Every once in a while, a pop songstress comes along that changes the game from there on after.
She becomes the imitated one, with an unmistakable voice that blows melodies sweeter than honey and sprouts visions of love to be renewed each time we hear her voice.
I need not say more -- she's the one always on "fiya" -- Ms. Mariah Carey.
And she's back, after an almost three-year hiatus with Emancipation of Mimi. Here's the deal: if you love Mariah, or if there was a time you did, you'll be quick to dig Emancipation. It's everything we loved about her 10 years ago and a whole new exuberant side she's just showing us now. Possibly attributable to the slightly chiller schedule she keeps, Emancipation is the re-introduction/introduction of a free-spirited gal ready to leave the negative energy behind, open some Bacardi, have some good times and maybe get a bit of lovin' while she's at it.
In the past Carey has been hesitant to allow any other collaborators in the studio while recording her vocals, but many of Emancipation's ballads and were recorded with a full band behind her. Whoever's idea this was, it was a wise one, as it pumps a much needed burst of liveliness into Mariah, somewhat lacking and forced on her last two albums. Though I enjoyed her last album, Charmbracelet, it was missing some of the fun-loving magical Mariah of say, Butterfly or Rainbow.
Her vocals have never been stronger exemplified really by the whole album but strongest on old-schoolesque ballads like "Mine Again." Just notes into the instant classic it becomes so clear why this woman is still around: nobody could hit these words and notes with the power and emotion of MC. It's the kind of song that makes you close your eyes, scrunch your face and lip-sync along (comb as microphone optional).
It's no secret that aside from her chords Carey's next biggest strength lies in her unwavering ability to structure smooth like butta hooks. There's certainly no shortage of those -- aka single-potential songs -- on Emancipation. Story of regret mid-tempo "We Belong Together" is an example, likely to hit the radio, it has the infectious hook we've grown to expect from Carey.
Long-time co-scripters Jermaine Dupri and Snoop Dogg join the team with some umph-packed dance beats. Dupri co-wrote and produced several tracks including dance track "Get Your Number," the shake-it-fast-and-make-him-think-twice-before-walkin'-away fun song that is more or less ruined with an irritating noisy hook by JD that would be better saved for a second-rate artist like Christina Milian.
JD steps it up and brings his usual A-town heat, producing "Shake It Off," the saucy n' sassy kiss-off song; a blend of a true diva's strength to move on and find someone more worthy and steady beats that'll leave you bumpin' your head while you tell-off and kick them scrubs to the curb. And my darling Doggfatha helps out on the sexy, tease-me-cutie grind, clap and bop beat -- produced by The Neptunes -- "Say Somethin' " proving once again that these two create only that which is hottie-hot-hot.
The only problems occur when Carey settles for songs that are no match for her abilities and even her voice can't save them.
It's true that nobody could pull off the vocals of songs like "Your Girl" or "I Wish You Knew" but it doesn't change the fact that these are boring songs.
The "Hero"/"Thank God I Found You"/"Butterfly" moment comes with the finale of Emancipation, mid-tempo ballad "Fly Like A Bird." It's a good song -- not nearly as great as any of those previous survivor tunes -- but then again, there's less pain from which to arise out from under on this album. Still, the heartbreakin' sizzling far out weighs anything lukewarm on the record.
It's simple really; she's often imitated, but truly never ever duplicated.
