Mariah Carey: ‘Me. I am Mariah... The Elusive Chanteuse’: Album review

It took her five years, but Mariah has learned from mistakes of 2009’s ‘Memoir of an Imperfect Angel.’

Mariah got the memo.
For her first pop album in five years — housed under the diva-like title "Me. I Am Mariah....The Elusive
Chanteuse" — the star needed to heed the warning of her disastrous last work. And she has.
That disc, 2009's "Memoir of an Imperfect Angel," became the worst selling, and most creatively dire, recording of Carey's nearly quarter-century career. It also set off the longest stretch since she scored a slam-dunk smash single, dating back to 2008's "Touch My Body."
Carey's new music was long-delayed. In between, she put out an indifferent Christmas album and started fresh recordings, only to abandon them. The star also had personal challenges, like a pregnancy (with twins) she has described as "really difficult." Worse, she had to co-judge "American Idol" with Nicki Minaj
While the new "Chanteuse" has a formal release date of next Tuesday (May 27th), iTunes started streaming it early this morning.
The music reacts to Carey's fallow years in most every way it should. It returns her to the type of grand balladry, and formal melodies, that first made her a star. It's her most melodic, least-trendy album in memory - both moves that greatly flatter her.
Though the disc contains cameos from rappers like Nas and Wale, it has far fewer hip-hop inflections than the faux-hip "Memoir" disc. Instead it stresses songs like the opening weeper "Cry," an inspired throw-back to initial hits like "Vision of Love." Accompanied primarily by piano, Carey unfurls the full range of her instrument, something she had too often scaled back of late to suit songs over-indebted to their beats. The result lets her lean into the song's drama, which she engages completely.
That's not to say that Carey has abandoned more up-beat material. "Meteorite," which starts out quoting Andy Warhol's "15 minutes of fame" line, shoots us back to the days of Studio 54, with a spiraling, string-drenched disco beat. The pre-release single "#Beautiful," with guest star Miguel, has a classic R&B melody, boosted by a looming backbeat.
Whether in more elegant ballads, or most assertive R&B songs, the new tunes give Carey more to play with than usual. It's as if she'd been listening to Beyonce's albums, gaining tips for how to bridge trendy music with the classic type. Even a hip-hop influenced ditty like "Thirsty" has a broad tune.
As on many discs, Carey sticks in a famous cover. They're often corny ones (see: her run at Foreigner's "I Wanna Know what Love Is" last time). But here she makes a smarter choice - George Michael's "One More Try." Backed by a gospel organ and choir, Carey dances over the notes, wringing every ripple out of the tune. She even tailors her worst tics - those endless melismas - using them to mine emotion rather than to falsely impress.
Contrary to its title, the new album may be Carey's least elusive work. Rarely has she made her talent more clear.

jfarber@nydailynews.com

(Source: NY DAILY NEWS)