Hands down, The Emancipation of Mimi was one of the most satisfying pop/R&B album in recent pop history. The challenge now is how to follow up that massive success. E=MC2 (released April 15 under Island/Def Jam) was pitted as a follow-up of sorts to Emancipation, hence the title. The verdict is in: emancipation is better the second time around. Yes, in some parts E=MC2 follows the formula of its predecessor, but expect Carey to push it a notch higher. Like some exact science, the new album meticulously combines hip-hop-tinged club ditties and slick mid-tempo ballads (first mastered in Emancipation) to sum up to another explosive pop/rnb masterpiece.
The album opens with “Migrate”, a bob-your-head club anthem featuring T-Pain. Then it smoothly flows into “Touch My Body”, the carrier single. As with the past Carey albums, the carrier single is a sexy and flirty tune (think “Dreamlover”, “Fantasy” and “Honey”). Though the lyrics to “Touch” can make some eyes roll, you can never resist its slinky hooks and licks and the charming reference to cameras and youTube.
That song has already touched the #1 spot twice and has broken two records. It was the 18th number one for Carey, putting her in pole position as the solo artist with the most #1 hits, leaving Elvis Priestly behind and putting Carey within striking distance of the all-time record (held by the Beatles with twenty #1 songs). It also broke the record for the most downloads (previously held by Rihanna’s “Umbrella”).
The personal drama you expect from Carey is delivered via the second single “Bye Bye,” a tribute to her father who recently passed away but has a universal appeal with its sentiment of longing and missing someone (remember “One Sweet Day?”). Those who knew Carey’s rise and fall will get tugs at the heart when she sings the lines “And you never got a chance to see how good I've done/And you never got to see me back at number one.” This early, I am writing this as her 19th #1 song.
Another gem is “I Stay In Love”, (a likely 3rd single) which rehashes “We Belong Together” but is still as engaging. Meanwhile, “I’m That Chick” employs a smart sampling of Michael Jackson’s “Off The Wall”, setting a vibe that evokes disco balls, roller skates and multi-colored dresses.
More drama is offered in “Side Effects,” a song that describes the aftershocks of an abusive relationship, with latent references to ex-hubby Tommy Motolla. Amidst a darkly sinister background beat courtesy of Scott Storch and Young Jeezy, Carey spews pent-up vehemence in lyrics such as "Sleeping with the enemy/ Aware that he was smothering every last part of me"” and “Keepin' me there, under your thumb/Cause you were scared that I'd become much/More than you could handle.”
Carey proves she is chameleon extraordinaire when she allows her vocals to complement her guest artist’s style. For instance, in “Migrate,” she mimics T-Pains auto-tuned vocalization. Then later in “Cruise Control,” Carey pleases when she intones some Jamaican vibe in harmony with Damien Marley. Think “Shake It Off” given a Marley makeover.
The album closes with “I Wish You Well”, a ballad that brings Carey to her gospel roots and showcases the 8-octave vocal range that is downplayed to soft whispers in the other songs.
Even the less-glittery songs (“Love Story”, “Last Kiss”) sounds better than the carrier singes of other established artist. And this is the beauty of E=MC2: each song plays like a potential hit and the over-all aural feel is so consistent that you can listen to the album through and through.
I predict that this album will spawn at least 3 number one songs (making Carey match the Beatles’ record), bring home at least two Grammys (best contemporary R&B album and best R&B or pop vocals) and amass the aplomb and accolades of Emancipation of Mimi.
E=MC2 plays on Einstein’s infamous formula and rightfully so. Carey and Einstein’s works are sheer genius.
-Reviewed by: Bernard Crisostomo, Philippines