Sunday, November 30, 2014

Album Review: Mary J. Blige: The London Sessions.


Mary Jane Blige is back making music and looking pensive as ever on the cover! #Blessed! During her My Life II album she had to really stop promoting it due to the Burger King commercial fiasco, so it didn’t perform as well as she might have hoped. She put out a Christmas album last year (with a pensive ass cover as well) but that doesn’t really count to me as new music. I was happy to hear her on the DIsclosure remix and curious when I found out that she was going to London and recording with a bunch of Brits for her next project. Was it a last grasp to remain relevant? Would she do a 180 musically? Well the album has dropped so my questions have been answered. Here are my initial thoughts, track by track:

Therapy: This was the lead single from the project. It was written by Sam Smith and has his knack for writing hella emotional lyrics stamped all over it. The beat is simple and allows Mary to showcase her bluesy chops. Truthfully, I didn’t get why it was chosen as the lead single/opening song, but now I get it after a few listens. It has grown to be an album standout to me.

Doubt: This is a piano driven song and once again a pretty simple track. I actually imagine Mary sitting at a piano and playing this during concert. No, I don’t think she’s that good at piano it’s just that simple and repetitive and would allow a ‘Look at me be an artist” moment. Anyway, it builds and ends up being an uplifting I mean “I’m gonna be the best me/sorry if it kills you”? How can you not feel like taking on the world when you have Mary telling you not to doubt yourself? .

Not Loving You:
If Therapy, seemed like it could have been penned by Sam SMith, “Not Loving You” sounds like Mary covering a Sam Smith song. This song is just so damned beautiful.that it instantly resonated with me. Vocally, I think Mary nails it.

When You’re Gone: This song almost feels like a follow up to “Not Loving You” Here, she is vulnerable and the lyrics to this song are sweet as well.


Right Now: This was the first song that I heard from the album. This has been my jam all fall. It was produced by Disclosure and written with Sam Smith. When I heard that she was working with Disclosure again, I was expecting another “F For You” and was slightly disappointed that this song wasn’t faster paced. Clearly, I figured out how hard this song. It has such knock and a groove that makes makes me always want to nod my head. I’m sorry I ever doubted you, Disclosure.

My Loving: I was actually surprised that this wasn’t a Disclosure song. It’s a Rodney “Darkchild” Production but it sounds like nothing I’ve ever heard from him. It actually makes me think of an old house remix, but in the best possible way. I don’t know if it’s lyrically that strong, because I get so distracted by the groove of it all.

Long Hard Look: I like the way she attacks the verses in this song. She sounds strong and sells the song with ease.

Whole Damn Year: Emeli Sande wrote on this song and Naughty Boy produced it. This has “Breakup song that you listen to whilst guzzling wine straight from the box” all over it. I like the lyrics,but the way Mary is able to make me feel her pain (even though i really can’t relate on a personal level) is what is most impressive

Nobody But You: This has a loungey vibe to it and builds to a nice chorus. I like it now, but I might LOVE a nasty remix to this song… Go ahead, I’ll wait…

Pick Me Up: This, like “My Loving” makes me think of a house remix, but a bit more turnt down and loungey.

Follow: This takes the previous song and amps up the vibe to a dancier place. The groove in this song is much stronger. DIsclosure to the rescue!

Worth My Time: Dance time ends, and the album wraps up with a piano driven ballad. Some might feel as if this album ends on a whimper, but I think it ends on classic Mary. Not one of my favourite moments on the album, but not horrible either.


All in all, I have to say that I think this ended up being a solid effort from Mary. MJB came on the scene singing over hip-hop beats so we know and like her doing so. It was a risk for her to step out of that and try something new, but I feel like she executed it well. It doesn’t feel forced and seems like a natural progression for someone in the stage of Mary’s life and career. The writers and producers did a good job of showing a different side of Mary, while still managing to keep it “Mary” I really hope this album does as well as it should so I can look about shipping some other artists over to London for a “London Sessions Makeover”


Monday, October 27, 2014

Album Review: Danity Kane: DK3





Do Danity Kane got back together. (Well kind of.. They didn’t include D. Woods, but people seemed ok with that) Then one got fat and quit. She claimed to be pregnant, but I have yet to see a baby. I’m just saying... Then, there were 3! DK3!! SO unique, if you ignore that Destiny’s Child kind of made that their thing when bitches couldn’t hang. Anyway, I was excited. I mean, they had Dawn (the singer with an interesting tone and approach to music), Aubrey (the sex pot with a sultry voice that can ohh and ahh with the best of them) and Shannon ( a decent singer who can dancer her ass off) what could go wrong? Apparently everything. A donkey punch to Aubrey’s head later, we had another breakup on our hands. Fans wondered what would come of the album that was already completed before Dawn got all Street Fighter. Well, wonder no more, they have realised that a check is a check and they are blessing us with their album, DK3!

Rhythm of Love: This track instantly feels like it’s about to build up to something bigger and it really does not disappoint. The chorus and the beat both erupt, taking us to a more upbeat and fun soundscape. It’s not breaking into any new territory as far as dance music, but it’s a fun listen, nonetheless.

Lemonade: This was the group’s first official single (yet had no video? *side eye*) The vibe goes from fist pump dance-y to urban club. The song samples the Clipse’s hit “Grindin” which is still one of the sickest instrumentals. The Neptunes went hard with that beat. I usually despise songs talking to/about haters but the beat won me over.

All In A Day’s Work: I like the riff that starts out the song and the clapping, as it makes me think the song will result in some serious p-popping. The track is quite unique and hard to forget. It just kind of hits you over the head until you submit. This song is the anthem of any boss bitch.

Rage: This song threw me off. If I’m not mistaken this what DK teased as the first single when they first revealed they were in the studio. The intro of the song is anything BUT rage-worthy as it’s Dawn singing sweetly over a piano. It picks up to a fun chorus that kind of reminds me of Rihanna’s “Cheers”

Tell Me: This is a mid temp, snap driven song that sounds like it could have been an interlude from their last album. When the bass line drops it makes me think of “The Motto” I giggled at the “hanging from the shower rod” reference. I’m a sucker for a Love and Hip Hop: Atlanta reference. For what it’s worth, Dawn wrote on this song, which is not surprising at all.

Two Sides: The end of Tell Me pretty much runs into this song. This is another Dawn song and once again, this feels like an interlude to me. I kind of just keep on waiting for it to pick up but it never does. This is a song one sings during concert to catch his/her breath.

Secret Lover: I won’t say this is a bad song, BUT it’s just kind of very forgettable for me.

Roulette: This has a bouncy chorus that makes me think of the 80s (but not in the bad way)

Pieces: Part of the delivery of the verses definitely borrows from Aayliyah’s “ I Don’t Wanna”, which is a song that I have always loved. Go listen to Aayliah and you’ll see what I’m talking about. I believe the song works even when I take nostalgia out of the equaton.

Bye Baby: I have always loved the song from the jump. I like the groove of it. Some people said it was in the vein of Thicke’s “Blurred Lines” but those people are dumb as hell. I like the harmonies and the breezy feel of the song. It just begs for a two step and a snap.

Overall, I have to say that I think this is my least favourite DK album. The first one had great production but felt like it could have come from any girl group. The sophomore album felt cohesive and gave us the feeling that the girls were growing into something a bit more unique. On this album, the girls have continued their vocal growth, but the production leaves a bit to be desired. I wish they would have taken the direction they were going with the first three songs and stuck to it. I can honestly say after listening to DK3, I’m a lot less upset about them breaking up. I guess now I look forward to the upcoming projects from the ladies. (Ok, Dawn)


** I have heard the fight that ultimately ended up breaking the group up was over Dawn being upset about her vocals being omitted. I was half expecting to hear Aubrey and Shannon sing the whole thing ( yawn) but was surprised when Dawn seemed to be showcased on almost every song. Hell, if anything Shannon should have been pissed. Then again, maybe she reached out to Michelle Williams and has found peace with her place in the group.

Monday, September 22, 2014

Album Review: Jennifer Hudson: JHUD


I remember when Jennifer Lopez first started calling herself J. Lo. It seemed like she wanted to be a bit more relatable and show that she was hip and fun. Fast forward to years later, and we have Jennifer Hudson doing the same thing. She’s now going by J. Hud and has changed her image to give us someone who is a bit more age appropriate. I think my initial disconnect with her, was that she was young, had this big voice, but sang adult contemporary music. Can a haircut and wardrobe refresh help redefine this super talented diva? Girl, I don’t know, but here’s my thoughts on the album, track by track.

Dangerous- The beginning of the track had me thinking she was going to do a female version of Drake’s “Hold On, We’re Going Home” I was wrong. So wrong. This song has a breezy, bounce to it. This has “roller skating music” written all over it. It’s disco tinged, but amped up a bit to make it more modern.

It’s Your World- This was written by and features R. Kelly. Dangerous may have been disco tinged, but this is full on disco. Vocally this song is not for the Rihanna’s of the world. She starts singing out the gate and never lets up. The chorus is a long, dramatic ass run done in one breath. Robert (R, to you) comes in and at first his part isn’t very impressive, but then… Lord have mercy… He gets warmed up and he starts going back and forth with her. This song plays out like a textbook on vocal stunts and shows. I tweeted this earlier today: “These R Kelly and Jennifer Hudson runs in “It’s your World” are re-damn-diculous. They are singing like the rent is PAST due” and I think that best sums up this song.

He Ain’t Goin’ Nowhere: THis is an unapologetic Pharell song. It’s alright, but it’s nothing ground breaking in my head. Sometimes P, gets in these grooves and some of the songs start just sounding so similar that they get lost. The Iggy verse is alright but somewhat forgettable and unnecessary.

Walk It Out: This was the lead single that got me excited about this project. I heard that Timbaland was executive producing this and this track sounded so promising to me. It has this sick 90s R&B knock and groove to it. It instantly took me back to Chicago stepping. The chorus is just so simple and effortless. I do enjoy the the back and forth between her and Tim. She is singing her ass off on this track, but she is showing control here, which is something over which she is often given flack. Bonus: she says “fuck” and “shit”

I Can’t Describe: Once again, Pharell is taking us back to the disco. This could easily have been a follow up to “Blow” I know Solange is somewhere shaking her fro and fanny pack to this groove. I like the T.I. verse on this better. I think his flow seems to mesh well with Pharell’s production style.

I Still Love You: This song starts out super dramatic but settles into a groove that is kind of disappoints. I think they could have taken the beat a bit harder and given us something along the lines of “Night of Your LIfe” from David Guetta’s album. She sounds like a hesitant disco diva. The chorus reminds me of of the “I’ll always love you” in “Love Child” by Diana Ross and the Supremes.

Just That Type if Girl: It has a nice bass line. This sounds like the other two Pharell songs. It’s not very interesting at all. It’s something to put on in the background, but not a song to which you’d want to really sing along.

Bring Back The Music: This would have been a fun interlude, but they decided to make it a full song. The vocals are on point and are allowed to shine over a simple, stripped down track. I just don’t love the song, as it makes me think of a Vegas lounge singer.

Say It: I think Jerry Wonda did better with this song than “Bring Back the Music” This song makes you want to snap and rock side to side. The track is kind of funk. I don’t like the bridge of the song, as it’s kind of a let down, but overall this is a decent, soulful track.

Moan: JHud slows it ALL the way down on this song. It’s just her and a piano. It’s clear that Jennifer is capable of slaying songs in this vein. This churchy, ballady, type song is where she shines. I just personally don’t usually get into slow songs of this nature. She sounds great though, and takes us all to church on this song.



Overall this album is a decent effort from JHud. It’s nice to hear her trying new things with her sound, but I wished that they producers would have been a bit more adventurous with her. The disco diva thing is fine, as older motown/disco sounds, are all the rage these days, but they could have taken it to a different level. As I’m listening to this album, I think “Walk it Out” might have been her only radio friendly track, and that didn’t even fare that well. I know Thicke’s “Blurred Lines” sounded completely different from radio and blew up, but I just don’t think Pharell blessed Jennifer with any songs that are that ground breaking/interesting to get people to stop and listen.

JHUD’s makeover and choice of producers had me thinking she was going to do a 180. I was wrong. (weird, Right?) Yes, she sped the tempo up a bit, but she is still giving us adult contemporary. The Iggy and TI appearances might get some younger kids interested, but this is definitely an album for the grown and sexy crowd. This album feels like the album Effie White would have made had Curtis not been shady and played games with her career. Did you really think I'd end this without a reference to Dreamgirls? You are dumb.

Sunday, August 24, 2014

Album Review: Ariana Grande: My Everything.



So I think it was last year when I first became of aware of Ariana Grande. She was known as Mini Mariah and I instantly wasn't having any of that foolishness. Well she dropped her first album, and I actually ended up liking it a whole lot. Just like Mariah, her label has rushed her back to the studio to churn out more hits. This approach can work wonders or spawn a bunch of shitty music. Luckily for Ari, “My Everything” seems poised to buck the sophomore jinx.

Intro:
She starts out with a bunch of airy riffs that leads into a short song that I think is just a quick thing for the fans letting them know that she is giving it her all and to keep riding with her. Translation: please continue to Stan for me and buy my shit. Thanks!

Problem:
This song ended up being a HUGE smash out the gate. The pop princess and one of rap’s up and comers made for a great duet. Plus, they have Big Sean whispering on the hook, and I think we all know how I feel about that man. When this song dropped, I was still curious to know what direction they were planning on taking this album. It’s a fun and upbeat track. Sadly, it’s one that is made for dancing and the girl, like Mariah, cannot dance. :(

One Last Time:
I am not quite sure, but the vibe of this song has always reminded me of a Drake song. Maybe “Take Care”? This song has a bit of a bit more upbeat feel to it tough and it strikes a chord with me.

Why Try:
This is an alright song. It feels kind of filler. A slower song that kind of keeps us waiting for her to get to the chorus so she can belt it out the way we all have come to expect. It has that Ryan Tedder feel of pure cunty and dramatic feelings which we all go crazy over.

Break Free:
This song is what made me start to get excited about the album. It’s Zedd AND Max Martin? Seriously? This has “pop gold” written all over it. I like the chorus and think it’s pretty damn infectious. They found a way to not make it sound forced and that can be tricky when going with such a EDM (I guess?) track.

Best Mistake:
This features her alleged boo, Big Sean. I like their chemistry on wax. This isn’t overtly sexual, but the beat and the way she is singing is definitely sexy. I like it on her. Lyrically it deals with some things to which many of us can relate.

Be My Baby:
This reminds me of a track from her first album. That’s not necessarily shade, but it kind of is. SO I enjoyed the first album, but I felt like she didn’t have a super unique sound of POV and this song kind of falls into that category for me. It’s decent, but nothing stellar. On top of that, it’s weird to hear her sing the words “you ain’t trynna get no other girls when you in da club” Girl, you’re from South Florida and come from money, so quit frontin’!


Break Your Heart Right Back:
An Ariana album wouldn’t be complete without a classic hip hop sample (which in turn, sampled Diana Ross) I like how the the snaps, drums, and bassline on the track give the song a nice little bounce. I go back on forth on Childish Gambino. I do like how he incorporated Biggie’s flow on his verse.

Love Me Harder:
This song features a big chorus and a feature by The Weekend. I like the two on the track together. I just enjoy the general vibe of the the whole song. I’m not sure why, but I think I like it for the same reasons as I like Gaga’s “Do What You Want”

Just a Little Bit of Your Heart:
I think this song was written by Harry Styles. Feel free to do whatever you want with that information. It’s a piano driven, ballad. I am not really huge into ballads, so this is not really my cup of tea.

Hands on Me:
An uptempo and fun song. I feel like I’d play it to get ready for the club. It’s borderline cheesy. I think ASAP Ferg’s cameo on the song only feeds into. I hope she doesn’t dance in the video if they make this a single.

My Everything:
another piano driven ballad that really showcases her vocals. I like the lyrical content of this song better than the Harry Styles song.

Bang Bang:
This song has grown on me. I like how the trio somehow works on the track. I think Jessie J is underrated and poorly styled, but that’s for another blog. I think the melisma at the 1”09 mark is genius. This is infectious pop at its best.

Only 1:
This has the feel of a 90s R&B song. I am not mad about it.

You Don’t Know Me:
This feels like filler and I can’t endorse it.

Cadillac Song:
I don’t like this song. It’s cheesy and boring.

Too Close:
I also could’ve done without this song. There isn’t anything special about it.



This is a solid album from a very young lady who is finally starting to figure out her where she fits in this music industry. I also think she’s growing into her very large voice and doing better, and more interesting things with it. I think that the Mariah comparisons may start to fade now that she seems to be intent on carving out her own lane. Feel how you want about her phony pony and cutesy expressions, but you can’t take away the fact that the girl can sing. Here’s to the next chapter in Ms. Grande’s evolution and to also hoping that she has a Xtina freak the fuck out stage at some point. This album isn't necessarily MY everything, but it's getting pretty damn close.

Thursday, June 26, 2014

Concert Review: On The Run Tour (Miami)


One day I was minding my own damn business and browsing the internet when I came across a post from one Beyoncé Giselle Knowles announcing her joint stadium tour with Blue’s Daddy. I was clearly over the moon when I saw it. I was even happier to see that they would, in fact, be heading to Florida. There had been a huge boycott of Florida after the whole Trayvon thing and I was just happy they had abandoned their beliefs so that I could have a chance to bask in their glory. Leading up to the concert was the whole Solange attacking Jay in the elevator at the Met Gala afterparty fiasco. Were the pair splitting? Would the tour continue? These were the question that had zestleman all over clutching their pearls waiting to hear the answers.

The day for the concert finally arrived yesterday and I couldn’t have been happier. I had a beach moment with my bestie and then came home to take a nap as I was sure I would need all energy so I could sing and dance as if I was on payroll of the tour. Even after allowing for an extra 20 minutes of traffic on a 25 minute drive, we ended up being hella late. The show was slated to start at 8, at which point I was in bumper to bumper traffic that showed zero signs on letting up. My Uber driver had some soothing music on, which did nothing but fuel the rage that was building inside of me. Did I just spend far too much money on a ticket for a show that I was about to miss? Would Jay open, giving me a chance to maybe catch the Beyoncé set? Was my tank top too low cut or not cut low enough? Again with the questions!

Chip and I ended up deciding to walk the last mile and a half to the stadium. Best decision ever. After being in a taxi for over 1.5 hours and being already 30 minutes late, we had had it. Luckily we knew someone already at the show who told us that it had yet to start. I had kind of let go and let God at that point and he came through. We arrived to the Sun Life Stadium and found our seats. Apparently Miami was on some bullshit and everyone was late as hell, as the stadium was empty. We sat for another 30 minutes or so and the show started right around 10ish. Bey and Jay are all about that CPT! (Unlike a very White and timely Justin Timberlake who started at 8:00:00 EST) I couldn’t even be mad, as their tardiness allowed me to see the full show. Plus would they really have wanted to perform for 150 people?

In keeping with the On the Run theme, they started with a little vignette leading up to the whole Bonnie and Clyde thing. They both came out and launched in “’03 Bonnie and Clyde” Bey looked sickening in a fishnet-y facemask thing. She ripped it off and went into “Upgrade U” and then “Crazy in Love” I figured Bey would be the first set. I was wrong. Jay came back and for the rest of the night they went back and forth with each other. The transitions were seamless and well thought out. For instance, Bey remixed “Love on Top” with The Jackson 5’s “ABC” which lead right into Jay’s “Izzo/H.O.V.A”

I must say that I was way more into Jay that I really thought I would be. I am a casual fan. He had me out of my seat rapping right to his impressive catalog. Sometimes I forget just how many classics the man has. He pretty much won be over when he busted out “Wipe Me Down” So many rappers rely on a DJ and a hypeman and simply shout along to their record. Jay took command of the audience and never let go, just with him and a mic. I mean, two hours of just that might have been boring as hell, so it was a good balance to Bey and her stunts and shows.

Beyoncé pretty much stayed consistent. Her wardrobe is all new (and pretty ridiculously amazing to say the least), but the choreography and vocal arrangements were almost all recycled from her past tours. Somehow that didn’t bother me. Yeah, it’s cool when Madonna comes along and totally changes how she performs “Vogue” or another classic, but part of me likes to sing along and dance and be right. I <3 consistency. She performed most of her latest album along with some of her standards. Vocally, she sounded pretty damn perfect. I didn’t love her rendition of “If I Were A Boy” but I think that had something to do with a delay in her earpiece and not hearing the music. Something was off. I’m sure Solange was sent in to kick someone’s ass over that.


Overall, the show gave me what I needed. It lasted about 2 hours and had me entertained the whole time. There were plenty of “aww” moments like new footage from their wedding and Blue. We also got to see a powerhouse couple come together and display a great amount of synergy. They are both great on their own, but together they make magic together. I literally caught chills during “Holy Grail” I don’t know the state of their relationship, but I know they made me believe in the Carter dream, if even just for the night.




Tuesday, May 20, 2014

Me. I Am Mariah...The Elusive Chanteuse: Album Review




I don’t know if people know this but I am a HARDCORE Lamb. I think Mariah No Middlename Carey, is one of the greatest vocalists ever. Not only does she have the pipes, but she understands technique. Her lyrics range from fun and sometimes childish, to profound. With that being said, I think that she has kind of been coasting since Emancipation of Mimi. She had E=MC2 which was good, but didn’t see the same success. Many think that’s why she went to The Dream for her next album, “Memoirs of an Imperfect Angel” That album actually did even worse. I mean, when I say “worse, I’m saying she didn’t go platinum in America. Her life could be worse: she could have sales like Ciara…

So what’s a diva of a certain age to do when she wants to remind the world that she is still more than just an over the top personality and capable of selling albums? Well first, she goes back to Jermaine Dupri who was crucial to Emancipation of Mimi. Then she enlists all of the hottest producers of the moment. (Mike Will Made It, Hit Boy, Rodney Jerkins etc) After medical issues and SEVERAL pushbacks, it seems as if Ms. Carey is ready to show us what she’s made of….


Cry: Mariah start us out with a big, dramatic, and soulful piano driven ballad. It’s not a shocker, but this song deals with a relationship gone wrong. The first verse shows Mariah staying a bit more reserved vocally. Verse two sees her start in with her trademark vocals. She manages to blend her whisper register that she’s been o fond of as of late with her soaring vocals. If anything, this song songs very “Old Mariah”/”New Ariana Grande”

Faded: Mike Will Apparently made it. How did I know this? Well he announced it within the first 5 seconds. The track has his trademark knocking bass but still manages to be sexy at the same time. Mariah isn’t overshadowed by such big production, which can be a challenge and her voice actually sounds strong and clear.

Dedicated: This song starts out with Mariah and some dude talking about the summer of ’88. The conversation seems a bit superfluous, but given the throwback vibe of this it actually makes sense. Apparently Mariah isn’t ridiculous without purpose. (Well not all the time) This song proves that Mariah is just as capable as Mary as doing a hip hop/soul joint. You know she has street cred. I mean, this woman went back like babies and pacifiers with the late ODB.

#Beautiul: The single that came out forever again and featured Miguel. I always loved the breezy nature of the song. I even got over the fact that takes awhile to actually sing a verse on it. This version does sound slightly different than the single. Maybe a bit faster? Also, “fucking beautiful” just seems to be a bit over the top and unnecessary.

Thirsty: To be honest, I didn’t like the song when I first heard it. I put it on the level of “Obsessed” which I didn’t love on first listen. IT sounds like “Niggas in Paris” as it’s by the same producer, Hit Boy. I thought she was competing with the track, but when I gave it a few listens I didn’t feel that way. I love her word play with the whole “thirsty for cel-eb-ir-it- TEA” Get it? I actually like the version without the rap. Her ad libs and runs are actually pretty ridiculous. I guess Hit Boy has proven me wrong again as I had the same feeling of “the hell?!” upon first listen of Beyonce’s “Bow Down”

Make it Look Good: So the track sounds very old school. Like almost 1960’s throwback but TURNT up. The lyrics are rapid fire and the song has some pretty dope harmonies.
You’re Mind (Eternal): This was supposed to be the single to kick off the new album. That didn’t happen. It sounds very Emancipation of Mimi era. That’s not a bad thing at all. I just never felt much when I listened to it. Upon hearing it with good headphones, I can appreciate the production. I used to dislike the staccato used throughout the song, but it’s grown on me and made it a bit catchier for me, actually.

You Don’t Know What to Do: This takes me to an “I Will Survive” state of mind as it starts out slow and dramatic and builds to a bouncing, fun beat that BEGS a roller rink DJ to play it on repeat. At the point, anyone who knows me that I LOVE a fun breakup song. The Wale feature works well and feels effortless.

Supernatural: Not to be outdone by Blue Ivy Carter, Mariah puts Dem Babies to work on the track. They can be heard cooing throughout, but my whole thing is like, aren’t they old enough to be doing vocal runs? I mean, they are Mariah’s (and maybe Nick’s?) children, so I wanted them to come out wig snatching and showing off their whistle registers. This is a pretty love song. To make up for her vocally stunted children, Mariah does a serious of vocal runs. Ok, I spoke to soon. This child just did a vocal run. I was kidding about my earlier disappointment. Then Monroe says she’s a chanteuse? I couldn’t help but smile.

Meteorite: She starts out quoting Warhol with regards to 15 minute of fame. I’m guessing she’s shading someone, but I can’t figure out who. That woman is just so freaking good at throwing shade. This is an up tempo, disco-y track that I’m guessing is supposed to be inspirational, but it’s not resonating with me, so I keep on tuning in and out. I like that she says “Turn up all the way” as that helps keep her current. The kids are all about turning up these days.

Camouflage: a breathy, piano backed, ballad about camouflaging her tears. She dusts off some of her old faves: black choirs, key changes and whistle notes. It actually save a song that could easily become boring fast.
One More Try: She done took us to church, y’all. You know she was going to get her money’s worth with that black choir. I forgot that Mariah love to do covers and it took me a good minute to realize that this is a cover of George Michael’s song. I actually like what she did with this. Even though I love “Bringing on the Heartbreak” this song feel a bit more suited for her.
Heavenly: Still in church. I don’t really love this song. It feels the feel good anthem from a movie soundtrack.

Me. I am Mariah…The Elusive Chanteuse: This was released when she announced the album and artwork. It seemed hella ridiculous as it’s her talking but it’s filled with ad libs. Hearing it on the album helps it make a LITTLE more sense, but it’s still over the top/So Mariah.

Ok, so I will be honest: I thought this album had train wreck potential. I mean, a 44 year old woman dropping a single with a hip hop beat featuring a rapper seemed a bit scary. I mean, who does she think she is, JENNIFER LOPEZ? Haha All shade aside, even J Lo comes off a bit desperate at times with her music choices. Staying relevant in this age where people have little to no respect for pioneers and talented people in general can be a challenge. Mariah and JD have figured out how to have her sound 2014 while keeping her true to her sound. Mimi and her talents are able to shine instead of being a simple afterthought to the beat.
I think Mariah’s voice is sounding the best that it has in awhile and she is really showcasing her ability to deal with an instrument that is aging. Sure she doesn’t sound identical to Dreamlover Mariah, but that’ to be expected. I’ve actually come to like the smokier sound to her voice. She’s more dependent upon her lower registers than ever before, but she is still able to transitional effortlessly between them. Plus no pop singer out right now has mastered the whistle register the way she has.

I’m hoping that with this album she will be a little less “elusive” It’s time for people to talk about more than her fabulously bedazzled arm slings and penchant for champagne on early morning talk shows. The album is solid so now it’s in the hands of her promo team. If the grind of her Photoshop specialist is any indicator of how hard her team works, I think she will be just fine.