Me. I Am. Mariah ... The Elusive Chanteuse
Mariah Carey
(Def Jam)
Two Stars
It wasn't a good sign: after numerous delays and false starts, Mariah Carey has finally returned with her first album in five years. Those hoping the staggered progress of the album was down to a creative breakthrough will be disappointed. Apart from the bonkers title (which sadly correlates with some of the bizarre lyrics), Me. I Am. Mariah ... The Elusive Chanteuse is an album full of ultra slick R&B ballads that are weighed down by filler tracks and awkward sequencing. It is not a total disaster, but the affair feels chaotic and disjointed with the few brighter tracks serving as a reminder of its potential if the focus was there. Here is a track-by-track breakdown:
Cry
Carey’s albums normally burst out of the gates with the singer showcasing her vocal chops. This one is an emotionally wrought piano ballad about a teetering relationship. Although smooth and sensual, it is best served in the bottom end of an album as opposed to an opener.
Faded
Another slow burner with Carey harmonising over herself at least four times. It’s all done surprisingly subtly, courtesy of Mike WiLL’s production, which has a plaintive piano riff riding over a deceptively complex drum track. This one’s a real grower.
Dedicated (Featuring Nas)
A lyrical throwback track with both Carey and the rapper Nas nostalgically name-checking the artists they grew up to. By now you begin to understand Carey's return is not a shake-up, but more of the modern R&B she has been churning out for the past decade. Not a bad thing in this case; Dedicated is impeccably produced with a subtle groove and a rather lovely fluttering piano hook.
Beautiful (featuring Miguel)
Fortunately, the breezy and summery melodies here cover the awfully trite lyrics where Carey is enamoured by a hunky biker (the skinny R&B singer Miguel). “I like when you run red lights,” Carey croons, somehow with a straight face.
Thirsty
The star here is the beatmaker Hitboy with a stellar production that is a funkier cousin of his 2011 hit Ni**as in Paris with Kanye West and Jay Z. Carey sings along to the piano riff instead of bulldozing it with big vocals.
Make it Look Good
A lovely blend of the modern and vintage. Old-school R&B melodies recalling Stevie Wonder and The Jacksons are matched with modern, bass-heavy drums to create an immediately engaging track. Lyrically, it’s more good-girl-meets-bad-boy waffle; Carey laughs at the end, perhaps acknowledging its silliness.
You’re Mine (Eternal)
A stodgy ballad dominated by sparse drums and skeletal piano with Carey playing it straight. It registers an interest only in the finale when the vocal fireworks arrive.
You Don’t Know What to Do (featuring Wale)
A throwback to Carey's stellar 1996 R&B and hip-hop mash-up album Honey, this upbeat number bounces courtesy of its summery production including funk guitar pickings and buoyant strings. The rapper Wale also delivers a solid verse.
Supernatural
Featuring the recording debut of Carey’s fraternal twins Monroe and Moroccan (credited on the album as Dembabies). The kids giggle their way through the opening before Carey enters to lead what is a schmaltzy ode to motherhood.
Meteorite
OK, enough baby talk. Time to party as Carey (presumably leaving her kids with her comedian husband Nick Cannon) hits the club with the aid of a stomping beat by the producer Q Tip. Only thing is, Carey doesn't seem interested, the vocal commitment isn't there and consequently Meteorite crashes.
Camouflage
A worrying downturn takes hold here: Camouflage is a mediocre piano ballad failing to make any impression.
Money (featuring Fabolous)
An anti-money anthem from Carey may be rich considering the lavish lifestyle befitting her diva reputation. But beyond Money's energetic rhythms, the song's lyrics cause a double-take. According to Carey, money "don't mean nothing other than jets and holidays and chefs with hollandaise".
One More Try
After taking on Foreigner's I Want to Know What Love Is in her previous album, Carey continues her trend of ultra-safe covers with a rendition of George Michael's One More Try. All that one can say about it is that it's nice.
Heavenly (No Ways Tired / Can’t Give Up Now)
Carey’s blood-curdling high note, charitably restrained throughout the album, returns in earnest in this big closing number that comes complete with a marching band.
sasaeed@thenational.ae
