Wednesday, November 2, 2011



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Merry Christmas II You album Professional ratings

13th album, Merry Christmas II You, Studio album by Mariah Carey, Released 2-Nov-10, Recorded April–August 2010, Genre Christmas, Length 47:01:00, Label Island, Producer Mariah Carey, Antonio L.A. Reid (also exec.), Bryan-Michael Cox, Jermaine Dupri, Randy Jackson, James Poyser, Marc Shaiman, James "Big Jim" Wright, Walter Afanasieff.

Mariah Carey chronology
Playlist: The Very Best of Mariah Carey - 2010
Merry Christmas II You - 2010

Singles from Merry Christmas II You

"Oh Santa!" Released: October 12, 2010

Digital Music
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Professional ratings
Review scores
Source Rating
Allmusic 3/5 stars
BBC Music (favorable)
Entertainment Weekly (B+)
Houston Chronicle 3/4 stars
Rolling Stone 3/5 stars
Slant Magazine 2.5/5 stars
The Village Voice (negative)
The Washington Post (mixed)


At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, Merry Christmas II You album received an average score of 60, based on 8 reviews, which indicates "mixed or average".

Both Allmusic and Rolling Stone gave Merry Christmas II You album three stars, with Caryn Ganz of Rolling Stone writing "Sixteen years have passed since Mariah Carey released her first blockbuster holiday album, but she hasn't lost her desire to dress up in a Santa suit or the silky flexibility of her voice...Half of the disc's new originals are ballads [and] thick with gooey orchestration... but Mariah bops to a schoolyard-chant beat on "Oh Santa!" and digs out a retro groove for "When Christmas Comes." Ganz concluded that although some songs on Merry Christmas II You album are lacking, "the LP's warm heart is in the right place." Eric Henderson of Slant Magazine gave Merry Christmas II You album a mixed review, calling Merry Christmas II You album "adventureless", he wrote, "Aside from a few tracks co-produced by Jermaine Dupri, Carey's notions of what a holiday album is are exactly as they were 16 years ago. Ditch the hip-hop beats, heap on the figgy orchestral pudding. Pass those synthesizers to the left, gather around the brass section and the little drummer boy." Sean Fennessey of The Washington Post also gave a mixed critical reception to Merry Christmas II You album. Comparing Merry Christmas II You album to Carey's 1994's Merry Christmas, Fennessey suggested that, while Merry Christmas II You sees the "return [of] her piercing, five-octave vocal range to its glossy, meretricious roots", none of the new songs are as exciting or timeless as "All I Want for Christmas Is You". Merry Christmas II You album got 4 out of 5 stars from About.com, with reviewer Bill Lamb describing Merry Christmas II You album as "relaxed [and] comfortable", and, consequently, "very engaging." Lamb continues, "Some of the best moments evoke a party atmosphere. 'Oh Santa!' is perfect music for a party with friends. Don't be surprised if you find yourself singing along. Mariah Carey's version of music from 'A Charlie Brown Christmas' has an air of relaxed intimacy with breathy, jazzy vocals that will warm your holiday heart. The live version of 'O Holy Night' from WPC in south central Los Angeles will cause chills in its live simplicity. It is an opportunity to hear Mariah Carey tackle some deeper, throatier tones."

The Houston Chronicle gave Merry Christmas II You three stars out of four, lauding the singer's vocal form on Merry Christmas II You album. Joey Guerra writes, "Carey sounds better than she has in a long time throughout Merry Christmas II You, which keeps her in a swirl of gospel choruses and lush production. Her belting is strong, and she doesn't overdo the breathy coos." Guerra also had strong praises for a number of songs, calling "Oh Santa!" "irresistible", and writing, "'Christmas Time Is in the Air Again' boasts swooping notes and tasteful strings, and 'When Christmas Comes' plays like a holiday spin on the brassy R&B tunes that highlighted Carey's The Emancipation of Mimi disc... The solemn 'One Child' sounds a bit like a Michael Jackson tune (complete with kid chorus). It's a bit overwrought, but it's hard not to be swayed by the sweetness." The reviewer concluded that "Merry Christmas II You should boost the singer's career."

Source: wikipedia


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Memoirs of an Imperfect Angel album Professional ratings

12th album, Memoirs of an Imperfect Angel, Studio album by Mariah Carey, Released 28-Sep-09, Recorded January–August 25, 2009, Genre R&B, hip hop, Length 58:01:00, Label Island, Producer Big Jim, Mariah Carey, Heatmyzer, Randy Jackson, Los Da Mystro, Tricky Stewart, The-Dream.

Mariah Carey chronology
The Ballads - 2008
Memoirs of an Imperfect Angel - 2009
Playlist: The Very Best of Mariah Carey - 2010

Singles from Memoirs of an Imperfect Angel

"Obsessed" Released: July 6, 2009
"I Want to Know What Love Is" Released: September 15, 2009
"H.A.T.E.U." Released: November 2, 2009
"Up Out My Face" Released: February 16, 2010
"Angels Cry" Released: February 23, 2010

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Professional ratings
Review scores

Source Rating
Allmusic 3.5/5 stars
The A.V. Club (B-)
The Boston Globe (positive)
Entertainment Weekly (B)
The Guardian 4/5 stars
Los Angeles Times 3/4 stars
NME (5/10)
The New York Times (mixed)
Newsday ©
Rolling Stone 3.5/5 stars
Slant 3/5 stars
The Times 2/5 stars



Memoirs of an Imperfect Angel has received generally favorable reviews from music critics. According to the music review aggregater Metacritic, it has received an average score of 69/100 indicating generally favorable reviews, higher than her previous albums The Emancipation of Mimi and E=MC2. Allmusic gave Memoirs of an Imperfect Angel three and a half stars (out of five) and called it "her most interesting album in a decade", commenting that "Even if it doesn't smack of the confessional autobiography of the title, there's no denying that Memoirs is an album, not a collection of tracks, possessing its own flow and mood, which gives it a personality the slightly desperate E=MC2 lacked" though "it never manages to kick out a song that is all that distinctive on its own terms". Another issue pointed out was that Memoirs of an Imperfect Angel lacks "the pandering, heavy-handed sexuality Mariah has relied upon too heavily this decade — and in doing so, it feels age appropriate in a way she hasn't in a long time, despite a collection of silly, jumbled lyrics". The A.V. Club also gave Memoirs of an Imperfect Angel a positive review with a grade of B-, commenting, "Their team-up with Carey is canny: Stewart and Nash loosen up the diva’s sometimes overblown on-record persona, and in return she gives definition to some of their more meandering tunes and backdrops. Memoirs is Carey’s least pyrotechnic album, its flow is as important as its tunes, and while Carey is still given to acrobatic vocal displays, her lattice of subtler vocal overdubs softens and strengthens those flights."

A mixed review came from Slant Magazine, in which music critic Sal Cinquemani called Memoirs of an Imperfect Angel "one of her most sonically consistent". However, finding Memoirs of an Imperfect Angel "soulless", he noted that the aural similarity of the tracks led to the production sounding "cheap and same-y, lacking the fullness of her best work". He continues, "Mariah is in fine voice throughout Memoirs of an Imperfect Angel, and there are plenty of inspired moments to be found... Which makes it all the more disappointing that Memoirs of an Imperfect Angel's final stretch devolves into a mess of old-school Mariah rehashes that should have been left in the past." Entertainment Weekly music critic Leah Greenblatt gave Memoirs of an Imperfect Angel a B, noting that Memoirs of an Imperfect Angel neither impresses nor disappoints, but is merely satisfactory: "imperfections are nowhere to be found on Memoirs, but neither are many true revelations."

Jon Caramanica from The New York Times gave Memoirs of an Imperfect Angel a mixed review, writing that Memoirs of an Imperfect Angel "manages simplicity and clutter all at once". Caramanica also criticized Carey's vocal performances, decrying her overuse of her softer vocal registers at the expense of her more powerful lower and mid registers: "When exactly did Mariah Carey stop singing? Even when she began flirting aggressively with hip-hop in the mid-1990s she was happy to impose her titanic vocals atop even the scrappiest production... Of late though, Ms. Carey has been whispering, as if newly scared of grand gestures." A positive review came from Billboard music critic Mariel Concepcion, who wrote that "Mariah Carey is not only revisiting her past appearance-wise, but she's also taking her sound back to her R&B roots...Overall, Carey's throwback vibe on "Memoirs" is refreshing and much welcomed."

Source: wikipedia


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Mariah Carey, E=MC² album Professional ratings

11th album, E=MC² (Emancipation=Mariah Carey²)
E=MC² Studio album by Mariah Carey, Released 8-Apr-08, Recorded 2007–08, Genre R&B, pop, Length 52:14:00, Label Island, Producer Mariah Carey (executive), L. A. Reid (executive), Bryan-Michael Cox, Danja, DJ Toomp, Jermaine Dupri, James Poyser, Swizz Beatz, The-Dream, Tricky Stewart, Scott Storch, Stargate

Mariah Carey chronology
The Emancipation of Mimi -2005
E=MC² -2008
The Ballads -2009

Singles from E=MC²

"Touch My Body" Released: February 12, 2008
"Bye Bye" Released: April 7, 2008
"I'll Be Lovin' U Long Time" Released: July 1, 2008
"I Stay in Love" Released: October 28, 2008

Digital Music
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Professional ratings

Source Rating
Metacritic (63/100)
Review scores
Source Rating
Allmusic 3/5 stars
Billboard (Favorable)
Entertainment Weekly (A-)
The Guardian 4/5 stars
Houston Chronicle 3/4 stars
Los Angeles Times 2/4 stars
The New York Times (Mixed)
PopMatters (4/10)
Rolling Stone 3.5/5 stars
Slant Magazine 3/5 stars


One of the major challenges of E=MC² (Emancipation=Mariah Carey²) was a need for it to be of a consistent quality with her previous release, a record that brought Carey back to the top of pop music following her career decline in 2001. E=MC² was Carey's best-received album in years. It received a 64/100 (indicating "generally positive reviews") on the website Metacritic, which averages professional reviews into a numerical score. Stephen Thomas Erlewine, senior editor of Allmusic, rated E=MC² (Emancipation=Mariah Carey²) three out of five stars, and wrote "it's misleading to judge Mariah based on her new record of possessing the most number one singles, as she's not about longevity, she's about being permanently transient, a characteristic 'E=MC²' captures all too well." Billboard's Gary Trust felt that on E=MC² (Emancipation=Mariah Carey²), Carey was in "pristine form", stating, "She's proclaimed emancipation before, but Mariah Carey's never sounded as free as she does on her 10th album. Carey's made a pop album with equal parts levity and gravity." Writing fir Entertainment Weekly, Margeaux Watson graded E=MC² an 'A-', and described how E=MC² (Emancipation=Mariah Carey²)'s goal was to prove "her comeback was no fluke". She continued complimenting Carey's several collaborations, and wrote "the result is a largely enjoyable mix of flirtatious club jams, midtempo love songs, and emotional ballads anchored by hip-hop beats that handsomely showcase the singer's powerful vocal chops." Though Carey's voice had been criticized since her 2002 release, Charmbracelet, for not being able to deliver the "gravity defying vocals" from the 1990s, Roger Friedman from Fox News wrote "Her infamous eight-octave range has suffered a little wear and tear over the years, but Carey still can flutter from great highs to mellow lows like no one else." Alex Macpherson from The Guardian gave E=MC² (Emancipation=Mariah Carey²) four out of five stars, heavily describing Carey's vocal state throughout E=MC² (Emancipation=Mariah Carey²): "Carey's voice has been mocked, bizarrely, as being a triumph of technique over soul - an argument that fails to comprehend that technique and soul are intertwined, that technique primarily exists as a means to convey emotion - but she is on fine vocal form throughout 'E=MC²', whether belting out massive ballads, or layering her voice into a swooning bank of a hundred Mariahs." Macpherson concluded his review with, "When she sings elsewhere, "Them other regularities, they can't compare with MC," it is hard not to agree", referencing a lyric on "Migrate".

The Houston Chronicle's Joey Guerra felt all of E=MC² (Emancipation=Mariah Carey²)'s tracks were strong, and wrote "Every track plays like a potential hit single, and that's exactly what fans will love about 'E=MC²'. Expect it to soundtrack much of the summer and beyond." Los Angeles Times staff writer, Richard Cromelin, gave E=MC² (Emancipation=Mariah Carey²) two out of four stars, noting its "alternatives to the glass-shattering flamboyance of her early '90s youth." He concluded in his mixed review of E=MC² (Emancipation=Mariah Carey²), "Of course, consistency isn't so important when an album is assembled as a series of singles rather than a cohesive work. Fortunately for Carey, the tabloid-tailored real-life back story on one side and the producer's craft on the other matter more than the art of singing in this particular fairy tale." Ben Ratliff of The New York Times felt E=MC² (Emancipation=Mariah Carey²) didn't level up to par with Carey's previous release, writing "Much of the record sounds like urban-radio imitations, without the peculiarities and effective hooks of 'Mimi'. Maybe emancipation isn’t a continuing procedure; maybe it only comes once." Writing for PopMatters, Evan Sawdey rated E=MC² four out of ten stars, describing it as a "shallow imitation of its predecessor". Sawdey concluded his review on a mixed note, stating " the second act of Mariah’s comeback doesn’t wisely expand her sound: it instead succumbs to the blueprint so carefully laid out by its predecessor, a pointless remake that exists only because it has to. If you ever had a doubt as to its formulaic nature, you need to look no further than its title. Long live the Diva." Caryn Ganz from Rolling Stone questioned why Carey limited her vocal abilities throughout the record, "nearly every song confines Carey to four-note verses, offering little room for her glorious range." Journalist Eric Henderson, writing for Slant Magazine, graded E=MC² (Emancipation=Mariah Carey²) three out of five stars, and concluding with, "Such are the rewards of an album like 'E=MC²', in which one does reach a solution, but not before Mariah bends over backward to show her work." E=MC² (Emancipation=Mariah Carey²) finished in the top-ten of several "best of 2008" lists, ending at number four on an official poll held by Billboard, eight by the The Detroit News, and number ten by The San Diego Union-Tribune

Source: wikipedia


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The Emancipation of Mimi album Professional ratings

10th album, The Emancipation of Mimi is Studio album by Mariah Carey, Released 30-Mar-05, Recorded 2004, Genre R&B, soul, pop, Length 50:10:00, Label Island, Producer Mariah Carey (executive), Antonio "L.A." Reid (executive), Mark Sudack (executive), Jermaine Dupri, Manuel Seal, Bryan-Michael Cox, Swizz Beatz, LRoc, James "Big Jim" Wright, The Neptunes, Kanye West, James Poyser, Rodney Jerkins

Mariah Carey chronology

The Remixes-2003
The Emancipation of Mimi-2005
E=MC²-2008

Singles from The Emancipation of Mimi

"It's like That" Released: January 25, 2005
"We Belong Together" Released: March 29, 2005
"Shake It Off" Released: July 25, 2005
"Get Your Number" Released: October 3, 2005
"Don't Forget About Us" Released: December 12, 2005
"Say Somethin'" Released: March 2006

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Professional ratings
Aggregate scores
Source Rating
Metacritic (64/100)
Review scores
Source Rating
Allmusic 3/5 stars
Billboard (Favorable)
Entertainment Weekly (B)
The Guardian 4/5 stars
Los Angeles Times 2/4 stars
The New York Times (Favorable)
Rolling Stone 4/5 stars
Stylus Magazine (B-)
Slant Magazine 3.5/5 stars
USA Today 3.5/4 stars



The Emancipation of Mimi was Mariah Carey's best-received album in years. It received a 64/100 (indicating "generally positive reviews") on the website Metacritic, which averages professional reviews into a numerical score. Stephen Thomas Erlewine, senior editor of Allmusic, called The Emancipation of Mimi a "highly crafted piece of dance-pop" and a "relative comeback" for Carey, despite its not being as smooth as it should be. Aside from the praise, Erlewine voiced a common criticism of The Emancipation of Mimi: Mariah Carey's voice seems "damaged" in comparison with her "glory years" in the 1990s. He commented that in the strong and belted songs such as "Fly Like a Bird" and "I Wish You Knew", Mariah Carey's voice sounded "as airy, thin, and damaged as it did on Charmbracelet". Michael Paoletta from Billboard was less critical of her vocals, writing "while her voice has lost some of the power through the years, Mim deftly showcases her still-considerable pipes with strong lyrics and slick production." Paoletta called The Emancipation of Mimi Mariah Carey's best album since Butterfly (1997). Michael Dougall Bell from the Calgary Sun complimented Mariah Carey's voice, calling it "very impressive". Bell concluded the review, writing "While Emancipation may not send Mariah Carey's stock or star back up to where it once was and where that voice deserves to be, at least she's not plummeting – she's merely levelled off." Tom Sinclair, editor of Entertainment Weekly, praised her vocals, pointing out how nearly every song "showcases Mariah Carey's undeniable vocal strengths". After reviewing "Fly Like a Bird", Sinclair concluded the review with "It's so moving that we'll resist the temptation to be crass and interpret the song as a plea for heightened record sales. Help from above is always welcome, but Emancipation sounds like it just might do fine all on its own."

According to Jenson Macey from BBC News, The Emancipation of Mimi was Mariah Carey's strongest effort from the 2000s; he maintained that The Emancipation of Mimi "took her straight back to the top of the A-List." Caroline Sullivan from The Guardian gave The Emancipation of Mimi four out of five stars, calling it "cool, focused and urban." Editor of The New York Times, Jon Pareles, gave The Emancipation of Mimi a favorable review, complimenting the fact that Carey wrote all of The Emancipation of Mimi's material. He felt the record's new sound was fresh and innovative. He continued, "on The Emancipation of Mimi, she disciplines herself into coherence, using fewer tricks and sounding more believable. She also finds what lesser singers can take for granted: a certain lightness that eases her constant sense of control." Jozen Cummings from PopMatters gave The Emancipation of Mimi seven out of ten stars, claiming it to be Mariah Carey's redemption from the manacles of her previous two releases. He complimented The Emancipation of Mimi's singles, but called some of its production "corny" and "unnecessarily overproduced". Todd Burns from Stylus Magazine gave The Emancipation of Mimi a B-, complimenting its assortment of beats and tempos.[28] Burns, however, was very critical of some of The Neptunes and Dupri's production, calling it "ill-advised". He also criticized some of Mariah Carey's vocals, calling them "strained, thin and airy". While claiming it an obvious improvement over her previous releases of the decade, he finished with "It’s easily the strongest album that she’s made in this millennium, but suffers from the fact that her vocals have deteriorated—a simple fact of the ravages that her voice has undergone in the past fifteen years." Sal Cinquemani of Slant Magazine gave The Emancipation of Mimi three and a half out of five stars, calling it "redemption". He complimented its array of beats and its production. While giving The Emancipation of Mimi a positive review, Cinquemani was critical of Mariah Carey's voice, calling it scratchy. "Where once Mariah's trademark high notes used to serve some purpose, they now seem random, existing just to convince us that The Voice is still there—and it is ... kind of. As gratifying as that is on the surface, there's still the nagging feeling that Mariah has damaged her voice beyond repair."

Source: wikipedia


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Mariah Carey, Charmbracelet album Professional ratings

9th album, Charmbracelet is Studio album by Mariah Carey, Released 3-Dec-02, Recorded 2002, Genre R&B, pop, hip hop, Length 63:12:00, Label Island, MonarC, Producer Mariah Carey (also executive), Lyor Cohen (executive), Jimmy Jam and Terry Lewis, Just Blaze, Randy Jackson, Jermaine Dupri, Damizza, Dre & Vidal.

Mariah Carey chronology
Greatest Hits-2001
Charmbracelet-2002
The Remixes-2003

Singles from Charmbracelet

"Through the Rain" Released: September 24, 2002
"Boy (I Need You)" Released: November 26, 2002
"Bringin' On the Heartbreak" Released: November 25, 2003

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Professional ratings
Aggregate scores
Source Rating
Metacritic 43/100
Review scores
Source Rating
Allmusic 2/5 stars
Billboard (Favorable)
Entertainment Weekly ©
The Guardian 2/5 stars
The New York Times (Favorable)
New York (Unfavorable)
NME (Unfavorable)
Rolling Stone 2/5 stars
Slant Magazine 3/5 stars
Yahoo! Music UK 4/10 stars


At the time of its release, reviews for Charmbracelet were an improvement over Glitter, albeit mixed at best. Charmbracelet 's main criticism laid within its content; many music reviewers felt that although the songs were good, none stood out enough to make much of an impact on radio or the market. Additionally, some critics were concerned with the condition of Mariah Mariah Carey's voice, which many felt became thin, airy and damaged when compared to her vocals throughout the early 1990s. On the website Metacritic, which averages professional reviews into a numerical score, Charmbracelet received a 43/100, indicating "generally mixed or average reviews." Stephen Thomas Erlewine from Allmusic rated Charmbracelet two out of five stars, mainly criticizing its production, as well as the condition of Mariah Mariah Carey's voice. He described her voice as "shot" and wrote "Whenever she sings, there's a raspy whistle behind her thin voice and she strains to make notes throughout the record. Mariah Carey cannot coo or softly croon, nor can she perform her trademark gravity-defying vocal runs. Her voice is damaged, and there's not a moment where it sounds strong or inviting."Billboard editor Michael Paoletta was less critical on Charmbracelet, praising Mariah Mariah Carey's return to her adult contemporary beginnings. He felt that although Carey might have alienated her hip-hop followers from her previous three albums, her older fans from the 1990s would be more receptive to the material, as well as her new image. Unlike Erlewine's criticism of Mariah Mariah Carey's voice, Tom Sinclair from Entertainment Weekly described her as "in fine voice." He agreed, however, with Charmbracelet 's common critique; its content. Sinclair felt the similar and lack-luster ballads made Charmbracelet "grow tiresome" and wrote "too much of 'Charmbracelet' is mired in middle-of-the-road muck.

Following a favorable review of Charmbracelet, in which he praised Mariah Mariah Carey's voice as "invariably astonishing", as well as Charmbracelet 's production and content, Jon Pareles from The New York Times wrote "So is Mariah Carey more herself than ever? It certainly sounds like it, although her comeback is still far from a sure thing."Ethan Browne from New York called Charmbracelet 's production of whimsical chimes and tinkling keyboards "bad", and wrote "Was Charmbracelet recorded in a Casio shop? This instrument needs to be stopped." Rating Charmbracelet two out of five stars, Barry Walters from Rolling Stone wrote that none of the songs were bold, and called them "muddy." He felt that the lack of hooks made Charmbracelet weak, and wrote "Carey needs bold songs that help her use the power and range for which she is famous. Charmbracelet is like a stream of watercolors that bleed into a puddle of brown." Sal Cinquemani from Slant Magazine was less critical of Charmbracelet, complimenting Mariah Mariah Carey's mixture of pop and hip-hop melodies. Following comparisons to her older work, Cinquemani concluded "Though there's nothing as immediate as "Fantasy" or "My All" here, Charmbracelet is significantly less contrived than 1999's Rainbow and almost as creatively liberating as Butterfly. British columnist Angus Batey, writing for Yahoo! Music UK called the songs on Charmbracelet "forgetful", and wrote "She used to take risks, but 'Charmbracelet' is conservative, unadventurous and uninspiring; and, while it's understandable that simply to make another record marks a triumph of sorts, it's impossible to admire Mariah to the degree that her talent ought to merit." While reviewing Charmbracelet , John Mulvey from NME criticized its content, writing "Nominally, 'Charmbracelet' is R&B, much like Tony Blair is nominally a socialist. [...] Tragedies, all told, have been worse." At the 17th Japan Gold Disc Award in 2003, Charmbracelet was nominated in the category of Rock and Pop Album of the Year

Source: wikipedia


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Mariah Carey, Glitter album Professional ratings

8th album, Glitter is Soundtrack album by Mariah Carey, Released 11-Sep-01, Recorded 2000–2001, Genre R&B, dance, hip-hop, funk, soul, disco, Length 51:45:00, Label Virgin, Producer Mariah Carey (also executive), Jimmy Jam (also executive), Terry Lewis (also executive), James "Big Jim" Wright, DJ Clue, Duro, Clark Kent, Damizza, Rick James, Walter Afanasieff, Rodney Jerkins

Mariah Carey chronology
Rainbow-1999
Glitter-2001
Greatest Hits-2001

Singles from Glitter

"Loverboy" Released: July 16, 2001
"Never Too Far" Released: September 2001
"Don't Stop (Funkin' 4 Jamaica)" Released: December 10, 2001
"Reflections (Care Enough)" Released: 2001

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Professional ratings
Review scores
Source Rating
Allmusic 1.5/5 stars
Billboard (Mixed)
Boston Herald (Mixed)
Daily News 2.5/5 stars
Entertainment Weekly ©
The Free Lance–Star (Favorable)
Los Angeles Times 2/4 stars
Rolling Stone 3/5 stars
Slant Magazine 3/5 stars
USA Today 1.5/4 stars


At the time of its release, reviews for Glitter were mixed at best. Glitter's main criticism layed within its content; many music reviewers felt that through an over-abundance of guest musicians, Mariah Carey was overpowered throughout most of Glitter. Additionally, many criticized its 1980s theme, which most felt was poorly conceptualized. On the website Metacritic, which averages professional reviews into a numerical score, Glitter received a 59/100, indicating "generally mixed or average reviews." Allmusic critic Stephen Thomas Erlewine gave Glitter one and a half out of five stars, calling it an "utter meltdown -- the pop equivalent of Chernobyl" and wrote "It's an embarrassment, one that might have been easier to gawk at if its creator wasn't so close to emotional destruction at the time of release." Michael Paoletta from Billboard was less critical, citing it as a "minor misstep in a stellar career that has earned the singer a few free passes. Editor Sarah Rodman from The Boston Herald gave Glitter a mixed review, praising Mariah Carey's song-writing and voice, although panning the excess of secondary musical guests. While criticizing Glitter's roster of appearances, Rodman wrote "the artists contribute mostly distracting, self-promoting jibber jabber all over what could have been Mariah Carey's best, most emotionally mature record to date." Daily News editor Chuck Campley rated Glitter two and a half out of five stars, writing "Maybe this was the best Mariah Carey could muster under the circumstances, but 'Glitter' needed more work." David Browne from Entertainment Weekly gave Glitter a mixed review, criticizing the abundance of rappers and describing Mariah Carey's vocals as "barely there" on several tracks. Concluding his review on a poor note, Browne wrote "'Glitter' is a mess, but its shameless genre hopping (and Mariah Carey's crash) makes it an unintentional concept album about the toll of relentless careerism."

Heather Vaughn from The Free-Lance Star gave Glitter a positive review, complimenting both the dance-oriented tracks, as well as the ballads. In reference to their weight on Glitter as a whole, Vaughn wrote "Sounds like Mariah's other albums, but with more of an 80s twist. The ballads really let you hear how stunning her voice actually is." Los Angeles Times critic and writer Natalie Nichols gave Glitter two out of a possible four stars, writing how Mariah Carey let Glitter "reflect the synth-driven robo-funk of that wretched decade." Nichols called Glitter's covers "tepid and pointless", while agreeing that Mariah Carey was overwhelmed by the several guest rappers, calling her voice "semi-disguised". Rob Sheffield from Rolling Stone gave Glitter three out of five stars, criticizing the ballads as "big and goopy, with zero melodic or emotional punch." Aside from the ballads, Sheffield complimented Glitter, but felt it failed to deliver the success or quality that Mariah Carey needed on her debut film and soundtrack. He concluded his review of Glitter with a comparison to Whitney Houston's The Bodyguard (1992), "Mariah still hasn't found her theme song, the one people will remember her voice by. 'Glitter' is good enough to make you hope she finds it. It's not too late, either — Whitney was a veteran if not a has-been when she hit her peak with 'The Bodyguard'." Slant Magazine editor Sal Cinquemani awarded Glitter three out of five stars, writing "Mariah Carey's edgier tracks are inundated with so many guest artists that her sound ultimately becomes muddled; her pop tunes are so formulaic that it's difficult to distinguish one from the next." USA Today's Edna Gunderson rated Glitter one and a half out of four stars, criticizing Mariah Carey's overall image for the project, as well as the many guest artists on the record. She described Mariah Carey as "cheapening her image" and wrote "The whiff of desperation grows more pungent on 'Glitter' in Mariah Carey's gratuitous coloratura and transparent enlistment of street-cred boosters such as rappers Ja Rule and Mystikal.

Source: wikipedia


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Mariah Carey, Rainbow album Professional ratings

7th album, Rainbow is Studio album by Mariah Carey, Released 2-Nov-99, Recorded May 29, 1999 – August 31, 1999, Genre R&B, pop, hip hop, Length 55:49:00, Label Columbia, Producer Mariah Carey, Diane Warren, Shawn Carter, Jimmy Jam and Terry Lewis, James Wright, David Foster, Jermaine Dupri, Bryan-Michael Cox, Missy Elliott, DJ Clue,

Mariah Carey chronology

#1's-1998
Rainbow-1999
Glitter-2001

Singles from Rainbow

"Heartbreaker" Released: September 21, 1999
"Thank God I Found You" Released: February 1, 2000
"Can't Take That Away (Mariah's Theme)" Released: June 6, 2000
"Crybaby" Released: July 18, 2000
"Against All Odds (Take a Look at Me Now)" Released: October 3, 2000

Digital Music
Mariah Carey and Rainbow MP3..
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Professional ratings
Review scores
Allmusic 3/5 stars
Robert Christgau (2 star Honorable Mention)(2 star Honorable Mention)
Entertainment Weekly (B+)
Los Angeles Times 3.5/4 stars
MTV Networks Asia Pacific (7/10)
Rolling Stone 3/5 stars
USA Today 3/4 stars
Vibe (Mixed)


Rainbow garnered mixed to positive reviews from contemporary music critics. Rainbow's main criticism was its lack of originality, as it failed to improve upon her previous opus, Butterfly. Stephen Thomas Erlewine from Allmusic awarded Rainbow three out of five stars, complimenting it as "the first Mariah Carey album where she's written personal lyrics, and allusions to her separation from Mottola." He called the lyrics "true" and "deep", but criticized the lack of originality. Erlewine alluded to Rainbow as "ballad-heavy" and "repetitious", writing how Rainbow followed the formula of Mariah Carey's previous album too precisely. Erlewine ended his review on a mixed note, writing "Rainbow proves that she can still pull off that difficult balancing act, but it's hard not to be a little disappointed that she'd didn't shake the music up a little bit more – after all, it would have been a more effective album if the heartbreak, sorrow, and joy that bubbles underneath the music were brought to the surface."

Arion Berger, an editor from Rolling Stone, also gave Rainbow three out of five stars. He felt Rainbow was a genuine R&B and hip-hop album, calling it a "sterling chronicle of the state of accessible hip-hop balladeering at the close of 1999." Aside from calling the some off the ballads "banal", Berger concluded his review with "Rainbow is at its best—and Mariah Carey at her most comfortable—when urbane hip-hop stylings and faux R&B coexist in smooth middle-of-the-road harmony." Critic Robert Christgau of The Village Voice gave Rainbow a double honorable mention ((2 star Honorable Mention)(2 star Honorable Mention)), writing "[It's] Not a 'real' r&b thrush, but good enough to fake it." Amy Linden from Vibe was unimpressed with Rainbow, writing "I don't care about it anymore." While complimenting Rainbow's genre influences and featured musical guests, Linden felt Rainbow was not original. She concluded her review with "'Rainbow' will garner her even more adoration. As for me? I'll be okay." Danyel Smith from Entertainment Weekly gave Rainbow a B+, and concluded "what began on Butterfly as a departure ends up on Rainbow a progression – perhaps the first compelling proof of Mariah Carey's true colors as an artist." Elysa Gardner from the Los Angeles Times gave Rainbow three and a half out of four stars. She complimented Rainbow's strong blend of breezy R&B cuts, as well as the lyrically, vocally, and melodically strong ballads. "Exhibiting an emotional authority to match her technical prowess, Mariah Carey gives us a vision of love that's dynamic without being ostentatious," she wrote. Steve Jones from USA Today gave Rainbow three out of four stars, calling it "colorful" and "some of her most compelling work."

Source: wikipedia