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Mariah Carey The Emancipation Of Mimi Download
The Emancipation of Mimi reviewWhether people like it or not, Mariah has placed her mark on the world map of artists whose names are immortalized by what success they have accomplished. Of course Mariah's success is indisputably legendary and unmatched. And this album hails a triumphant return to what we've all been waiting for musically and lyrically. This is probably one of the best Mariah products in years carrying credits as Singer, Song Writer and Producer which is something only Mariah can do. The titular 'Mimi' of The Emancipation of Mimi is an alter-ego of Mariah, a persona that captures Carey's true feelings and emotions. In case you didn't know what 'emancipation' means, Mariah helpfully provides a dictionary definition of the word in the opening pages of the liner notes for her eighth proper album: it means 'to free from restraint, control, oppression, or the power of another' or 'to free from any controlling influence' or 'to free somebody from restrictions or conventions.' Carey's emancipation is drenched in hip-hop and old-school R&B ballads, and it smartly focuses on her strengths. While her voice has lost some of its power through the years, 'Mimi' deftly showcases her still-considerable pipes with strong lyrics and slick production. Highlights include the best dance cut Snoop Dogg-spiced thump of “Say Somethin'”, some gorgeous old-school '70s ballads 'Mine Again', 'Circles' and 'I Wish You Knew', the bouncy hit 'Get Your Number' and gospel closer 'Fly Like a Bird'. The main story of The Emancipation of Mimi: since the reserved, tasteful adult contemporary pop of 2002's Charmbracelet failed to revive her career, she's done a 180 and returned to R&B, in hopes that maybe this will create some excitement. And it was not a bad idea! While the tunes aren't always memorable, it does make for a consistent album, one that's head and shoulders above the other LPs she's released in the 2000s, even if it doesn't compare with her glory days of the '90s. The Emancipation of Mimi still works, it's smooth and listenable, which is enough to have it qualify as Mariah Carey's most satisfying album since her 1997 collection, 'Butterfly'. The latter disc spawned multiple hits and has sold 3.7 million copies in the United States. 'Mimi' has already notched a hit with 'It's Like That', and a second single—the midtempo ballad 'We Belong Together'—is ascending the charts.
Rate review4.57
Review by Stephen Thomas ErlewineThe titular 'Mimi' of The Emancipation of Mimi is, by all accounts, an alter ego of Mariah, a persona that captures Carey's true feelings and emotions. In case you didn't know what 'emancipation' means, Mariah helpfully provides a dictionary definition of the word in the opening pages of the liner notes for her eighth proper album: it means 'to free from restraint, control, oppression, or the power of another' or 'to free from any controlling influence' or 'to free somebody from restrictions or conventions.' So, on The Emancipation of Mimi, Mariah frees herself from the constraints of being herself, revealing herself to be -- well, somebody that looks startlingly like Beyoncé, if the cover art is any indication. Mimi, or at least the sound of her emancipation, sounds remarkably like Beyoncé, too, working a similarly sultry, low-key, polished club groove. And that's the main story of The Emancipation of Mimi: since the reserved, tasteful adult contemporary pop of 2002's Charmbracelet failed to revive her career, she's done a 180 and returned to R&B, in hopes that maybe this will create some excitement. It's not a bad idea, particularly because Mariah could use any change at this point, and it's not executed all that badly either, as all 14 tracks -- heavy on mid-tempo cuts and big ballads, with a few harder dance tunes featuring big-name guest rappers scattered along the way -- all follow the same deliberately smoky, late-night template. While the Neptunes provide the best dance cut here with 'Say Somethin' (featuring a cameo by Snoop Dogg), especially welcome are some nice old-school '70s smooth soul flourishes, best heard on James Poyser's deliciously sleek 'Mine Again' and such 'Big Jim' Wright productions as 'I Wish You Knew' and 'Fly Like a Bird.' As good as those Wright-helmed cuts are, they are also the times that the mixes slip and don't hide the flaws in Mariah's voice, and it sounds as airy, thin, and damaged as it did on Charmbracelet, where her ragged vocals dealt a fatal blow to an already weak album. Rayman legends wii u download torrent. Here, apart from those Wright tracks, the producers camouflage her voice in a number of ways, usually involving putting the groove and the sound of the production in front of the vocals. While the tunes aren't always memorable, it does make for a consistent album, one that's head and shoulders above the other LPs she's released in the 2000s, even if it doesn't compare with her glory days of the '90s. Ironically enough, a big reason why The Emancipation of Mimi doesn't sound as good as those '90s albums is that Mariah never sounds like herself on this record. When she's not sounding like Beyoncé, she sounds desperate to be part of the waning bling era, dropping product placements for Bacardi, Calgon, and Louis Vuitton, or bragging about her house in Capri and her own G4, all of which sounds a little tired and awkward coming from a 35-year-old woman in her 15th year of superstardom. Disregarding these two rather sizeable problems, The Emancipation of Mimi still works, at least as a slick, highly crafted piece of dance-pop -- it might not be as hip as it thinks it is, nor is it as catchy as it should be, but it's smooth and listenable, which is enough to have it qualify as a relative comeback for 'Mimi' Carey.
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