Mariah-watchers should have suspected back in 1995 that something was
brewing when this People's Pop Princess(80 million records sold) mingled
with Ol' Dirty Bastard of hip-hop's Wu-tang Clan for the video of the
sample-happy hit "Fantasy." Even it appeared she would happily sacrifice
one octive range for a whisper of street credibility.
Carey's newest album builds on that previuos flirtation with rap &
urban contemporary production techniques, if not too lobby for her
acceptance into these musical circles, then to combat her deserved
reputation for ballad overkill. To her credit, both intentions are
served fairly well. In "Honey" and "Babydoll", Carey's standard
vulnerable-ingenue rle is made interesting tthanks to spicy
innuedo-laced lyrics and addictive choruses atop subtle beats and
samples. more than a hint of redemption inhabits the songs, as she
flaunts her independence and personal growth. however, none that
translates successfully in "Breakdown," where Carey adopts the silly
staccato phrasing of her 2 collaborations from Bone-Thugs-N-Harmony.
Even worse ia an interminable, brutally oversing cover of Prince's "The
Beautiful Ones."
Still' Carey finds moments to appease fans fearful that she has fallen
in with the wrong crowd. "Outside" is beautifully goseplized pop, while
the title song and "Whenever You Call" are lush, trademark ballads ripe
for chart longevity.
-Gerald Poindexter, San Diego Union Tribune
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