Definitely Imperfect, But Still Mariah

There is no denying that Mariah Carey is a musical powerhouse, as she has been consistently at the top of charts since the release of her debut album.

Although she has had some clunkers along the way (Glitter) and has appeared in feature films, her ability to manipulate her multi-octave voice is what makes her a force to be reckoned with. The release of her latest studio album, “Memoirs of an Imperfect Angel,” will hit stores September 29, but not everyone will be satisfied with the effort.

One thing about Carey is that she has a keen ability to write a well-conceived story with lyrics and set it to an appropriate beat. In “Betcha Gon’ Know” R&B nicely rules this track with the I-caught-you-in-my-bed-with-someone-else theme. And the ominous “to be continued” sung at the fade out will leave you anticipating the type of revenge that is in store for this cheater.

Then there’s the first single released off the album “Obsessed.” Although the production of Carey, The Dream and Christopher Stewart and the lyrics blend smoothly, this multiple chart topping-track is one of those songs that is easily forgotten after it’s over. The same goes for the four remixes of it at the end of the album.

“H.A.T.E.U.” is yet another forgetful track that seems longer than its recorded running time, which lasts over four minutes. “Candy Bling” attempts to masquerade as a mellow track about a past love affair that Carey wants to recapture. Unfortunately, it’s too subtle, effectively causing its sorry listener to be more sleepy than remorseful of losing an apparent paramour. If the melody and musical style of the last minute of the song was interwoven throughout, it would have been a better effort.

“Ribbon” sounds like a confusing mess. There is so much going on in this song that it’s difficult to figure out what you should be listening to. It’s a shame that it doesn’t come together until the fade out.

The album picks up with “Inseparable,” co-written with Robert Hyman and Cyndi Lauper with a sample from Lauper’s hit “Time After Time.” Everything in this track works. Lyrics are well-complemented by the hip-hop/R&B melody, making the harmonies rich and reminiscent of the best of Carey.

“Standing O” keeps the momentum going as the album takes an upswing with this song. It’s upbeat and you’ll be singing along with the cleverly arranged lyrics and multi-layered harmonies.

“It’s A Wrap” is another smooth track that harbors back to ‘60s R&B. Carey shines when she allows her musical influences to guide her arrangements. And the helpful production of James Wright and Heatmyzer only add to this well-done song.

The piano introduction to “Up out My Face” is the perfect complement to the rap-tinged melody. Carey’s fast lyrical effort works well here. And when she duets with herself, it’s magic. You’ll be waving your hands in the air while singing “Up out my face boy,” especially to the 51 second marching band epilogue to the track.

“More Than Just Friends” continues the party with additional writers Sean Combs, Rashad Smith, Mark Debarge, Etterlene Johnson and Chris Wallace. This is one track where too many cooks don’t spoil the pot. However, it does run 30 seconds too long.

“The Impossible” is a harbinger of the first set of tracks on the album. It’s one of the weakest songs and restates what Carey has already sung about on this same record. Adding insult to injury, it has an unnecessary over two minute reprise.

Although the prelude to “Angels Cry” is a complete waste of time, the song itself is well worth hearing. It’s straight up R&B that works. Then there’s the remake of “I Want to Know What Love Is.” The interlude, “Languishing,” would have been the best ending to this album. Instead, we have a song that was best sung by Journey.

And it should have stayed that way.

Overall, Carey’s album has some high points and is a welcome addition to her fans’ music collection. However, the unevenness of this record won’t be getting her any new ones.