Album Mariah Carey – The Emancipation of Mimi (Ultra Platinum Edition)FLAC + MP3 admin April 3, 2019 music Leave a comment 50 Views. Mariah Carey – The Emancipation of Mimi Released: 2005. (2019.04.05/MP3/RAR) April 4, 2019 1,924; 宝くじで40億当たったんだけど異世界に移住する 第01-05巻 Takarakuji de 40-oku.
This is the week we receive Mariah Carey’s 14th studio album, Me. I Am Mariah … The Elusive Chanteuse. Since the release of her self-titled 1990 debut album, Cary has released more than 60 singles — from “Vision of Love” to “You’re Mine (Eternal)” — 18 of which have hit the top of the charts. We’ve stepped up to rank them all and, dear reader, do not think we laid out this lineup without some seriously deep thought. The ranking below represents hours (honestly, years) of listening, agonizing, and relistening: We truly gave it our all. We welcome your thoughts.
25. “H.A.T.E.U.” (Memoirs of an Imperfect Angel, 2009)
“H.A.T.E.U.” isn’t a great song. But the “H.A.T.E.U.” remix produced by Jermaine Dupri featuring Big Boi, Gucci Mane, and OJ Da Juiceman featuring a perfect (and generous!) sampling of Ghost Town DJs’s “My Boo”? It’s Mariah’s best remix, and for that alone, this song makes the list. —LW
24. “When You Believe” (The Prince of Egypt: Music From the Motion Pictureand #1’s, 1998)
The debate on who outsung whom will forever rage on, but the product of Mariah joining forces with Whitney Houston is surely as miraculous as anything that happened in The Prince of Egypt. —LW
23. “Sweetheart” (#1’s, 1998)
So much of Mariah’s success is owed to producer Jermaine Dupri. His So So Def additions to her oeuvre defined his own work as much as they did hers: “Sweetheart” is their only vocal collaboration released as a single, and it’s an inspired remake of a 1987 Rainy Davis song. —LW
22. “Can’t Take That Away (Mariah’s Theme)” (Rainbow, 1999)
How could anyone dare to dismiss a song Mariah subtitled as her own theme? It’s like Mariah already wrote her own Lifetime biopic, and here’s where the credits roll. (We’ll give Lifetime a few years to get that production together.) —LW
21. “#Beautiful” (Me. I Am Mariah … The Elusive Chanteuse, 2014)
Somehow this never broke into the Song of Summer contest last year, and I can’t figure out why; maybe it’s that Miguel sings a little more than he should on a single that’s supposed to be Mariah’s. Whatever — “#Beautiful” is a warm bath of a song, listenable for hours on end. And never forget that Mariah was the hashtag-song pioneer. —AD
20. “Through the Rain” (Charmbracelet, 2002)
The tricky thing about “Through the Rain” is that, by listening, you are reminded of all the 2001 rain (the hospitalization, the TRL incident, Giltter). The pain-to-musical-joy ratio is not quite as winning as, say, “Butterfly,” which is why “Through the Rain” doesn’t crack the top 20. But it is an important emotional document. —AD
19. “Love Takes Time” (Mariah Carey, 1990)
Aw, baby Mariah, singing her heart out for the easy-listening crowds. There is something comforting about a time capsule. (Except for the part when she’s alone and sad and stuff.) —AD
18. “Obsessed” (Memoirs of an Imperfect Angel, 2009)
My friend Aminatou claims that “Obsessed” should receive props for placing Mariah as the only celeb dissed by Eminem to actually (effectively) fight back. She makes a good point. The song was also inspired by Mariah’s obsession with the movie Mean Girls — from which it steals a crucial line. —LW
17. “Shake It Off” (The Emancipation of Mimi, 2005)
As far as Mariah’s diss tracks go, “Shake It Off” is perhaps her finest. Sure, it’s arguably jacking Usher’s Confessions style, but would Usher lyrically reference a 1980s Calgon ad? Nope. —LW
16. “Hero” (Music Box, 1993)
In the fourth grade, I had to give some sort of presentation about inspiration — maybe it was a morning devotional, since that was something that my weird, semi-religious elementary school made us do. Anyway, my big plan was to hit play on the cassette tape of “Hero” and then just stand in front of the class while Mariah gave everyone a pep talk. Which is really the one-liner on “Hero:” It’s a fourth-grader’s idea of inspiration. That said, I dare you to sing “It’s a loooonnng road” without pounding the nearest piece of furniture. She feels it. —AD
15. “The Roof (Back in Time)” (Butterfly, 1997)
This is slinky Mariah at her best. Her breathy vocals hit notes barely recognizable as she slips and slides over a minimal Mobb Deep beat. —LW
14. “My All” (Butterfly, 1997)
For me, the definitive performance of “My All” happened during VH1 Divas Live 1998; Mariah faced a slew of heavy competition, and she definitely held her own (while also managing to hold up her giant hairdo). At least, that’s what my mom always said. That VH1 Divas Live recording stayed on repeat in our Volvo’s CD player for more than a year: I had no idea the song didn’t actually turn into a dance song at the end. —LW
13. “Emotions” (Emotions, 1991)
Maybe the most singable Mariah song, thanks to the syncopation? Really, all you have to do is sing that “you’ve!” and look! You’re credibly covering “Emotions.” —AD
12. “Honey” (Butterfly, 1997)
She may be a chanteuse, but hip-hop also happens to suit Mariah Carey. “Honey” replaced “Mo Money Mo Problems” at the No. 1 spot on the Billboard charts. Equally as important as the song itself: Mariah emerging from a pool in a two-piece bathing suit and stilettos. —LW
11. “Breakdown” (Butterfly, 1997)
Full disclosure: “Breakdown” is my favorite Mariah Carey song. I didn’t put at the top because this is a List of the People, but I feel like you should know this. I appreciate a Mariah ballad, I do, but “Breakdown” proves that when she shows controlled restraint, the results can be equally magical. —LW
10. “One Sweet Day” (Daydream, 1995)
“Aaaaaannnnd IIIII know you’re shining down on me from heaaaaaaven.” We are reaching the section of the Mariah list where we could communicate only in enthusiastic vowels and tears. Shout out to all the middle-school-dance DJs who played this for the last slow dance (even though it is song about death?). —AD
9. “Without You” (Music Box, 1993)
Did you know that “Without You” was originally a Badfinger song? Eh. Did you know it was then a chart-topping Harry Nilsson song? Maybe. But you knew about the Mariah version. Everyone did. It was (and still is) her biggest international hit. The ballad didn’t fully reach its potential until she grabbed ahold of it and sang it into the stratosphere. Still, what a depressing song. —LW
8. “Heartbreaker” (Rainbow, 1999)
Crucial transitional Mariah, and also possibly the greatest music-video choreography of the TRL era? —AD
7. “We Belong Together” (The Emancipation of Mimi, 2005)
Mariah rarely gets desperate (in “Dreamlover,” she sings “I need you so desperately,” and in “I Still Believe,” she refutes that claim: “I’m not the desperate type”), but in “We Belong Together,” she doesn’t need to say it: You can hear it. There’s no bridge, the chorus’s pitch rises an octave up, and Mariah is sing-shouting: There’s desperation here. —LW
6. “Fantasy” (Daydream, 1995)
Remix or no remix, the Tom Tom sample on “Fantasy” (Mariah’s idea, natch) is summer’s calling card. It’s ice cream, rotating fans with blowing ribbons attached, crop tops, and roller coasters: Mariah rides the one at New York’s Rye Playland in the joyous video. —LW
5. “Butterfly” (Butterfly, 1997)
Peak merchandising potential; peak music-video realness. There are probably better vocal performances, but “Butterfly” is the champion of the ballads because it is all-purpose and personal. It is the (first) Mariah Carey Declaration of Independence. Everything is still possible. —AD
4. “Vision of Love” (Mariah Carey, 1990)
I had always secretly doubted my karaoke jockey’s singing abilities until she pulled out “Vision of Love.” She hit that high C (C5) with such ease, just as Mariah so spectacularly does, that I immediately developed a new respect for her. The power of “Vision of Love” granted Mariah diva status almost immediately (“diva” originating from opera singing, not from attitude — that would come later) and automatically challenged future pop-stars (and semi-professional singers like my KJ) to match her immense skill. —LW
3. “All I Want for Christmas” (Merry Christmas, 1994)
The drive-by Mariah fans will want to put this at No. 1, and we would say to these people: This is not a list of Christmas songs. “All I Want” is absolutely at the top of the Christmas Songs list. As something to sing while high on candy canes after your 15th holiday party, it is the be-all and end-all. Let that be enough for you. —AD
2. “Dreamlover” (Music Box, 1993)
Is there anything more Mariah 1.0 than “Dreamlover”? Sure, she had recently married the record exec who discovered her, Tommy Mottola, but “Dreamlover” is an optimistic pop masterpiece. A new love anthem for the forever lighthearted that features all of the wonderful things that would quickly become Mariah’s signatures: the melismata (or, runs), the doo-doo-doos, the perfectly syncopated lyrics (“I need you so des-per-ate-ly”), and, of course, those whistles. —LW
1. “Always Be My Baby” (Daydream, 1995)
“Always Be My Baby” is essential, archetypal Mariah, if you want the boring take. I prefer the crowd test: Put this on in a room — party, restaurant, home office, whatever — and see if conversation can continue past the key change. Crowd-pleasing is an art, too. —AD
Emancipation Of Mimi Cd
UPDATE: Here’s the accompanying Spotify playlist:
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Question
Who is 'Mimi' in the title of Mariah Carey's album ?
Answer
Mariah Carey says that 'Mimi' is a nickname for herself. She says it is a name only her closest friends and family knew until the creation of the album. The music was intended to reveal a more intimate side of the artist. The emancipation theme represented freedom from the personal and artistic difficulties in the year's immediately preceding The Emancipation of Mimi. Consequently, much of the music is more dance-oriented and celebratory in style.
Recording of The Emancipation of Mimi
Mariah Carey's career reached a lowpoint in 2001 with the commercial failure of her movie Glitter and the accompanying soundtrack. The star ended up in the hospital due to an 'emotional and physical breakdown.' After Glitter failed, Virgin Records bought out Mariah Carey's $100 million contract paying her $50 million to extricate themselves from the agreement. After exiting the hospital, Mariah Carey flew to Capri, Italy to begin work on a new album. She stayed there for five months and the result was the music for her album Charmbracelet, an improvement on Glitter, but still a commercial disappointment.
By late 2004, Mariah Carey revealed that she was working on her next studio album. She worked with such contemporary talent as The Neptunes production team including Pharrell Williams, rapper Nelly, and Jermaine Dupri. Among the list of producers was a young Kanye West who had just electrified the music industry with his debut album The College Dropout. Island Records executive L.A. Reid worked closely on oversight of the project. Mariah Carey recorded much of The Emancipation of Mimi live in the studio with a band which gave the project a more immediate sound.
The Sound Of Mimi
Where Charmbracelet had seemed focused on regaining the approval of adult contemporary audiences, there was less restraint on The Emancipation Of Mimi. The new music drew inspiration from both contemporary R&B and hip hop. the album closes with the gospel influenced 'Fly Like a Bird.' The Emancipation Of Mimi is one of the most musically diverse of all of Mariah Carey's albums.
Mariah Carey's Comeback and the Success of The Emancipation of Mimi
'It's Like That,' the first single from The Emancipation of Mimi, was released in January 2005. It helped ignite interest in the upcoming album and climbed to #16 on the Billboard Hot 100, Mariah Carey's highest charting single since 2001's 'Loverboy.' It was succeeded by 'We Belong Together,' released at the end of March, which became one of the biggest hit singles of Mariah Carey's career ultimately spending 14 weeks at #1. At the time, it was the second longest streak at #1 for any song behind only Mariah Carey's own 'One Sweet Day' with Boyz II Men.
The album The Emancipation of Mimi was released two weeks later. It debuted at #1 on the album chart selling over 400,000 copies in its first week. At that time it was the largest first week sales of any album in Mariah Carey's career. With sales nearing five million, it became the bestselling album of the year in 2005. The Emancipation of Mimi spent 31 consecutive weeks in the top 20 on the album chart.
Two more singles from the album became major hits. 'Shake It Off' climbed to #2 on the Billboard Hot 100 first reaching that position while 'We Belong Together' was still at the top. To celebrate the deluxe re-release of the album, the single 'Don't Forget About Us' appeared, and it reached #1.
Mariah Carey performed 'Shake It Off' live at the 2005 MTV Video Music Awards. She opened the 2005 American Music Awards singing 'Don't Forget About Us,' and she sang 'We Belong Together' at the Grammy Awards in early 2006.
In the course of two years Mariah Carey earned 10 Grammy Award nominations from The Emancipation of Mimi. In 2006 the original release of the album earned 8 nods including for Album of the Year, Record of the Year, and Song of the Year. Mariah Carey took home the awards for Best Female R&B Vocal Performance and Best R&B Song for 'We Belong Together.' The album The Emancipation of Mimi won Best Contemporary R&B Album. In 2007 'Don't Forget About Us' earned nominations for Best Female R&B Vocal Performance and Best R&B Song.
Sixteen months after The Emancipation of Mimi was first released, Mariah Carey continued usage of the name Mimi by calling her first headlining tour in three years The Adventures Of Mimi: The Voice, The Hits, The Tour. Between July and October 2006 it included forty concerts with stops in the US, Canada, Japan, and Africa.
Mariah Carey followed The Emancipation of Mimi with her eleventh studio album E=MC2 released in the spring of 2008. It included the single 'Touch My Body' which reached #1 and became Mariah Carey's 18th #1 hit on the Billboard Hot 100 pushing her past Elvis Presley to rank first all time among solo artists.