Me I Am Mariah: The Elusive Chanteuse by Mariah Carey (Review)

4/5

Me I Am Mariah The Elusive Chanteuse is the 14th album by the musical legend that is Mariah Carey that has been 4 years in the making after innumerable set backs, commercially disappointing singles and title changes. The title itself gives a hint at how the rest of the album is going to go, Mariah in part reverts back to her old sound but also makes some modern club bangers. Indeed, whilst many artists benefit from changing their sound with the times, this album proves that Mariah's original and signature sound has always been her best. In many ways similar to Beyonce's surprise launch album last year, Mariah doesn't have the intention to produce hit singles yet is more focused about the album concept, 'I'm not trying to follow any particular trend, I want it to be well received'.

Me I Am Mariah has a vast array of musical delights from disco songs, thumping Hit-Boy production to a tribute to Reverend James Cleveland. Although I was worried whether the epic title would outshine the actual content it is clear that Mariah's ego remains undented from the lacklustre success 

of her previous album merely peaking  at 23 in the UK. We start off with ballad 'cry', a traditional soul song that puts full attention to Mariah's enviable talent as she ranges throughout her humongous vocal range with ease. Other highlights include the fittingly titled '#beautiful', the duet with Miguel being a shimmering chandelier of class and elegance. When she's not collaborating with Miguel, Mariah steals the spotlight from Wale in 'you don't know what to do', he might as well be a mere instrumental in the shimmering piece of disco pop with a few litres of sunshine added for good measure, or collaborates with her two twins '"Dembabies" a.k.a. Ms. Monroe & Mr. Moroccan Scott Cannon a.k.a. Roc 'N Roe' in the slightly bland, yet heartwarming 'supernatural' where she shows her deep love for her children.

Mariah hooks up with fellow 90s royalty, Nas, in the throwback hit 'dedicated' as she warbles 'I'll just sit right here and sing that good old school shit', and despite under performing as a single, 'you're mine (eternal)', a gem of peaceful r&b, conveys Mariah at perhaps her most vulnerable. The retro sound returns in upbeat songs such as 'money' and 'meteorite', the latter with Q-Tip's dust of magic upon it. The only song that the album could be without is the George Michael cover, 'one more try', Mariah's turns it into a dreary and dull gospel ballad, but nonetheless you can never fault her vocally. Personal highlights include the stunning 'heavenly', which verges onto X Factor winner's single territory, the emotional, typical Mariah ballad that is 'the art of letting go', but perhaps the best song on the album is the sure fire hit 'thirsty', which combines production reminiscent to Niggas in Paris by Jay Z and Kanye West (well they do have the same producer) with a traditional soul hook, as Mariah sings 'best thing to happen to your ass was me', you can't help but get up and grind along. It's no mean  feat that an artist 25 years into their career can still deliver something so current.

As you're left with Mariah's joyful laugh in the conclusive speech at the end, you're left to realise that perhaps this album isn't the most genre defining or original sounding of its time, but it's the album of an artist genuinely having fun and wanting to breath back life into the album franchise. Critics might say its a bit of a mess with no flow to it, yet this adds to the personality in another great album by undoubtedly one of the best performers who has ever lived.

Jontincooper Musicblog 

New Artists of the Week: Take 1

At last I have taken the brave step into the foreign and hostile world of blogging and already feel like a child without a mother I'm so lost. Nevertheless in this perhaps ill advised blog and until it's imminent demise I will strive at nothing less than providing you with an insight with artists and bands who I believe deserve the all so precious time of being heard by you. In this week's blog there's a reggae pop making German machine and a smooth rnb crooner and I hope there's something you'll like.

Milky Chance:

This German self proclaimed pop-rock-folk-reggae-electronic music duo made up of singer Clemens Rehbein (above) and producer Phillip Daubech have already caused quite a stir in Europe thanks to their bumper sized hit 'stolen dance' which as of yet has already reached number 1 in 8 countries across the globe. Many listeners ever keen to hop on to the band wagon before it starts rolling will do well to tag along with this ever increasing  fan base, for within months inevitably they will have had a hit in the UK as well. The buzz for this band centres around the hit 'stolen dance', an understated pop for song full to the brim with acoustic pleasantries as the listener is invited to do 'the boogie all night long'. It's like sitting by a lake in the middle of the summer sun as the melancholy tones of Rehbein's voice float over you. Indeed stolen dance dies overshadow much if the duo's other work, fading into mere dull accousticness in comparison, nonetheless I doubt this will hinder the group's imminent success. So if you like Kodaline, Mr Probz or folk with a touch of reggae (still yet or find this reggae influence perhaps it's just Rehbein's hair), you'll love them, the added bonus that you can say you heard them first.

PARTYNEXTDOOR

Canadian Johran Anthony Brathwaite, or partynextdoor, is the latest from the seemingly endless catalogue of incredible modern r&b artists originating as one of Drake's apprentices. Following on from his predecessors the Weeknd and Jhene Aiko, partynextdoor offers smooth, dulcet tones of 'hipster r&b' with a formidable production. Arguably the best song in his growing collection is the heavily explicit 'wus good/curious', where in the politest way possible Johran sings 'ride me till I'm 'bout to cum', (clearly not to be listened to in a room with the grandparents). His songs based on the repetitive theme of the thug life, sex, strippers, drugs and more sex (well what did you expect?) take you to a place riding in the dark streets in a black Cadillac whilst thumping along to the sophisticated self done production. One may say that the production is indeed the thing that sets him apart from his contemporaries (his lyrics certainly don't). If you like the Weeknd, Frank Ocean or Drake, this'll be right up your street, if not then I advise you avoid him with the upmost immediacy.

Song of the Week 

Meet Me There by Nick Mulvey

This light, bouncy, piece of hipster folk, like a breeze of calm, brings reassurance that there is still good music in the world, having heard the atrocious pile of shit that is Pitbull's latest offering.

Thank you if you have read this and as always I'm open to comments etc.