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Charmbracelet
MARIAH CAREY, 2002
CD, Def Jam B00006RY8N
Transitioning from a square pop singer to a cooing homegirl is not an easy thing to do, as Mariah Carey's awkward career proves. The ornate coloratura flourishes and elastic phrasing of Carey's earliest recordings dazzle, but rarely touch. Her more recent shift toward singing around samples and carefully placed rap cameos do not remedy her emotional deficit either. Despite the late '90s coronation of every female hitmaker as a "diva," most, including Carey, Whitney Houston, Celine Dion, etc., lack the swagger and conviction of the diva archetypes Aretha Franklin, Barbra Streisand, and Diana Ross established in the 1960s. Mostly, the new divas lack any sense of purpose beyond becoming human brand names.
Carey's publicists busily spun Carey's Charmbracelet as a return to form upon its release, but what could that possibly mean, especially given the declining quality of her records since 1995's excellent Daydream7. Yes, Carey has an impressive voice; yes, she works hard, wearing singer, writer, producer, minimogul, and video-director hats; and yes, she's had an impressive commercial track record. However, none of these credentials results directly in distinct musicianship. Possessing musical talent and skillfully using it to create compelling music is the difference between also-rans and legends.
Perhaps to avoid comparison with established legends, Carey has moved in a hiphop soul direction à la Mary J. Blige and Faith Evans....