “got” to have another #1!!
Where is the passion? Whitney (crack & all) brings passion with the sweat, crooked wig, feet stomps…she’s there to SANG! Mariah is all about her “cute” clothes and “bejeweled” mic?? While her background singers “out” sing her! What’s up wit’ that!?! You keep saying that Whitney has no hits other than the Bodyguard soundtrack, but lets not forget who had (maybe it still holds?) the biggest selling “debut” by a female artist. Whitney also is the “first” woman debut at number one, “Whitney” and that album went on to have “seven” consecutive #1’s, one up’ing The Beatles (no small feat.) Whitney, my friend Preston, is no slouch either in the “records” department.
Colton, I got your back this time, but the letter bomb is on it’s way for your “indifference” jab at Whitney (smile). Preston, you impress me with you music knowledge and I’m wondering are you merely a fan or an actual music “insider”. At any rate it’s been fun and I’ll look for your posts on future threads.
“Now That I Know” is from Mariah’s cd “MUSICBOX”…Before I am raked over the coals!(ha ha)
Mike, my brother, I was not trying to diminish Whitney Houston at all. No doubt, Whitney Houston is the greatest voice of her generation — hell, the greatest voice in the last 20 or 30 years. No one will ever erase Houston’s legacy and she is and will always be a legend. No one can sing like Whitney Houston. Not only was she a true original, but she opened many doors for blacks at a time when MTV was pretty much a Rock channel that only played white artists. Along with Michael Jackson, Whitney Houston kicked down those doors and helped other artists reach mainstream acceptance. So you’re right, Houston is a legend and she’s a stone-cold SANGER — not singer but SANGER! (That’s how we black folks distinguish between who brings it and who fakes it.)
But let’s keep it real here: No one can sing like Mariah Carey, either. And while Whitney Houston has taken other artists’ songs to new heights (”The Greatest Love of All,” “I’m Every Woman,” “I Will Always Love You,” etc.), Mariah Carey did the same thing with “I’ll Be There” and “Without You”. While I don’t consider Carey’s interpretation better than the original (well, maybe “Without You”) young folks associate those two songs with Carey as if they were originally penned by her. Let’s be honest, Mike: we never learned who the REAL Whitney Houston was as a person until she married Bobby Brown and had that awful reality TV show which aired all her foibles for the public to see. Most of her singing was so emotionally unreadable in her Pop years (pre-Soul Train catastrophe) listeners were more in awe of Houston’s technique as a singer rather than her skills at inviting one in to know more about her. I’ll rank Whitney Houston higher than Mariah Carey solely for the fact that she came first and she’s a better singer live, however, I always found her singing in many of those pop songs to be so cold and distant. At least with Mariah Carey she takes people on a journey through song; she sings about the difficulties of being an ambiguous-looking, mixed-race woman living in a racially and culturally divided America; she sings about holding on to her Christian faith when she was dirty poor with nothing to hope for; or she sarcastically plays on her party girl/sexpot image in an almost Mae West-come-here-and-get-me-big-boy fashion that’s usually intended to be self-satire ; she often displays encyclopedia knowledge of Hip Hop, never pretending to be a HOOD but someone with deep appreciation towards the genre.
There’s a lot we get to know about Mariah Carey in her music than we do with Whitney Houston. It wasn’t until “My Love Is Your Love” where I got a glimpse of Houston’s true “soul”. No one can listen to “It’s Not Right But It’s Okay” and deny she wasn’t referring, at least some parts, to Bobby Brown. It was one of the few songs that I felt where she wasn’t singing AT me but TO me. I always felt critics were unfair to Carey early in her career when they accused her of being style over substance with her singing (they said the same thing about Minnie Riperton because her voice lacked the “grit” of an Aretha Franklin and felt her angelic whistle notes were used mostly to showoff). No doubt, on many of Carey’s old songs, she did sing as though she had something to prove, but why when she tones that down and changes her style she’s accused of not bringing it? There seems to be a dichotomy when it comes to Mariah Carey: there’s the one group that hate her guts and find her singing to be overly-indulgent with no soul; then there’s the other group who criticize her for cooing and crooning more rather than bringing the passion comparable to her early albums. The woman is damned if she does and damned if she doesn’t.
Finally, Mariah Carey isn’t even my favorite singer or female artist (that title goes to old school Aretha Franklin when she made classic after classic album at Atlantic Records during the 60s). But I think people tend to sell Carey short and not give her the credit she deserves. I’m not in any way saying Houston doesn’t have classic songs under her belt; I only brought up the fact that most artists like Madonna, Whitney, Janet, Celine, Mariah, etc., only have a few songs from those countless number one hits the achieved that a total stranger can name off the top of their head. I doubt a total stranger if asked to name a Madonna song will cite “Music” or “Hung Up” rather than “Like a Virgin” or “Vogue”. I just get tired of people who say Mariah Carey’s music isn’t memorable – true, we can say that NOW about her current music, but she has memorable tunes under her belt that is still played on Pop and R&B radio. I believe the reason why people tend to diminish Mariah Carey’s achievements as an artist because her current image as some blonde bombshell really distracts people from her artistry. Most people see some dumb blonde, and she can’t expect people to respect her as some auteur when she gives this image of a ditzy blonde. It would be the equivalent of Alicia Keys suddenly turning into Lil’ Kim over a course of a few years.
Preston, I completely disagree with Mariah there. My problem with her has always been that she doesn’t connect to the song. She is a great technical vocalist but I never really feel her aside from 1-2 albums tracks scattered over her catalog. I do agree with that critism that critics harp on even today about her. The same is true for Celine Dion by the way, and Beyonce and Christina Aguilera. I just don’t feel the passion. To me it feels like she’s just hitting notes, showing off how high she can go, how many notes she can fit into a syllable, how man different layers she can do. She seems to be more into making the song sound “pretty” and “feathery” rather than just singing for the meaning. I totally get why the critics don’t like it. And I still don’t know who the real Mariah is. One minute she has these rainbowsn and charmbraceltes, then the next minute she’s lying in her panties, then the next minute she’s talking like she’s from the projects. Which one is the real her? Many critics have talked about this time and time again and I wonder it myself. Who is she?
And Preston, you’re right that most artists only have 1-2 songs that a stranger would know. Aretha has ‘Respect’ and ‘Natural Woman’, Madonna has ‘Like A Virgin’ and ‘Vogue’, Diana Ross has ‘Ain’t No Mountain High Enough’ and ‘Endless Love’, Whitney has ‘I’ll Always Love You’ and ‘Greatest Love’, Celine has the Titanic song. But 50 years from now, what song will Mariah be known for? I don’t know if she has yet to record that defining song? That, IMO, is why she isn’t really viewed as an Icon or a Legend.
And I’m not a Mariah hater. I have all her albums except that God awful Charbracelet. I even bought the underated Glitter album. But I’m still waiting for her to become that legend that her talent warrants. Give us something that defines her. She has the talent.
Ok, because Mariah writes/co-writes the majority of her lyrics, we can conclude that the listerner has a more indept undestanding of the singer over most of her contemporaries. Mariah says she doesn’t understand why she gets no respect from the critics, but I believe she knows quite well the reason why. Mariah knows very well what she’s been serving up to the public and maybe she’s holding that soul record as an ace up her sleeve.
This woman has shared the stage with Aretha, Patti, and Diana so I know she knows what the critics mean when they reference her material as being “saccharine”. I also know that in order to hold your own on the stage with legends, you “must” be exceptional vocally. Mariah is an exception vocalist!! Maybe I am being a bit hard on her because she’s not singing what “I” want her to sing. Growing up on Aretha, Chaka, Roberta, Gladys, Minnie…I’m spoiled o.k.!!!(smile)
A true fan sticks with an artist through thick and thin, so I suppose I can ride out Mariah’s “eternally twelve” stage, until she makes the kind of record that I’d like to hear her sing. If Sade and Anita Baker can continue to release the same music album after album, I can certainly give Mariah a break!
Kiesha, most of what you wrote in your post is nothing but rehashed criticism of Mariah, yet you speak of it as fact because a few critics agree with you. A few critics agree with my take on Whitney Houston, too, but I don’t sit here and act as if my opinion is somehow fact. I find it intersting that you say Celine Dion, Beyonce, Christina Aguilera and Mariah Carey more more technical vocalist than singers who emote from their soul. Yet you excluded Whitney Houston from that list — she, too, was accused of the same thing. Therefore, I conclude that you’re probably a bias Whitney Houston fan that’s posting under different names to somehow make it seem that the majority feel the same way about Carey. I just find it amazing how so many people try to downplay Carey’s impact and status. As if everything earned was pure luck.
Mike, I mostly agree with you. I’m someone who grew up listening to Aretha, Chaka, Patti, Gladys, Minnie, Roberta, Tina, Natalie, etc., and it upsets me that Carey doesn’t make the music I want her to make either. I do hope that once this album becomes successful perhaps she’ll make an album full of good music and singing. None of that rapid-fire singing she’s been doing since “Breakdown”. If anything Carey needs to take a very very long break, recover her voice, and record an album that her adult fans will appreciate. But as S.T.E noted earlier, I just don’t think she’ll do that; she’s more interested in getting her next #1 single.
Anyway, I really enjoyed this debate. I think we mostly agree with each other here. Speak to you soon. :)
Preston, I’m not a fan of Whitney Houston anymore (I actually used to be a real fan in the 80s but then she turned into something else lol). But I’ve always felt that she was great technical singer in the 80s but for the most part, at least on her records, she lacked emotion too… just like the other names I mentioned. However, after she married that loser and started having marital problems around the mid 90s, the emotion started to show in her reocrds. That is why I exluded her. If this were 1987, I would have listed her too.
With Mariah, (and Celine while I’m at it), I just don’t feel the real her coming through. I admit that there are glimpses (eg. Petals) but for the most part I don’t. Mariah certainly has her share of drama so I’m confused why she doesn’t let it show in more records aside from te token “serious” song on each album. And that’s only on record. On stage is a whole different story, even worse unfortunately.
And I’m not “sitting here presenting my opinion as fact”. There is a reason why I use words like “to me”, “it seems” etc. Its not to make the sentece longer, its there for a reason. Maybe you don’t like when people critisize your Mariah, but thats not my fault. I have my opinion on her just like everybody else.
Another thing Preston. I agree that some of Mariah’s SONGS are personal but her singing isn’t if that makes sense. If I read some of her personal songs outloud, just reading the lyrics, then yeah, some of them are “real” and personal. But its her interpretation of the lyrics that really annoy me.
Listen to We Belong Together, thats one of the few times where I feel Mariah really dug into the song. She’s not worrying about whistle notes, makeing the song sound pretty with layers, melisma, dog barks etc. It feels like she JUST came off a break up, I could feel her in that song.
@Kiesha
Do you really think Beyonce’ lacks emotion in her vocal delivery? She’s nothing but a zillion runs over and over…AND OVER AGAIN, but her dance tunes are good. Unlike Mariah, I would say that Beyonce’ vocal style is closer to a traditional soul sound. I agree with you on Mariah’s “We Belong Together” and although I can do without all of that Bones,Thug & Harmony (rap/sing) its the best single she’s had out in ten years.
Oh, and your gonna have to raise up off of Preston. He’s been going heads-up for his girl :) So cut him some slack
Okay, after this, I’m going to stop. I don’t want to be painted as some lunatic fan since you two are throwing around “his girl” and “your Mariah”. ;) I like more artists than Mariah Carey; I just feel she’s vastly misunderstood by some people.
Kiesha, I have to respectfually disagree with you. There are some moments when I feel that Mariah Carey is showboating — just like with Whitney Houston and Celine Dion — but then there are other times where I do feel her when she sings. Her MTV Unplugged performance was one of them. She is a vocal stylist, no doubt about that. However, many people said this about Luther Vandross, that he’s emotionally unreadable; he’s more of a vocal stylist than a singer. I believe it all boils down to personal preference, and I think Mariah can deliver when she wants to (like on “Make It Happen,” “My Saving Grace,” “Fly Like A Bird” and “I Wish You Well”). Mariah Carey’s way of emoting is closer to Minnie Riperton than Aretha Franklin, though both were strong influences. Therefore, we’ll just have to agree to disagree. I think Mariah emotes and bares her soul; you feel that she’s singing only just to sound pretty.
Mike, I do agree with you about Beyonce. That poor girl think she’s Kim Burrell or something. Some people say that Beyonce’s the modern day Tina Turner. I just can’t buy that one.
Mike I do think Beyonce lacks emotion. When she sings, it feels like she’s trying to show off saying “look at me, I’m not just a dancer, I can hang with Jennifer Hudson and them too!”. Listen the the original version of “Emotions” and then the DC version. Listen to the original “Kissing You” and then her version. She litterally drains the emotion out and replaces it with her forced belting.
Preston
You guys keep pulling me back in and I’m trying to let go!?!!(Ha) Beyonce is a wonderful performer who over sings EVERYTHING, but I’ve always felt there was gut/soul in her vocals. Out of all of the younger diva’s I’d have to say that I’m partial to Christina Aguilera. Her tribute performance to James Brown on the Grammy’s was in my opinion “tour-de-force”. I thought for sure that next day she would receive her props, but hardly anyone acknowledged her performance. Do you think that maybe she sounded “too” good and scared some Black folk? : )
I agree Preston about the over singing and all of the ladies are guilty of that at some point. I won’t single out or fault Carey for that…Mary J. does it on a regular basis. The point about Luther V. that you made is something that I have never heard anyone say. Luther was notorious for taking a song and making it his own (A House Is Not a Home, If Only for One Night, Creepin’, Love Won’t Let Me Wait…). I’ve never thought of him as singing one false note, especially with the ballads.
Oh, and Preston the Mariah quips are all in fun…It’s all love baby!!
@Keisha
I agree that Beyonce has been on one big showboat since (and during) her days with Destiny’s Child. I hesitate to really hate on Beyonce, because she is as hardworking as Mariah. All that she really needs is to bring down the number of vocal runs and I’ll be fine with her.
E=MC2 My Review -
Its immediate upon first listening that MC sounds great; the LP is chock full of high quality, rich harmony driven, mainstream radio tracks. So what exactly does E=MC2 mean? You can read pretty much read into anything nowadays, but it reinforces the creative musical genius and tour de force that she is, and history will remember. This woman can do NO WRONG!
With urban poignancy, E=MC2 combines more than over a decades industry experience and smarts to formulaic precision, appealing both to the mainstream, hip hop and religious cohorts. Sure you can argue that she’s repackaged and reformuliased what was Mimi till your blue in the face but it’s very hard not to compare this album with its predecessor. But then again, she’s always knew how to exploit what works and use it to her advantage and with this review I’ll try to attempt to dispel some of those comparisons. This is an in-depth review because basically the ones I have read and commented on only skim the surface and miss a few points of observation. And I’ll try to justify my reasoning’s both on that point. Production wise, how many artists do you know of that can utilize 10 producers (and herself) and still craft a fairly cohesive album wise? She just didn’t throw a bunch of producers together into the melting pot for no reason. There’s a level of intelligence, imagination and experience that comes into play here. On the album cover, MC is simply know as “Mariah” in big ass purple font, wearing next to nothing but some type of mess fur who knows what animal - is this her emancipation?. Clearly, 2008 is huge and the stakes are high, with this her 11th album, with a cohort of releases following this year: Usher, Ne-Yo, Van Hunt, Robin Thicke, Ashanti and Madonna, just to name a few.
Despite the title of the album, if you really get down to the nitty gritty, there still exists a deep hurt and longing within Mariah which manifest in songs such as I Stay In Love, Side Effects and I Wish You Well. These are not only merely scathing attacks but go to mention that she still is human after all and feels and breathes like anyone else. On the outside the façade is one of a confident and maybe overly played out diva persona, but deep down inside her music reveals the truth behind the laughs and the stilettos . Herein lies the growth for me.
I shun at people who suggest she do something out of the extraordinary to enhance her appeal, dance or pick up an instrument. Her voice is her instrument none like no other and she relies on this and her song writing heavily both in terms of artistic and market growth . You cannot deny that and her ability both to effortlessly flow from register to register, breathy to full stretch. Ballads and uptempo RnB have been her bread and butter for years and yet still she remains relevant despite her many years in the industry, apparent failures, innuendos. I mean that’s her niche, and she would be alienating a lot fans if she went too radical because it would not be compatible with her personality. Plus they are always comparing herself to what others are doing but really what they are doing is comparing her to what she used to be back way then singing “Visions of Love” et. al. But she is no longer the same person she was before back then. She is no longer that shy, recluse artist that wasn’t sure of herself and her looks. From adult contemporary to pop to Rnb/Hip Hop is a gradual progression, both reflective of the evolving nature of music and market forces and fans in general.
And in my opinon, E=MC2 is better than The Emancipation of Mimi. It edges out Mimi in the likeability stakes- she finds the right mix of fun mid-tempo cuts, alongside the club bangers and seasoned ballads, sure its not the masterpiece that we all hoped for but its still is a very solid album. Don’t sleep.
Migrate ft. T-Pain – is a shamelessly gritty Danja-assisted driven track with T-Pain on stand-by, showcasing what’s hot right now in music. With a tight smacking drum and bass and tearing synth leads, Mariah is in full effect mode, destined to “steal the show”, on this street banger full of attitude that packs a punch. MC’s swagger, adlibs, whistling runs, mini-orgasms and vocal tricks are ferocious. Killer verse:
But it might benefit
Me to throw something on,
To feature my hips,
Accentuate my tits
And steal the show.
Right mix of lyricism and production. File this one under future club smash!
Touch My Body – this candid and spacey referential joint has a subtle charisma about it that grabs you when you least expect it, which I kinda get why she went with this one as first single. With laid back piano lines, simple and sexy riffs, MC gives off the fantasy every grown man and kid wishes for – “Everybody likes to touch my body..cmon give me what i deserve” - kinda funny how dude in the video never touched her body – get it TOUCH HER BODY hhaha. Low on technicality but high on humour and looseness. We all know she is a freak in the sheets with the lines “YouTube” and “secret rendezvous” but as always she’s not willing to put out with that one. I don’t think she has to worry about YouTube, I’d be more worried about XTube if I was her. Either way she will “hunt you down”.
Cruise Control ft. Damien Marley – MC nudges into the trippy reggae territory with this type of joint, complemented with bouncy staccato beats, Jamaican tropics, accordion stabs and immaculate production. Mimi finds herself caught up in accelerated fatal dis-traction, playing a cat and mouse game with an unlikely admirer that has caught her eye. From the review, he’s the ‘flyest ting when he cruising on the avenue…bottle broken tink i’m jokin’. Rules, caution and “Driver’s Education 101” are all thrown out the window, as MC in caddy, on probation, casually collides with a trail-blazing Marley deejaying consciousness- 2008 WATCH IT! Not to be taken seriously, this jam bumps hard, don’t be afraid to hear this one blazing off in your nearest neighbourhood.
I Stay in Love – is a haunting mellow-dramatic gem of a track channelling “Butterfly”, “Without You” and “Lead The Way” although her vocals are not as dynamic as that, however still, it is a track that will strike a chord with you, serving as a platform that will have you reeling for those who you loved but are not in love with anymore. Soft mid-tempo piano-led melody offering trademark B. Cox artillery - the delicate piano strokes act as teardrops, against the back drop of MC’s vocal cries. The intimacy of the track is its sticking point with the artist’s heartfelt testimony, although slightly predictable – Dying inside cos I cant stand it/make up or breakup/Cant take this madness - it cuts so deep/it hurts down to my soul/my friends tell me/i aint the same no more - that goes on to showcase the pain of love, building and meandering to a climax that will leave chills on the back of your neck. Although it may sooth the soul, this polished track will open a few wounds more than it will heal them. And maybe have you throwing a few things around.
Side Effects ft. Young Jeezy – this aptly title song is one of the album’s standout cuts, compacted with defiant vengeance, distorted vocals and a catchy hook. Scott Storch handles production duties with a blatant amplified beat and distressed synths and violins, although nothing new I haven’t heard from him - ‘I fake a smile and deal with the side effects’. As one reviewer mentioned, the choiced vocal treatment is very much emo, a flow on effect from the previous track. Her lyrics are tight and processed, roughness, whispers of “side effects” in the chorus line, .
I’m That Chick – There’s something about this cut, it’s pure steppy minimal feel, sparse loungey sophistication and steady drum pattern which makes it catchy as hell. Disco is the new hip hop and this song’s biggest attraction is its budding bass line groove and silky smooth vocal delivery. It’d be interesting to see what video direction she takes with this one, I know for one I already see a few things that come into mind. MC really does that levity.
Love Story – is a feel-good relationship piece about the troubles and longings surrounding young love and young infatuation. JD – Cause this isn’t just another love story/Together we’ll make history – the use of young girls for the opening and closing adds to the extra pubescent dimension of the track. It’s strange she even made this type of track its kinda elementary. Standard JD fare but still worth a listen.
I’ll Be Loving LongTime – is fun, funky DJ Troop-produced joint, much in the same vein as “Fantasy” and “DreamLover” - more about this later
Last Kiss & Thanx 4 Nothin – both tracks recall ‘Breakdown’, similar drum patterns, vocal stylings: Last Kiss is pretty much a standard pedestrian track, don’t really care much for it; Thanx 4 Nothin on the other hand fares a little better with trademark gusto and MC quoting those famous lines: Yall know what this is…So So Def, with JD in toe – “I aint even gotta say it”. Added to the mix are clean acoustic guitars much like Usher’s “Burn” and 4×4 snares, which allows MC to ride through the tribulations of a relationship gone past it’s used by date. From the opening lines, Dupri states: This is dedicated to all the ladies out there that are tired of getting played. The exchange between MC and Dupri is particularly lighthearted, however, despite the tongue in cheekiness of the aforementioned track, this cut has some serious undertones for anyone who stays clinging onto a - I can’t even know what to say/I’ve been hurt I’ve been played/And I’m so shamed/I can’t even cry it’s that deep – everyday, everynight I stay by the phone, never gone just in case you /it seems like all i do/is think about our pseudo romance/ while you’re somewhere burnin’ diesel/in the streets havin’ laughs– Why pseudo? Pseudo in that sense that something is not genuine, only gained for amusement or counterfeit secondary purposes. Anyone that has had a pseudo-boyfriend or girlfriend or pseudo-relationships, whether it was a romance or marriages will definitely relate to the frustration and inconsistencies associated with this type of dating.
O.O.C – not one of my favourite tracks, but surprisingly it grows on you like much of the album. This track has a Middle Eastern arabic vibe running throughout it, cha cha beats and worldwide throwaway appeal with MC - So sorry, what ever happened to empathy/ I know you motherf– feel like we/ When you’re messin’ with the one/ True lover that makes you O.O.C. - So scusami, te quiero mucho papi/ Je ne sais pas mais c’est la vie/ When you’re messin’ with the one/ True lover that makes you O.O.C.
For The Record – B. Cox produced, light percussive orchestration has Mariah setting out straight what the record was, calling out a lover for letting go, name-checking a tracklist of past songs – win some you lose some/and others you hold in your heart. The track has enough light and shade to keep you interested. Track recalls the intensity and dreaminess of “Till The End of Time” off Emotions.
Bye Bye – Album’s second single. Simple Stargate production duties, simple three chord progressions throughout, kinda follows the same formula with Don’t Forget About Us, also penned by Johnta Austin who also co-wrote this cut, which isn’t a bad thing because what really sets it off is Mariah’s confessional kick about the loss of her late father, Alfred Roy, who had distanced himself from her and her mother to look after her older sister, however not too long before they could reconcile their differences. The track deals with the concrete love that exists between a father and a daughter and the pain or guilt that comes with losing someone who you wished u had more time to spend with – ‘as a child there were those times/i didn’t get it but you kept me alive…u never let me know it/you never let me show it/because you loved me…i never knew i could hurt like this/and everyday life rolls on like this/i wish i could talk to you or awhile/i miss you but try not to cry/as time goes by - you never got to see me back at number one…its hard to accept the fact that you’re gone forever’. Now kids who have had separated parents will understand the emotional strain attached to this. But likewise others will identify with this message too. The lyrics are simple but that’s the magic of it, its not covert or meant for interpretation. You don’t need to overcomplicate a song to bring true meaning to it. This anthem is meant to be interactive (note the last verse), believe me there won’t be no shortage of tears and candles flickering in the distance at any of her future concerts. “MY PEOPLES’’ refers to anyone who has gone through any sense of physical loss, more so her fans in general but its can appeal to anyone universally – she makes it evident and loud and clear what she is referring to here – ‘THIS IS FOR MY PEOPLE WHO JUST LOST SOMEBODY – lift your hand to the sky, cos we will never say goodbye, everyday i wish, i wish i wish as time goes by, and its true that you reached a better place, still i give the world to see your face, and be right here next to you, the hardest thing, to do is say bye bye.. so c’mon somebody sing it with me, raise your hands up to the sky. I know of many people who have lost their grandmothers and cousins recently so this song will resonate with them and its all relative timing in that sense Mariah.
I Wish You Well – For those of you wondering where the poet laureate track is, then this is it. It’s reassuring to know that despite all the weed and instances of getting high, that she still possesses the mental capacity to churn out and pen a solid lyrical whip of a song. and i admit its kinda hot. Some interesting lines of mention:
So you sought an enemy
(I’m not your enemy. He lives in you, you know it’s true)
Like times before to mock ignorantly
(But the Lord said love, love your enemy so just…
Take heed to the Word it’s time
Check Proverbs 19:29
Don’t cry
But I have had God’s help to this very day
And so I stand here and testify
To small and great alike
So the more you curse me
The more you’re blessing me
The Word said it
Love your enemies
Do good to those who curse you
Pray for those who mistreat you
Psalms 129:2
They have greatly oppressed me from my youth
But they have not gained victory over me
(In Jesus’ name)
**BONUS TRACKS**
Heat – (Prod. By Will.I.Am) – is a weird track, a little messy for me, she mumbles her way throughout this –
You think I won’t come out these heels
And make it clear
I ain’t the one
You think I won’t fuck up my hair
And take it there
I ain’t the one
Keep your hands up off my boo
Ain’t no telling what I’ll do
What makes you think you fly enough to
Take my man
I ain’t the one
Sho ain’t the one
Sho ain’t the one
4real4real ft. Da Brat – this B.Cox horn-laden throwaway sounds like it could have made the tracklist to Mimi, feauring a guest-spot from the M.I.A (okay so her career is over) Da Brat. Check this out -
Really I wanna reach out and just touch you
If you could only realize how much I like to
Come knock knockin’ at your door
Give ol’ girl the heave ho
And give a demonstration of what it’s like
When it’s 4real4real
100 percent 4real
Hotter than cable TV
Like something out of your dreams
It’s 4real4real
Million percent the deal
So I’ll just keep doin’ me
And eventually you’ll see
I’m 4real4real
Mariah is my favorite female singer, somebody that to me is a throwback to Sarah Vaughan. As a pop artist with perhaps (I’m a simple music fan by the way) the best vocal chops this side of my main man Marvin Gaye, Mariah’s instincts are impeccable. I think that the single I’ve heard is as usual for Miss Carey a whole lotta fun! So to me Mariah is still leaving everybody else in the dust. I mentioned Marvin for a reason. I hope that Mariah has a copy of Gaye’s standards album, Vulnerable. I would just love for her to do something like that and I’m sure she will!