Me. I Am Mariah. (track-by-track review)

I’ve titled this little write-up as a review, but we all know that me reviewing a Mariah Carey album can be compared to Toyota reviewing the latest Corolla, or KFC reviewing a Streetwise Two.

What I can do, however, is take a look at Me. I Am Mariah… The Elusive Chanteuse and compare the tracks to her previous bodies of work, and explain why this album is accurately being described as nostalgic – in a very, very good sense.

So, track-by-track, here it goes:

1. Cry. (10/10)

Mariah opens up her first non-Christmas album in five years with my favourite song on the collection. A proper ballad, it is ‘sparsely produced’, and all the better for it, allowing her vocals to soar. While we all know she has lost overall power in her voice, what she has gained is an almost flawed, rawer tone that I feel is more emotive than the much more polished tone she had 24 years ago. I also think, because of the loss of power, Mariah has fine-tuned her falsetto and whistle registers to beautifully complement the music.

From the 2’08” mark - also the start of the second verse - Cry shows off some of the most amazing vocals on the album. The soft, easy-to-sing-along-to chorus is gorgeous. Compare it to the first song on Mariah’s E=MC2 album (the club-hopping and T-Pain assisted Migrate) and Cry sets a much more serious, musically mature and classic Mariah tone.

2.     Faded (8/10)

A lyrical highlight on the album, Faded tells of a love that has, well, faded. Sure, conceptually that doesn’t sound ground-breaking, but the song continues the moody, pensive mood set by the first track. You won’t be jumping up and down partying, but you’ll be reflecting, and that’s what Mariah fans have enjoyed doing to the backdrop of her music throughout her career. I think there are many stronger tracks on the album, but this is FAR from a ‘filler’.

3.     Dedicated (feat. Nas) (8.5/10)

Mariah introduces us to the first of her many featured guests, Nas, on this track. Conceptually, I love it – instead of merely sounding nostalgic, she and Nas actually sing about a song dedicated to years gone by, specifically with regards to the hip hop tunes they once enjoyed.

Nas never overshadows Mariah, and the beat makes me think of hazy summer Sunday afternoons. A brilliant song, with some epic whistle notes at the end. Oh, and Mariah sounds as if she is having the time of her life.

4.     #Beautiful (feat. Miguel) (9/10)

This song is a year old, so I won’t say too much. It’s also a really easy listener, and Miguel and Mariah work together effortlessly. That guitar rift was a touch of magic, and it’s a song that has been primed for a million replays – at a fleeting 3’22”, every inch of possible fat had been trimmed in the studio before it hit the airwaves.

5.     You’re Mine (Eternal) (9/10)

This track only peaked at no.88 on the Billboard Hot 100, which is seriously disappointing considering the standard of the song itself. It’s got all the essential Mariah ingredients: a smooth, mid-tempo beat, Mariah longing for her love, sweet vocals and a flawless example of the whistle note. Had this been released as the follow up to We Belong Together, I can guarantee it would have charted strongly.

It’s a reminder that a commercially successful song depends on the popularity of the artist and the acceptance of that genre at any given time. Don’t Forget About Us was Mariah’s last ballad-type single to reach no.1 (in 2005 / 2006), and I think You’re Mine is every bit as good as that was.

6.     Thirsty (8/10)

This track is probably the biggest diversion in mood from all the other tracks on the album, not being nostalgic, ballad-y or soulful. This is Mariah reminding us that if she wanted to pump out radio-friendly tracks, she could. Thirsty sounds like anything Rihanna could have put out in the last two years (with better vocals, obviously). It’s instantly catchy, and while it doesn’t leave as much of a lasting impact as many of the other tracks, I love it for what it is.

7.     Make It Look Good (8/10)

Featuring Stevie Wonder on the harmonica, Make It Look Good is an amazing slice of old-school perfection. Conceptually, it’s also one of the outright ‘happy’ tracks on the album, and I’m sure that if you layered this track over the 1991 Emotions music video – where Mariah’s curls are flying all over the place as she cruises in a car with friends – it would fit perfectly. Vocally brilliant.

8.     You Don’t Know What To Do (feat. Wale) (8.5/10)

I don’t know who Wale is, and in the first few seconds of this track, I don’t want to know who he is, because he is muttering somewhat annoyingly while Mariah pulls off a fantastic, vocally robust opening with the piano. Then again, he also mutters “you better siiing it, girl” in this intrusive little passage, and she happily obliges.

More nostalgic, summery vibes kick in at the same moment that the beat does, which is when You Don’t Know What To Do morphs into a super funky, throwback, sassy track. It’s Mariah at her most energetic on the album, and Wale’s mid-song rap verse works a lot better than the muttering he was doing at the start. Mariah’s backing vocals and the little “oOOh oohs” she throws in while Wale is doing his thing are perfection.

9.     Supernatural (8.5/10)

Featuring a gazillion giggles from Roc ‘n Roe (Moroccan and Monroe, her kids), this track is sweeter than blueberry and caramel waffles dipped in honey.

Of course, Mariah sings of the supernatural love for her kids, but it isn’t cute enough to mask some of her most extended vocal runs towards the end of the track. If this doesn’t make you feel warm and fuzzy inside, then you need to check yourself.

10. Meteorite (8/10)

This has disco all over it, and is pretty different for Mariah, but does remind one of I’m That Chick from E=MC2. Only, it’s quite a bit better than that one; here MC *pumps out a proper dance track. Lyrically, it takes just one listen to get what she’s singing (which is more than can be said for almost every single Mariah song) – but that’s the point. Meteorite is all about having a damn good time.

*this track is best heard at full volume, with the bass settings turned all the way up

11. Camouflage (10/10)

Wow. This is some song, and one that has interestingly not been mentioned often as a favourite on the various forums and album reviews I’ve read.  That said, I have always gravitated to the ballads, and this one echoes the moody, mystical and penetrating atmosphere of Cry, with Mariah’s voice given centre stage and backed by piano.

But Camouflage is also heavily gospel-influenced, with a powerful choir backing Mariah up. Her falsetto and whistle notes are expertly produced on this track, and it also features virtually the only all-out vibrato moment on the album, at the 3’35” mark – those few seconds are magical, and a reminder of the singing style that occupied around 80% of her older hits.

This is a supernatural track.

12. Money (feat. Fabulous) (10/10)

Once again, I’ve been surprised that Money hasn’t been more frequently mentioned as a standout track on this album. I liked it from the first listen, and still think it’s Mariah at her R&B/hip hop best. Vocally, she isn’t going all-out, but the infectious old-school beat won me over immediately – a beat that Usher could easily have grabbed in 2004 and created something epic from, too.

Unlike other rapper-assisted tracks such as Migrate and Triumphant, Money feels distinctly ‘happy’ – it’s very 90s, when such music was a lot less self-indulgent and ego-driven that it is right now. It’s also noticeable that Money stretches to 4’57”, and I feel that of late, Mariah cuts some fantastic tracks too short. She is a magician when it comes to ad-libbing and deviating from a song’s main structure, and it’s great to see that she has allowed many songs on the album to play out a bit longer, giving her more time and space for vocal improvisation.

(Oh, she also managed to rhyme the words ‘holidays’ and ‘hollandaise’ on Money, and that alone is worthy of high praise. )

13. One More Try (8.5/10)

This is a remake of George Michael’s 1988, no.1 hit. The original was soulful and powerful, and Mariah’s version adds her super sweet background vocals to the mix – by the way, I think her background vocals represent the most underrated use of her voice (which explains why she was a backing vocalist for Brenda K. Starr before being discovered). It’s her ability to convey emotion without belting all-out that is a feature of ‘modern’ Mariah, and she does that fantastically in this track.

The production is also very old school – some would call it ‘dated’ – but it works beautifully. That whistle note at 5’28” is the best on the album, by the way.

14. Heavenly (8/10)

“She took us to church right there” is a common phrase used to describe some of Mariah’s most earth-conquering vocal moments by her diehard fans. On Heavenly, Mariah seems to be singing from inside the church, leading the choir, for the entire 5 minutes. I have always loved gospel Mariah, and she proves emphatically why the genre has and still does influence her so heavily. Vocally, I can understand why Mariah trilling to the rafters as she does here is too much for casual listeners – but for those who enjoy complex melodies, key changes and transitions, it’s a joy to listen to.

The final few seconds of the song features an acapella-type, unplugged aural effect and right then and there, Mariah sounds as if she has never sung anywhere else but in a church.

15. It's A Wrap (feat. Mary J. Blige) (8/10)

The deluxe version of the album begins with a Mary-assisted version of It’s A Wrap, a song which was already a highlight of 2009’s Memoirs. Mary’s soulful addition complements the song really well.

16. Betcha Gon’ Know (feat. R. Kelly) (8.5/10)

The addition of R. Kelly to this track, also from Memoirs, is unexpectedly good. He seems more integrated overall than Mary does in the previous track, as if this song wasn’t recorded without him in the first place. He adds lots of spice to an already good song, and overall this track feels like a perfect fit for the new album.

17. The Art Of Letting Go (8.5/10)

Unlike You’re Mine, this took longer to grow on me. But once it did, I loved it. Mariah mostly ditches traditional styles of musicality and phrasing with the psalm-like feel of Letting Go. It’s a great song lyrically, and while it could never be called catchy, Mariah does sing the heck out of it.

THAT’S A WRAP…

I listened to this album many, many times, and mostly on ‘shuffle’. Usually, when playing any album on shuffle (including Mariah’s last two albums), I’ll skip ahead to my favourite tracks in preference of the ones that are merely okay. This time around, I didn't need to do that.

Me. I Am Mariah. is an incredibly solid body of work. There are no fillers, with each track managing to stand out, while also flowing smoothly to create something that feels like an ALBUM, not a bunch of catchy but short-lived singles thrown together. As a whole, it's easily better than her last two albums, and with more time, it could be perceived as a cut above even 2005's The Emancipation Of Mimi.

Vocally, I think Mariah sounds ridiculously good. It seems that no matter how many times her voice changes (and it has changed considerably), the basic tone is special enough and she is flexible enough to squeeze every last bit of power and complex nuance out of her instrument. 

Is this an album that will allow MC to recapture some of her previous commercial success by appealing to a younger demographic? Nope. Because it's way too good, and too rich, for that.

For the rest of us? Welcome back, Mimi (or is that The Elusive Chanteuse...?)

I LOVE: The old-school vibes, the vocals, the production quality, the guest artists that complement – rather than dominate – Mariah, the heavily photoshopped album artwork

I DON’T LIKE: I’d still trade one of the more upbeat tracks for another slit-my-wrists ballad; Wale’s muttering at the start of You Don’t Know What To Do irks me; the heavily photoshopped album artwork

TOP TRACKS: Cry, Camouflage, Money

My thoughts on Mandela: Long Walk To Freedom

Camera? Check. Presenter booked? Check. Popcorn in hand? Check.

These were essentially the only thoughts running through my mind as I attended the media screening of Mandela: Long Walk To Freedom at the Waterfront today. It was all logistics, really – I just needed to get there on time, see the movie, shoot a tiny little link and then hopefully make it back to the office in time to watch Hectic Nine-9.

It was a case of head over heart, as only once I walked through the wooden cinema doors did it emotionally register that I was about to watch a biographical film based upon the life of perhaps the greatest hero to walk the planet. I realized I’d be best off if I left the chaos of Monday at the door, if I were to truly appreciate the film.

Based on Madiba’s book Long Walk To Freedom, the film of course chronicles our former president’s early life, his education, his imprisonment and the events leading up to his iconic presidential inauguration. Yes, we’ve heard it all before, so would the movie bring the story to life?

Unequivocally, it did just that.

I can’t recall being moved to tears too many times in the cinema, but this film did the trick. While I wasn’t quite howling from my seat, I was extremely moved by the performances of Idris Elba (who played Nelson Mandela) and Naomie Harries as Winnie Madikizela-Mandela. Early on in the film, Elba’s attempts to match the distinctive intonation and tone of the great Madiba came across as slightly patronizing, but I warmed to his performance with each passing minute and by the end of the film, what emerged was a heartfelt, powerful and unwavering depiction of the former president.

Similarly, I found Harries initially unrecognisable as Winnie, but again what unravelled (as much as her character unravels!) is a striking interpretation of the women that, through those testing years, stood by Madiba in his resolute quest for equality.

I’ll mention here that the use of British actors to portray the roles of Madiba and Winnie has been heavily criticised as being a missed opportunity to further develop local talent and to use South Africans that can more accurately depict these significant characters, cultures and dialects. However, I believe this argument is only valid if the end result falls short and I think that’s far from the truth. I also hold the belief that in an unnecessarily brazen attempt to stamp the South African mark on the rest of the world, we neglect to appreciate the contribution of those from other cultures and countries. ‘Proudly South African’ is a positive and necessary mind-set, but as far as I know, we do share a single planet.

Back to the film, I found the cinematography to be an outstanding aspect. The film-makers must have faced an incredible challenge capturing the life of Madiba in a world – and specifically in a South Africa – that in many ways bears little visual resemblance to the streets and villages our young Madiba frequented. For example, Nelson Mandela’s iconic village in the Eastern Cape now features a museum and a hotel for tourists, so the Drakensberg in Kwazulu-Natal provided a fitting substitute and these scenes were quite breath-taking, with the earthiness and tranquillity of his village life in stark contrast to the battles - quite literally - he faced as he fought against racial segregation.

The grittiness of the conflicts between blacks and whites, both in cities and in the townships, were expertly crafted. In many instances, it wasn’t very easy to watch at all.

On a more personal note, I found it fascinating to observe the use of transportation in the movie, which very accurately showcased the vehicles used in those specific periods. Where these guys got hold of pristine Ford Cortinas, E30 BMW 3 Series’ and Toyota Cressidas, I don’t know, but they did and these models were as well-chosen the set pieces and props in general, adding real authenticity to the picture.

Further praise must be heaped upon the make-up artists and stylists, who responded to the challenge of ‘ageing’ the cast admirably. As I hinted at earlier, I think this ageing process had something to do with my gradually increasing appreciation of Idris Elba’s performance as the movie progressed. His impeccable interpretation of an older Madiba’s distinctive gait also deserves a thumbs up!

But at the end of the day, nothing can overshadow the magnitude of Madiba’s life story, and it is this story that kept me transfixed throughout.  To have such monumental odds stacked against you and to emerge triumphant based not only on your actions, but your refusal to wilt and to have your spirit crushed, remains one of the great human feats we’ve all been fortunate enough to draw inspiration from.

A stellar supporting cast (including a memorable performance by Tony Kgoroge, as Walter Sisulu) and an entirely appropriate soundtrack that takes you into the heart of each painful and exultant moment of Madiba’s life only added to the strength of the film.

Some scenes, such as Mandela’s first meeting with then-president F.W. de Klerk and his first address to supporters after being released, made me feel quite tense. What strength and fortitude must our real Madiba have harboured to handle these overwhelming pressures with such poise?

I think that every South African needs to see this film, which beautifully and often harrowingly brings to life a story worth telling time and time again.

I’ll leave with you my favourite Madiba quote:

"No one is born hating another person because of the colour of his skin, or his background, or his religion. People must learn to hate, and if they can learn to hate, they can be taught to love, for love comes more naturally to the human heart than its opposite."