It's not a bad idea, particularly because Mariah could use any change at this point, and it's not executed all that badly either, as all 14 tracks - heavy on mid-tempo cuts and big ballads, with a few harder dance tunes featuring big-name guest rappers scattered along the way - all follow the same deliberately smoky, late-night template. And that's the main story of The Emancipation of Mimi: since the reserved, tasteful adult contemporary pop of 2002's Charmbracelet failed to revive her career, she's done a 180 and returned to R&B, in hopes that maybe this will create some excitement. Mimi, or at least the sound of her emancipation, sounds remarkably like Beyoncé, too, working a similarly sultry, low-key, polished club groove.
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In case you didn't know what "emancipation" means, Mariah helpfully provides a dictionary definition of the word in the opening pages of the liner notes for her eighth proper album: it means "to free from restraint, control, oppression, or the power of another" or "to free from any controlling influence" or "to free somebody from restrictions or conventions." So, on The Emancipation of Mimi, Mariah frees herself from the constraints of being herself, revealing herself to be - well, somebody that looks startlingly like Beyoncé, if the cover art is any indication. The titular "Mimi" of The Emancipation of Mimi is, by all accounts, an alter ego of Mariah, a persona that captures Carey's true feelings and emotions.
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Purchase and download this album in a wide variety of formats depending on your needs.
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