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About this_is_qhm from the Philippines: I love the intricate vocal harmonies only Mariah can make.

Andrew / signature song / Mariah soundtrack contributions (48,709) by this_is_qhm from the Philippines In all fairness, I also appreciate fans like Andrew because I can relate to how he feels let down by how things have turned out for Mariah over the past half-decade, both commercially and in terms of her public image. I was once as fervently critical as he was, so I know that underneath all the sharp edges, it all comes from a good place. We still need fans like him on this board to give us that bitter dose of reality when we need it, even if we aren’t necessarily fond of his delivery. As for “signature song”, the term is universally understood as the song an artist is most known for. The Mariah songs that I feel are closest to that level of ubiquity and timelessness held by Whitney’s I Will Always Love You and Celine’s My Heart Will Go On are Hero and All I Want For Christmas Is You. Every other hit she has is unfortunately either just regional or really not that memorable. Since both IWALY and MYWGO are blockbuster soundtrack successes, I wonder why Mariah doesn’t dabble in movie soundtracks as often as other artists do. The Glitter soundtrack wasn’t perfect, but it had quite the killer material - it was just released at the wrong time. With her songwriting talent, Mariah should really contribute more to OSTs. Who knows, if current radio refuses to play her songs on their own merit, a movie just may be the perfect vehicle for her towards that ever elusive 19th #1 and reignite public interest. Now all she needs to do is find that perfect flick. (Monday 22 December 2014; 9:30)

Andrew (48,684) by this_is_qhm from the Philippines I agree that Mariah's public persona has only grown increasingly un-relatable (it's been O.O.C. since the E=MC2 era). I also agree that lambs have this tendency to act "delusional" at times, making them seem like they're living in a state of denial, and yes, that does get on my nerves at times, but then I'd think of how Mariah gets bashed by the media and haters on other sites as well and realize that I'd rather have people who are uber-supportive to so somehow balance things out. And don't let the "blind allegiance" act fool you. These overly positive lambs see what's wrong. They would rather just black out the negativity and see the good, even if what they see is average by your standards. They are also just being considerate. It's obvious that Mariah's voice isn't in the same effortlessly brilliant state it was in the past. But considering the ravages it has survived over the past quarter of a century, it still stands head and shoulders above what all them regularities out there can offer. Lambs who praise her current voice appreciate the fact that at least she didn't take the Whitney route despite everything she's been through. You may put this message (maybe even me) in your "delusional" pile - I'm fine with that. I'm just being supportive, because I finally realized that if Mariah really wanted the harsh truth, she would have listened to it a long time ago. Just saying. (Sunday 21 December 2014; 8:15)

Mariah's "depth" (48,655) by this_is_qhm from the Philippines I don't find Mariah's early songwriting better than her current ways. In fact, as "deep" and poetic as she was back then, a lot of her material was also derided for being too schmaltzy and platitudinal. It wasn't until Daydream onwards that she really started exploring different ways to write. So to me, I see it as her having grown enough to write about more stuff in more ways, and that those different ways also happen to compete for a spot on every album she releases, resulting to less of the "deeper" stuff than usual. Cry. and Camouflage prove that she still has that "depth", but now, at least to me, she sounds more convincing because her songwriting has become more "real" in a way. It's closer to real life than it was before, because she is now more detailed and descriptive. She's more comfortable, confident, and versatile now, and can narrate more vividly than she ever did before in a more relatable way. I can relate to "I know you're here baby subconsciously, always somewhere but you're not there for me" more than "Everything fades away, nothing ever stays the same." Past Mariah was a brilliant. Present Mariah is a genius. (Saturday 20 December 2014; 10:36)

Something worth noting (48,025) by this_is_qhm from the Philippines Mariah has more achievements throughout her whole career so far than what most lesser artists will ever see in their entire lifetime, but since it's pretty much the holiday season already, can we just take a moment to realize how rare it is to have written the most popular Christmas song today? Other than George Michael, Mariah is the only other (contemporary) artist who can say that they will always chart on iTunes every year because they have come up some of the very few modern Christmas classics that never fail to get massive airplay every freaking year. If that isn't relevance then I don't know what is. Makes me so proud. (Sunday 23 November 2014; 14:22)

Lee TS / Mariah making pop music with Max Martin (47,933) by this_is_qhm from the Philippines I love Blank Space as well. I'll place 1989 as the best mainstream pop album this lackluster year, and the 2nd best overall release this year, behind MIAMTEC, of course. Now with Max, there's no denying the guy's a genius. From ...Baby One More Time which was released 16 years ago to Tay's Shake It Off, he clearly knows the signs of the times and how to make a hit record. However, I believe his success with Taylor is more because of Taylor's way with unpretentious lyricism and way with hooks that stick. Not all of Max's works are gold. Those he created with Katy, in particular, lean towards generic. So his brilliance is also dependent on the artist he works with, so his method can be mayhem in the hands of lesser artists. And since Mariah is both a great lyricist and composer, I have no doubt she and Max will create magic. She's very particular about what she wants when she's in the studio, so she's surely gonna be stubborn and stick with that and Max is gonna have to fit around that mold. I'm open to them collaborating just to hear what their creations would sound like, but I'd honestly be quite surprised if she did. I have this feeling she might see the move as "selling out", especially since Max has been one of the "it" producers for quite some time now. (Sunday 16 November 2014; 8:50)

Underneath the Merry Christmas III (47,850) by this_is_qhm from the Philippines I know, the title's terrible, but I guess the fast approaching holiday season has just got me really hoping for a third Christmas album from Mariah. I'm wishing for one that's more jazz-oriented and traditional sounding, and that even upbeat songs would be backed up by raw, organic instrumentation, like a big band or something. I'd also really like her to cover the following classics for her next holiday album, among her new original tracks of course: Merry Christmas Darling (like a jazzy version of this) Have Yourself A Merry Little Christmas (this would just be heaven) Last Christmas (George Michael part 2) My Grown-up Christmas List (I'd love for her to really soar in the end) Sleigh Ride (like an Oh Santa part 2) The Christmas Song (she's so gonna outdo Christina's version of this) Baby It's Cold Outside (with Michael Buble or George Michael) I'll Be Home For Christmas (perfect fit for her) Winter Wonderland (a little vocally limiting, but she'll find a way to belt or whistle) White Christmas (she can never go wrong with this one) Let It Snow, Let It Snow, Let It Snow (another festive cut) Happy Christmas (the quirky wildcard choice) Jingle Bell Rock (this will sound lovely on her) Santa Baby (this will suit her current vocal tone flawlessly) Oh well, a lamb can dream. (Saturday 8 November 2014; 9:42)

My take on the lip-synching issue (47,751) by this_is_qhm from the Philippines Yeah, Mariah does lip a few parts here and there. And to me, yeah, even for one of the best vocalists of all time, that's acceptable in reasonable amounts. I hate to bring the age thing again, but singing naturally does get more challenging as you grow older, even more so when you get past 40. For most everyone, singing over 15 songs within 2 hours, even with breaks, exhausts their vocal cords. How much more if those songs are vocally strenuous in nature like Mariah's. Add to that a hectic schedule of having to perform pretty much every other day in different countries. In these circumstances, can we blame her for trying to preserve her voice? And anyone who argues that Mimi should be able to hack it if other people her age can do it can please just take several rows of seats because such thing as personal differences exists. Mariah's voice is very sensitive and has only increasingly become so through the years. I believe the reason why she chooses to lip certain parts that she can definitely hit while singing other more difficult parts is less about laziness or insecurity and more about her just saving her voice for the big finish. Of course she could just sing those parts she lips sans the extra embellishments and intensity (which I personally do when I sing difficult songs), but she's probably just avoiding the exertion of too much effort too early into a song. However, I also agree, though, that she needs to work on faking it more convincingly to avoid constant criticism. (Sunday 2 November 2014; 7:50)

The Elusive Chanteuse Tour Asian start (47,749) by this_is_qhm from the Philippines Mariah hasn't toured the world as extensively as other artists, but the several times she did was enough for her to distinguish each fanbase by their special characteristics. Every fanbase is cool, but Asian fans have always been enduringly loyal in nature, and they always go out of their way to create special, expensive souvenirs to give the artists who visit their countries; and with Mariah especially, that's times ten. Maybe that's the reason why she chose the continent to be the first leg of her tour. She knows she hasn't toured in a while, and that it would take some time for her to warm up vocally and confidence-wise. She knew that the oriental fans' more-supportive-less-critical nature would cushion the backlash should she get off to a rocky start, which she did. Of course there's still been some negative press locally in Asia, but I feel the same issue would've been magnified 100x had she chosen to start in the US or UK and mess up there. I mean, if negative word still got out even while she was halfway around the globe, imagine how much devastating the uproar would've been if she disappointed at let's say, the Nokia Theatre. If theory is true, then it's quite a smart move for her to make. She'll be all ready when she decides to take on shows in the west or record her next album, like how the Charmbracelet Tour helped create TEOM. Brace yourselves lambs. I may be relying too much on history repeating itself here but I really feel something massive is in the horizon. (Sunday 2 November 2014; 3:55)

Funny how (47,494) by this_is_qhm from the Philippines Funny how the media chooses to feed on negativity that it preoccupies them too much to also report the good. Funny how a lot of the critics are most probably not singers themselves which makes them incapable of realizing and relating to how it feels to have an "off" day as a singer. Funny how a lot of people are quick to compare Mariah's vocal state to how "better" those of Celine's, Barbra's, Aretha's currently are, as if personal differences was a myth and there was a "one-size-fits-all" approach to taking care for and using one's voice. Funny how a lot of fans are too quick to write Mariah off just because of a flop album and inconsistent recent performances when they know damn well they're the reason an interlude called Languishing was written. Funny how staying positive or even neutral in this board has lately become synonymous with "delusional", and how conversely, being critically constructive is derided as being hateful. Funny how even with all this crap I've just mentioned, we all still come around here once in a while to celebrate this remarkable woman, even if it means having to tolerate each other. Love, love, love. (Sunday 19 October 2014; 6:21)

Lee / Rock & Roll Hall Of Fame (47,371) by this_is_qhm from the Philippines It's a shame Mariah wasn't inducted nor even nominated yet. You'd also think other legends such as Janet Jackson should be there right now. But then again, I wouldn't think so highly of or expect much from a museum whose deciding committee is mostly composed of people who barely have any musical inclinations at all. Plus, they're mostly male, so the list of inductees will naturally feature less women, just like how most of the entries in Rolling Stone's 500 Greatest Albums of All Time are by male (rock) artists. (Saturday 11 October 2014; 6:34)

Nathan / Mariah's vocal evolution (47,360) by this_is_qhm from the Philippines Your post reminds me of a blog I once stumbled upon discussing Mariah’s vocal range, including its strengths and weaknesses. The author shared an interesting observation: that a unique quality of Mimi’s voice is that it sounds different on every album. This is so fascinatingly true. Mariah Carey: full, round, resonant Emotions: same but more powerful and breathier Music Box: a bit more controlled and softer Daydream: less round, even more refined, with noticeably more reliance on the upper register Butterfly: toned down, less round and a lot more whispery minus considerable bombast delivery-wise Rainbow: her first irreversible major vocal transition: noticeably harder and less youthful sound, “lazier” singing style (mouth not as open as usual), whispering sounds airier and more pronounced, even crooning sounds raspy Glitter: rougher overall texture, especially when transitioning from full voice to falsetto. Charmbracelet: her second transition: loss of roundness of tone and fluidity, weaker falsetto, airier, drier sound TEOM: noticeably more forced, even strained belting and more labored overall delivery E=MC2: continuation of “lazy” delivery, even less belting MOAIA: more leathery lower register and more nasal delivery MIAMTEC: fully mature, even heavier, edgier and harder sound So through the years, she lost a great deal of fluidity, roundness of tone, and ease, but compensated with more expression via more variation in delivery and texture and embracing vocal tics (breaking, abrupt punctuation of riffs), adapting staccato phrasing, and using shorter, more fidgety but artful runs and embellishments. She also sounds more confident, less eager to please, and more convincing. Yes, her voice could have aged better, but is still way better condition than Whitney’s was in her mid-40s or even late-30s. Although it’s significantly harder to access live, it's still is in great shape (currently sounds best on record since Glitter) and is now as expressive as it is impressive. That’s why most critics shut up about it already. (Saturday 11 October 2014; 2:09)

For the record (47,337) by this_is_qhm from the Philippines In the light of recent (mostly negative) inconsistencies in Mariah's performances, putting aside the fact that she should always strive to be on her best during these concerts people pay expensively to see her for, I still think there's something quite admirable about how she still tries to power through her songs even though so far she's mostly been failing to hit the money notes, or even stay in tune. I hate to draw the tangent again but that's the same attitude Whitney had in her last performances she got so criticized for. Write this off as another lame excuse or whatever, but here's the thing - I love Mariah, period. And I know I'm not alone in this. That's why I'm still gonna be critical at times, but at the end of the day, I'll always "come home" to her. That's a weird way of putting things, but it's during these times that we tend to lose sight of how much this woman really is worth in our lives. And while it's disappointing that she hasn't really prepared for a night that a lot of fans clamored, worked, saved, and waited for, I still think it'd be more of a fraud if she just mimed her way through the concert just to make it seem like she still has it. If that were the case, she won't just be robbing her fans, she'd also be fooling herself. (Friday 10 October 2014; 16:42)

Billy / Jazz Mariah (47,121) by this_is_qhm from the Philippines I agree with you with Mariah venturing more into jazz, especially considering her current vocal condition. It has adapted a more mature, smokier, more buttery tone that would probably fit the genre more than R&B. Belting isn't her vocal sweet spot anymore. It's her falsetto. Listen to Christmas Time Is In The Air Again, Charlie Brown Christmas, and When Do The Bells Ring For Me and you'll notice her voice naturally fits jazz than it does forced against a modern R&B track like You're Mine or Supernatural. Belting is much less needed in jazz. I truly believe that at a good day, she'll be able to sing Fourth Of July, Underneath The Stars and The Wind better with her current voice than she ever could in the 90s, just because of that tone. It's as if she sounds more 'expensive' now than she did back then when she mostly just sounded impressive. If she doesn't do jazz, then more traditional or throwback R&B is another natural fit, as evinced by Mine Again, Circles, IWYK, Your Girl, IAW, WCC, YDKWTD, TAOLG, #B, and MILG. Either way she goes in the future, she may no longer set the charts on fire, but at least it would make for better, age appropriate music that she could replicate more easily in live performances. (Sunday 5 October 2014; 6:27)

Mariah's current vocal state (47,118) by this_is_qhm from the Philippines Okay, how should I put this carefully. Her voice is still there, but it sounds tired, forced, and strained. She just wasn't ready for the show. There are a lot of things going with her life right now. I know there has to be some point that should stop being an excuse, and that having her resources she should be able to do everything in her power (vocal coaching, treatment, if needed) to help restore or at least preserve it, but before we get too critical for the millionth time, let's just take a moment and consider cutting her some slack again (even if it's for the millionth time as well). Mariah Carey is not dumb. She knows that singing has become much more challenging for her now. But since she doesn't talk about her vocal decline for personal reasons, it's harder to know just what's going through her mind about her voice. Whether she's in denial, feeling helpless, or just too scared that public admission of it would ruin her reputation is still anybody's guess. She gets more than enough criticism online already. I know this may sound like blind allegiance, but since this is her voice we're talking about and she's currently on tour, it would be better for every lamb to just keep defending her and hope and pray she gets it together during this crucial period. Plus, it's gotta be worth something that she still went ahead and exposed her voice at that condition for what seems to be most of the night when she easily could've mimed all the way through the entire concert. (Sunday 5 October 2014; 4:23)

Legacy (47,088) by this_is_qhm from the Philippines Mariah may have made music that's generally considered less historically significant than Madonna, Michael, or Janet, but her voice has made such an indelible mark in this world that it would be impossible to find a list of greatest singers that won't have her in it. Too bad she's criminally underrated as a songwriter. I think this is a bad side effect of having the most #1 hits for a solo artist - people tend to reduce her to a hit machine and that pretty much overshadows everything else she does. I really hope she does get recognition for her writing and producing efforts someday. (Saturday 4 October 2014; 16:57)

Heat / Mimi's "ghetto" alter ego (46,993) by this_is_qhm from the Philippines First time I heard this song, I was like, "Oooh girl, you're scary." This has to be the most combative and "hood" we'll ever hear of Mariah on a record. Thematically, it's like the sequel to X-Girlfriend, only more severe, with the damage infliction setting turned to 11, just like the confrontation that ensued when the bitch was dumb enough to ignore Mimi's warning. It's just brimming with so much sass and bravado that it ends up coming off as comical, which probably was the goal anyway, as everything about it points to that direction - the vibe, the production, the attitude, the "I'mma cut you" delivery, even right down to the sly melody. I was even thinking this song would've suited the Heartbreaker clip better. Haha. This is probably what Bianca sounds on a track. Wild, fiery, catty, and ghetto-fabulous. It's a pretty solid track, which makes me wonder why it didn't replace one of the monotonous ballads on E=MC2. Whether it's because it was considered too uncharacteristic of her with regards to her image at that time or that its (already censored) profanity was still a bit too much, all I know is that it's the most hilarious track she's ever done. Mimi on aggressive mode. This explains why all dem other basic bitches (a.k.a. regularities) should stand back. (Sunday 28 September 2014; 10:47)

Edward / Mariah's songwriting (46,987) by this_is_qhm from the Philippines I get where you're coming from, although it only seems to be that way. She still very much has the lyrical depth she had two decades ago, but now, her writing's gotten even better because she has the experience to back up whatever she says, making her able to breathe life into her words even more convincingly than she would've been back then. When she sings VOL now, it isn't as polished and effortless vocally as it was 20 years ago, but it still somehow sounds better because it's now coming from a woman who lived a lot more and isn't wide-eyed anymore. True, as she grew older, she adapted more "hip" language and some of her subject matter may have become less than age-appropriate, thus misleading most to believe that she's aging backwards with her music, but to me, it's just her growing as a songwriter and being able to talk about more things in more ways than she used to. I also feel like this shows how much she was suppressed in the early to mid-90s, and that if she totally had her way, she would've written I'm That Chick and It's Like That back then. Her writing has also become more "real" in a way, like closer to everyday life than her older, more platitudinal ramblings. Well, she still touches upon dem generalities now and then, but songs like Cry., Camouflage, and TAOLG prove she's still got that (big-worded) depth, only now, she can fuse it with plausibility. The fact that she has gotten cheekier and gained a whole lotta sass, sarcasm, and humor is just a big bonus. (Saturday 27 September 2014; 13:26)

MIAMTEC success / future singles, if any (46,985) by this_is_qhm from the Philippines A lot about MIAMTEC's underperformance has got to do with timing. It was off to a good start. Mariah was looking great, and as much as I didn't like how her Idol stint turned out to be, it still somehow helped propel #B to the top 20. Then came the album title leak, the pushback, then the injury, and the anticipation for anything from her quicky waned. It was clear that TAOLG wasn't released to be a hit; she put that out to vent somehow as she wasn't doing interviews at that time. It was YM(E) that was more of a calculated attempt to get a Valentine hit. Thirsty or YDKWTD would've been great singles - last year, right after #B. So now where do we go from here? Faded is the most commercial ballad and would be a great future release. Cry. comes a distant second since I doubt she'll release OMT (due to its faithfulness to the original), much less Camouflage which is lovely but not as distinctive as Cry. On the more upbeat front, I really hope she releases the album's best song, MILG. Dedicated or M($*/...) would also click with the younger crowd than Meteorite, which is great, but I feel would just end up like YDKWTD somehow. But since it's clear she's got nothing left to lose, I hope she'd just throw caution to the wind and just release anything she really loves on the album. Who knows, it just might take off and become an unexpected hit. But if none of this happens and she just decides to move on to the next album, I'd still be happy because she gave us a masterpiece. (Saturday 27 September 2014; 2:18)

Through The Rain (46,958) by this_is_qhm from the Philippines Although it was a minor hit in most major music markets, this ballad was a hit in Asia, particularly the eastern part. It was a huge hit in our country, and has singlehandedly pushed the album towards achieving platinum status. Its inspirational nature and message seemed a logical way to go after the Glitter debacle, and was one of the reasons why it's just as popular as Hero here. In fact, it has spawned a several covers from local artists, and is also a staple in karaoke bars and amateur singing contests. Yes, her voice during the verses is thin and airy, but to me, that adds to its appeal, and her performance that climax just makes you forget about that and just brings it home. My favorite thing about it is the way it perfectly exemplified the humility, honesty, ease, and grace that characterized the whole Charmbracelet era. Sadly, this track is often overlooked, but not now, at least for every lamb it has uplifted and given hope. Happy 12th anniversary, Through The Rain. (Thursday 25 September 2014; 15:39)

Media on Mimi's lovelife (46,909) by this_is_qhm from the Philippines I generally don't like, in fact, I try to refrain from commenting on Mariah's lovelife out of respect for her, I guess, since she's a celebrity and even stars like them should at the very least have their personal relationships to themselves especially since every other part of their lives is out in the open, even if they as people are public domain. So I'm fine with who Mariah wants to be with, whether I like the person or not, or whether the timing is right or not. Whatever makes her happy is great. I just hate how the media overblows everything about her lovelife. I mean I'm no stranger to the internet or how it works, and that the rumors of her getting closer with other celebs may very well be true, but the super-sensationalized headlines just make it seem like she's on the prowl for a new boytoy. There's nothing wrong if she's looking for love right now, it's just that the media spins it in a way that makes her look like hot on the heels of her separation, she has moved on so quickly from a 6-year marriage, as if she didn't value it at all. I know Nick is surrounded by the same rumors as well, but I just care about Mariah here. Let Nick do his thing and be the one to be talked about in a negative light. That being said, I hope Mariah will find the one someday, other than the kids she's got to show for, she's been quite unlucky in love. However this turns out, I'm just glad she has her kids, and that we can always hear everything through her music. (Tuesday 23 September 2014; 11:10)

Heartbreaker (46,889) by this_is_qhm from the Philippines I've read several reviews of this song and it's just sad that critics were generally mixed about it, especially during its release. I believe a lot of the dislike it received back then was because it was Mariah's fourth consecutive use of the her signature sampling formula for her upbeat lead singles, which is quite unfair as it's still a great song that has aged well and could still be a hit in 2014, and would trump most of today's hits because it isn't just a braindead ode to sex or dancing. While I personally feel it doesn't have the same impact as Fantasy or Honey, I still believe it's a solid offering both lyrically and musically. It's quite smart because you'd never guess from its upbeat, fun, vibe that it's actually a sad song. Sure, it showcases Mariah's slightly changed (more nasal, raspier, and airier) vocals, but her performance is still no less than amazing. Plus, you've got to be a pop genius to be able to come up with three hooks that each stand on their own as different parts of the song and meld them together seamlessly for the finale of a song. That's not to say the verses ain't great either. Plus, knowing it was rushed along with the rest of the album makes it even more impressive and is a testament to Mariah's work ethic and quality control even under difficult circumstances. No other song could've opened Rainbow better. Happy 15th birthday to the first pop/R&B with a guest rap feature to ever top the charts. Love playing it incessantly. (Monday 22 September 2014; 5:10)

There Goes My Heart (46,826) by this_is_qhm from the Philippines Don't know what's gotten into me, but I have been listening a lot to Charmbracelet lately, which is the first Mariah album I've ever owned and listened to. I love a lot of tracks in it, including some of the bonus ones, especially Miss You and There Goes My Heart. I just love how the tropical island vibe immediately transports me to the beach wherever I may be. Correct me if I'm wrong, but this is the only released Mariah track possessing this feel, right? She should do more of this. It would fit perfectly on any summer playlist or beach compilation. It reminds me of Janet Jackson's Spending Time With You. I also love how Mariah's so conflicted with her casual relationship and wants to take it to the next level but is being all shy about it. So sexy. The video for this could be a great sequel to the gorgeous Honey clip. Plus the ending lyrics are just perfect. Truly 7th heaven. (Thursday 18 September 2014; 3:24)

Butterfly (46,819) by this_is_qhm from the Philippines I was 14 when I first listened to Butterfly in its entirety. Back then, my musical taste was quite limited. I liked the singles, but it took me some time to take the rest of the album in save for Fourth Of July and Outside. It took me quite a while to appreciate the album as a whole, as I've previously always felt it was too moody and even a bit overlong. But, just like a real slow-burner, I have come to understand its appeal - dark yet sultry, and most importantly, emotionally naked. Now, I still feel like it sags a bit during the second half, but that doesn't change the fact that it will always remain Mariah's greatest body of work to me (so far). All her albums are snapshots of what she was during that time, but to me, this one always gave the most vivid image. Happy birthday, Butterfly. Out of all of Mariah's 90s albums, you have aged the most gracefully. (Wednesday 17 September 2014; 16:04)

Miss You (46,808) by this_is_qhm from the Philippines Anyone else really digging this song? I've always wondered why this didn't make the final main tracklist for Charmbracelet. If they deemed it inferior to the tracks that did, then I don't really feel the same way. I mean that chorus is just relentless in all the right ways. Plus, I feel like it's sort of the sequel to Boy (I Need You) in some way. And when JD introduces the bridge as the sexy part, it really, really is. Fun, light, and flirty - what's not to like? (Wednesday 17 September 2014; 4:06)

Enunciation (46,758) by this_is_qhm from the Philippines While I do get that some of Mariah's lyrics can be a bit of a challenge to understand, I've noticed that they only happen in any of 3 cases: 1) when she's singing rapidly that she's practically mumbling, which she usually does in monotone (i.e. Clown, Shake It Off); 2) as a side effect of vocal layering, which she usually does when, like someone here mentioned, she ad libs towards the final choruses of some songs (i.e. Thirsty, So Lonely) where of course, vocals on top of what would usually already a choir of Mariahs certainly won't help the lack of clarity; and 3) months ago, someone here also mentioned how her delivery somehow sounds slightly "accented" in a way, unlike her earlier singing which was sonically rounded. I believe this dates back to as early as the #1s/Rainbow era, where her delivery started to sound more labored, less round, and more nasal. I think this is because she's singing with her mouth not as open as usual to let less air out so she could sustain notes longer, as that has become more difficult for her to do as she aged (i.e. X-Girlfriend, Crybaby). But for Ariana, it's bad enough that she can't enunciate well when singing slow songs, let alone uptempo ones where her rapid-fire delivery mostly blends into one big blob of gibberish. (Friday 12 September 2014; 16:18)

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