Mariah Carey: The Emancipation of Mimi Album Review – Warungku Terkini
From Mimi’s opening track, “It’s Like That,” Carey signals her desire to put an end to the past. Over Dupri’s whistling synths and drum machine, she sets a boundary, drawing the line at “stress” and “fights”: “Mimi’s emancipation/A cause for celebration,” she chirps. “I ain’t gonna let nobody’s drama bother me.” The drum machine has a dinky clink at first, a common tic in the crunk era, but it’s a proportionate amount of dink that allows Carey to soar between the kick drums and cowbell. On the triple-time verses, she telegraphs that no matter her superstar status, her ears are angled toward the club: “All the fellas keep lookin’ at us/Me and my girls on the floor like, what?/While the DJ keeps on spinnin’ our cut,” she sings, cocksure in a fashion that would inspire two decades of dancefloors to mimic her pose, before unforgettably rhyming “Caution, it’s so explosive” with “Them chickens is ash and I’m lotion.”
Carey was lotion, and she was a hair-flip. She flaunted her impassivity to drama on “Shake It Off,” the slinking, mid-tempo radio hit built on a piano-propelled lowrider bounce. As she reads a laundry list of a paramour’s indiscretions, including “this one and that one by the pool, on the beach, in the streets,” her voice is baby-oil smooth and almost slack to signify her breezy indifference: She can’t even bother to entirely enunciate consonants. The whisper quality of her background vocals—“I gotta shake, shake, shake you off”—sounds like salt thrown over the shoulder to prevent bad luck, a gentle internal monologue that gives the song its nimble quality. On “Say Somethin’,” another chrome-smooth single—and, alongside the jaunty “To the Floor,” her first time collaborating with the Neptunes—Carey bats her eyes and flirts with a coy low register, the smoky persuasion of Snoop Dogg as her rapper foil. (The album cut, however, remains slightly inferior to the sublime So So Def remix with Dem Franchize Boyz.)
These three singles, as well as the breakup dirge and gigantic hit “We Belong Together,” are notable for what Carey is not doing in them: She is not performing vocal gymnastics, she is not hitting impossibly high notes, she is not venturing anywhere near music that could be considered overly emotional or even treacly. It is easy to get caught up in the mere fact of Mariah Carey’s voice, which is impressive and beguiling but invites the listener to get over-jazzed by her technical razzle-dazzle—her four-and-a-half-octave range, her whistle register, her melismatic backflips. This prowess can elide the emotion within each song, and on Mimi especially, she is exercising a characteristic rarely cited in exaltations of her genius: her total restraint. “I’ve just never wanted to only belt,” she told the New York Times’ Lola Ogunnaike. “And when I sing breathy it feels more intimate.”
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