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Mariah Carey Album Reviews | |
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# 1's:
Mariah Carey's #1's is as much a time capsule of '90s pop and R&B as a record of one woman's chart toppers: the disc chronicles a shift from the sweet, nearly '50s-style "Vision of Love" to more recent hip-hop-lite grooves featuring heavy input from Puffy Combs ("Honey"), Jermaine Dupri ("Sweetheart"), and O.D.B. ("Fantasy"). Some hit, some miss, but all feature the fluttery swoops that Carey substitutes for expression of feeling. Depth is beside the point, but few of these tracks are even fun. Still, after eight years, there seems to be no stopping her, and this album will hardly break her streak of successes.
Rainbow:
Rainbow, Mariah Carey's seventh studio long-player, is something like a concept album. Its theme is the various stages of the "emotional roller coaster," as she puts it, of her divorce and subsequent rebound. Carey continues to walk the line between streetwise hip-hop soul and adult-contemporary acceptability, with the former not surprisingly offering most of the disc's high points. "Heartbreaker," the first single, is a likeable piece of bubble-gum R&B with grit borrowed from guest Jay-Z; the remix, with Missy Elliott, Da Brat, and DJ Clue on board, is a different enough piece of work that its appearance only a few cuts after the original version doesn't jar. Another groove-intensive track, the Snoop Dogg duet "Crybaby," is so sly that one hopes the two collaborate again. Of course, it wouldn't be a Mariah record without at least one major lapse in taste; here that bill is filled with a cover of Phil Collins's melodramatic "Against All Odds."
Butterfly:
Carey's first post-divorce effort makes passing allusions to her ex-hubby (and label honcho) Tommy Mottola, but it doesn't dwell on them the way many similar projects do. Instead, Carey is right back to her old tricks; cooing trademark melismatic spirals through sexy, beat-heavy hits. Fans will dig the bedroom slink of "Baby Doll," the dripping "Honey" and the infectious title track (reprised, along with a bit of Elton John's "Skyline Pigeon," in "Fly Away"). The highlight is a duet with Dru Hill on Prince's "The Beautiful Ones," which just might be her most pointed commentary on Mottola.
Merry Christmas:
She's been hailed for her multi-octave vocal range--a tool that sometimes detracts from her pop recordings, but actually works quite beautifully in the context of this charming holiday collection. Fans will surely approve of Carey's renditions of slinky secular songs like "Christmas (Baby, Please Come Home)" and a nicely subdued "All I Want for Christmas Is You."
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But where she really surprises is in her unadorned delivery of a passel of traditional carols, highlighted by "Silent Night" (which she sings quietly, avoiding the temptation to wail those high notes) and "Jesus, Oh What a Wonderful Child." A must for diehards, and a pleasant surprise for the unconverted.
MTV Unplugged :
By the time she made her bow on MTV Unplugged, Mariah Carey was already a multi-platinum-selling artist who owned the charts, but didn't command much respect because no one had ever seen her perform live. As it turned out, Miss Thing could deliver as sure as Domino's, emoting significantly over soulful arrangements of several hits and a cover of the Jackson Five's "I'll Be There." That track became a No. 1 hit and earned a solo recording deal for featured backup singer Trey Lorenz. This may not be Carey's best record, but it's certainly her most surprising.
Music Box:
Linda Ronstadt was America's sweetheart of the '70s, because she was able to combine a pretty face, a pretty voice and a safe personality. Her songs might be full of big notes and high emotions, but they satisfied every predictable expectation of a love ballad or good-time rocker. Mariah Carey is America's sweetheart of the '90s for the exact same reasons. Music Box topped the Billboard album charts, yielding number-one singles like "Dreamlover" and "Hero." The titles, one a hollow Minnie Riperton knock-off and the other a stiff Barbra Streisand imitation, are tip-offs to Carey's reliance on untethered fantasy (she's the fantasizer in the lyrics and the fantasy object in the videos). These songs, coªwritten and co-produced like most of the album by Walter Anasieff and Carey herself, are constructed to show off her dizzying soprano, not to provide an original approach to a well-worn subject. Even when she gets a strong ballad to sing, like her current singles--Babyface's "Never Forget You" or Badfinger/Nilsson's "Without You"--she overdoes the self-pity bit so much that the song loses its dramatic tension.
Reviews Copyright Amazon.com, 2000
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