1 	Betcha Gon' Know (The Prologue) 	
2 	Obsessed 	
3 	H.A.T.E.U. 	
4 	Candy Bling 	
5 	Ribbon 	
6 	Inseparable 	
7 	Standing O 	
8 	It's A Wrap 	
9 	Up Out My Face 	
10 	Up Out My Face (The Reprise) 	
11 	More Than Just Friends 	
12 	The Impossible 	
13 	The Impossible (The Reprise) 	
14 	Angel (The Prelude) 	
15 	Angels Cry 	
16 	Languishing (The Interlude) 	
17 	I Want To Know What Love Is 
	
18 	Obsessed (Cahill Radio Mix)
19 	Obsessed (Seamus Haji & Paul Emanuel Radio Edit)
20 	Obsessed (Jump Smokers Radio Edit)
21 	Obsessed (Friscia And Lamboy Radio Mix)

Mariah Carey’s enduring success – the lead single from this twelfth studio album, the Eminem-baiting Obsessed, was the singer’s fortieth hit on the Billboard Hot 100 – may have something to do with how she seems to get younger with each release. Though nearing 40, the New Yorker appears fresher of face and curvier of frame with each sleeve, and Memoirs… features the singer flaunting a degree of flesh not seen since studio album number seven, 1999’s Rainbow.

Without meaning to set off on the wrong foot – looks first, music second – the imagery associated with Carey is of vital importance in her marketing. Arguably without a great album to her name since 1997’s Butterfly, on which the RnB star fully realised her hip hop ambitions through collaborations with Puff Daddy, Missy Elliott and Q-Tip, focus has increasingly been placed on her private life – hence the did-they-or-didn’t-they-and-does-anyone-care nonsense over her apparent knee-trembler with Marshall Mathers III in the run-up to this release – and her private parts, with Memoirs… flaunting its box-ticking methodology: girls buy it for the syrupy ballads and middle-finger rebuttals of a partner’s too-little-too-late affections, and guys pick it up for, well, other reasons.

That’s a terrible generalisation, but then again these are terribly middle-of-the-road songs that need the most obvious colour to liven proceedings up. They leap from stereo speakers like salmon on their nth trip back up river, knowing perfectly well what they’re doing, where they’re going and how to get there, doing nothing to disguise the fact that they’ve done it all before. Memoirs… plays out like an auto-pilot effort, but coming only a year after Carey’s last album, the fairly well received E=MC², perhaps the listener shouldn’t be surprised by the dearth of invention on show, and the filler feel of so many of these tracks. But then again: if there’s no album ready, don’t release an album.

Lyrically it’s confused, our protagonist alternating between spurned lover with attitude and a big-eyed I’d-do-anything-for-you type; the production team of The-Dream and Tricky Stewart offer no arrangements even nearing memorable; and the record’s myriad interlude-style interjections only serve to prolong what’s already an over-long non-event release. Her voice is great, but we’ve known that since day one. The most interesting aspect of the whole album is, sadly, the cover: more thought has probably gone into that than any of these pastiches of past achievements. --- Mike Diver, BBC Review

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01. Hero 
02. Vision Of Love 
03. Without You 
04. Always Be My Baby 
05. My All 
06. How Much (ft Usher)        play
07. Dreamlover 
08. Grazie a Dio I Found You (Nas and Joe) - Make It Last Remix 
09. The Roof 
10. One Sweet Day 
11. Anytime You Need A Friend 
12. I'll Be There 
13. I Still Believe 
14. Riflessioni 
15. Open Arms 
16. Against All Odds            play
17. Endless Love

LoveSongs is a compilation album by R&B superstar Mariah Carey. It is a re-release of her 2008 collection The Ballads (without the song "All I Want for Christmas Is You"), and was released exclusively in the UK in time for Valentine's Day on February 8, 2010.

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01 – Santa Claus Is Coming To Town (Intro) 
02 – Oh Santa! 
03 – O Little Town Of Bethlehem Little Drummer Boy Medley 
04 – Christmas Time Is In The Air Again 
05 – The First Noel Born Is The King (Interlude) 
06 – When Christmas Comes 
07 – Here Comes Santa Claus (Right Down Santa Claus Lane) Housetop Celebration 
08 – Charlie Brown Christmas 
09 – O Come All Ye Faithful Hallelujah Chorus (feat. Patricia Carey) 
10 – O Holy Night – Live From WPC In South Central Los Angeles   play
11 – One Child                     play
12 – All I Want For Christmas Is You – Extra Festive 
13 – Auld Lang Syne – The New Year’s Anthem

It’s utterly unavoidable at this time of year. Be you in the car or the shopping centre, at work or play, in Britain or Bermuda: someone, close by, will be playing All I Want for Christmas Is You. Mariah Carey’s contribution to the festive season’s slew of ubiquitous-for-two-months singles was originally released back in 1994 – today, it’s her biggest-selling single in the UK, and regularly appears in charts the world over come the year’s end. To some ears it’s a contemporary classic that simply can’t get old; to others, its presence on the radio is a sign that it’s time to switch to the iPod over tuning in to any commercial station, for fear of more of the same.

If you’re the kind of jolly listener who falls into the former camp, and Carey’s enduring hit is more than music to your ears, it’s a brilliant beacon of festivity every bit as vital to the stirring of cheer as a cola-coloured Santa and double-A batteries, you are in luck: here is a brand-new long-player full of similarly styled fare. All I Want… is given a new lick of paint – it’s an "extra festive" version, but beyond beefier production and newly tracked vocals it’s hard to hear how it qualifies as having extra anything over the original – and a selection of traditional numbers are given treatments Carey’s many fans will find appealing. Mercifully for those who aren’t wholly taken with her, those soar-away vocals are kept largely in check, the high-pitched squeal which has ruined several songs in her back catalogue relatively reined in. Indeed, she exercises admirable restraint at times, and the songs benefit from it – before it’s slathered in cheesy beats, Auld Lang Syne is surprisingly tender, and 13th century hymn O Come All Ye Faithful is treated with respect.

There are four new tracks here, amongst the well-performed favourites. Of them, Oh Santa! is a boisterous RnB bopper that makes perfect sense as this set’s lead single – it’s not in the same league as All I Want…, but it’s sure to warrant revisiting 12 months down the line. Christmas Time Is in the Air Again and When Christmas Comes are less instant, but perfectly formed nonetheless, each an unfussy number that complements the surrounding content well. One Child is bogged down in sentiment, but any unpleasantness in the mouth is soon washed clean by the arrival of that hit.

It’s not particularly clever, but it is expectedly big: if you’re a Carey fan with a stocking that needs filling this year, this’ll perk you up better than any alternative speech or sherry trifle could. ---Mike Diver, BBC Review

Po wydanym w 1994 roku Merry Christmas Mariah Carey stała się prawdziwą królową kolęd. Album zdobył niebywałą popularność. Do dziś sprzedał się w ilości przekraczającej 15 milionów egzemplarzy. Przyniósł też przebój All I Want for Christmas Is You, który do dziś należy do najbardziej sukcesywnych świątecznych utworów. Po dokładnie szesnastu latach Mariah wydała jego kontynuację. Po raz drugi życzy Merry Christmas II You (us).

Od czasów Merry Christmas oblicze muzyki zmieniło się nie do poznania. Być może, gdyby Carey debiutowała teraz, nie zostałaby doceniona. Mieszanka pop, R&B oraz soulu przez nią prezentowana przeszłaby zapewne niezauważalnie. Dlatego i ta artystka przeszła metamorfozę. Niestety – jej krążki z ostatniego dziesięciolecia (m.in. lipne Glitter czy nudne Memoirs of an Imperfect Angel) do pięt tym starszym nie dorastają. Na szczęście Merry Christmas II You to powrót do ciepłych ballad, które przyniosły wokalistce największą popularność. ---Filip Wiącek, allaboutmusic.pl

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1. Heartbreaker Intro Blend
2. Heartbreaker Remix ft. Jay-z
3. You Make Me Wanna ft.Jadakiss
4. You Got Me ft. Freeway And Jay-z
5. Shake It Off Blend
6. The Roof
7. We Belong Together Blend
8. We Belong Together Remix ft. Jadakiss And Styles P
9. Touch My Body Blend
10. Angles Cry
11. Sweet Heart Blemd
12. Oh Boy(I Need You)-ft. Cam’ron
13. Candy Bling ft. Styles P
14. Up Out My Face ft. Nicki Minaj Blend
15. Always Be My Baby Blend
16.Fantasy ft. ODB
17. Inseprable ft. Juelz Santana
18. Breakdown Blend
19. Honey Remix ft. The Lox And Mase
20. Don’t Forget About Us Blend
21. Bye Bye Blend
22. Hate You Blend
23. Hate You-Oj Da Juice Man And Gucci Man Verse
24. I Miss You ft. Jadakiss
25. I’ll Be Loving You Blend 1
26. I’ll Be Loving You Blend 2
27. It’s Like That
28. Loverboy Remix
29. Make It Last Forever Remix
30. More Than Friends
31. Obsessed ft. Gucci Man
32. Ribbon

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01 100% 
02 Heat 
03 So lonely (Ft. Twista) 
04 I feel it 
05 Against all odds (Ft. Westlife) 
06 There goes my heart 
07 Mizza (Ft. Damizza) 
08 4Real4real (Ft. Da brat) 
09 I know what your want (Ft. Busta Rhytmes) 
10 Miss you 
11 Sprung 
12 Pisces (Ft. Trey Lorenz) 
13 Makin' it last all night (What it do) 
14 God rest ye merry gentlemen

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1 	Vision Of Love 	3:30
2 	There's Got To Be A Way 	4:53
3 	I Don't Wanna Cry 	4:48
4 	Someday 	4:08
5 	Vanishing 	4:12
6 	All In Your Mind 	4:45
7 	Alone In Love 	4:12
8 	You Need Me 	3:52
9 	Sent From Up Above 	4:04
10 	Prisoner 	4:24
11 	Love Takes Time 	3:49

This extremely impressive debut is replete with smooth-sounding ballads and uplifting dance/R&B cuts. Carey convincingly seizes many opportunities to display her incredible vocal range on such memorable tracks as the popular "Vision of Love" (featured during her television debut on The Arsenio Hall Show, an appearance noted by many as her formal introduction to stardom), the energetic "Someday," and the moody sounds of the hidden treasure "Vanishing." With this collection of songs acting as a springboard for future successes, Carey establishes a strong standard of comparison for other breakthrough artists of this genre. ---Ashley S. Battel, AllMusic Review

Coached by her mother (an opera singer), Carey wrote her first songs with keyboardist Ben Margulies, while working as a waitress and janitor. She struck gold after she was signed (and romanced) by Columbia executive Tommy Mottola at a party. Her debut album, Mariah Carey (Columbia, 1990), spawned five hits: Vision Of Love, There's Got to Be a Better Way, Love Takes Time, the ballad that established her as one of the greatest interpreters of her time, the Madonna-inspired dance of Someday and the heartbreaking ballad I Don't Wanna Cry. The album will sell six million copies in ten years. ---scaruffi.com

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1.Honey 	5:01
2.Butterfly 	4:35
3.My All 	3:52
4.The Roof 	5:14
5.Fourth Of July 	4:22
6.Breakdown 	4:44
7.Babydoll 	5:07
8.Close My Eyes 	4:21
9.Whenever You Call 	4:21
10.Fly Away (Butterfly Reprise) 	3:49
11.The Beautiful Ones 	6:59
12.Outside 	4:47
13.Honey (So So Def Radio Mix) 	3:59
14.Honey (Def Club Mix) 	6:17

Drums – Dan Shea (tracks: 2, 3, 5, 8, 9, 12), Nathaniel Townsley III
Keyboards – Dan Shea (tracks: 2, 3, 5, 8, 9, 12), Walter Afanasieff (tracks: 2, 3, 5, 8, 9, 12)
Mixed By – Mick Guzauski (tracks: 2, 3, 5, 7 to 9, 12), Tony Maserati (tracks: 1, 4, 6, 11)
Synthesizer – Walter Afanasieff (tracks: 2, 3, 5, 8, 9, 12)
Backing Vocals – Melonie Daniels, Trey Lorenz, Mary Ann Tatum, Kelly Price
Bass – Artie Reynolds
Guitar – Michael Cirro

Butterfly was Mariah Carey’s sixth album and the one where she departed from the formula that had been established on her breakthrough single, 1990’s Vision of You. The album was released after Carey’s much-publicised split with her husband and mentor, Tommy Mottola, the then-president of Sony Music Entertainment. At the time of the album’s release, Carey told the Los Angeles Times: "At this point, I feel free enough to express what I’m really feeling, without using a smokescreen… It’s definitely an evolution for me." This evolution meant that there would be a greater acknowledgment of her urban and hip hop influences and the last time that she worked significantly with her original producer, Walter Afanasieff, who had given her signature, ballad-heavy sound.

As a result, Butterfly is Carey’s last truly great album to date. The main singles, Honey and My All (both US chart-toppers), demonstrate the record’s two approaches. The former is produced by Puff Daddy and his team, with programming by Q-Tip. It’s a breezy, street-savvy sound, partially based on the melody from Hey DJ by The World’s Famous Supreme Team and Treacherous Three’s The Body Rock. It gives new life to Carey’s vocals, and for once her performance is relatively restrained, as she sounds positively engrossed in the material. My All, on the other hand, is written and produced by Carey with Afanasieff. It encapsulates her more traditional, straight ballad approach with Latin overtones. Across Butterfly, these styles meld together effortlessly.

However, the real joy is in the relatively dreamy down-tempo vibe of the remainder of the album. The Roof, produced by the then lava-hot Poke & Tone production duo, is probably the best example of this floating, ethereal soul. Featuring a sample of Shook Ones Part II by Mobb Deep, it updates the woozy soul of Marvin Gaye’s Here, My Dear. Breakdown features two of Bone Thugs-n-Harmony, adding their rolling beats to Carey’s melisma-rich vocal. Also surprising is the almost karaoke version of Prince’s Purple Rain showstopper The Beautiful Ones, here presented as a powerful duet with Dru Hill.

Of course, being a Carey album, there is some requisite showboating (Whenever You Call, Outside), but judicious programming makes Butterfly a real treat, and comes recommended to those Carey doubters who have never strayed beyond her singles. --- Daryl Easlea, BBC Review

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1. Migrate (featuring T-Pain) 4:17
2. Touch My Body 3:24
3. Cruise Control (featuring Damian Marley) 3:32
4. I Stay In Love 3:32
5. Side Effects (featuring Young Jeezy) 4:22
6. I'm That Chick 3:31
7. Love Story 3:56
8. I'll Be Lovin' U Long Time 3:01
9. Last Kiss 3:36
10.Thanx 4 Nothin' 3:05
11.O.O.C 3:26
12.For The Record 3:26
13.Bye Bye 4:26
14.I Wish You Well 4:35

Two weeks prior to the April 2008 release of E=MC2 -- Mariah Carey's tenth album and the sequel to her big 2005 comeback, The Emancipation of Mimi -- the diva broke Elvis Presley's record of being the solo artist with the most number one singles on the Billboard charts. Lots of publicity surrounded "Touch My Body" reaching number one, as well it should: busting an Elvis record is always news, but this particular record served team Mariah well, as it paints Carey as being a diva who's bigger and better than the rest. An unintentional side effect of this very record is that it also tacitly pointed out that Mariah has been around a long, long time: 18 years, to be exact, roughly two years shy of the two decades that it took Elvis to establish his record. Unlike Elvis -- or any other major artist who's been around for two decades, for that matter -- Carey seems determined not to look back, to exist in some kind of eternal now, never acknowledging that she has a past, unless she's wielding her divorce from her ex-husband/ex-record label chief Tommy Mottola for some kind of sympathy, something she does once again here via vague allusions to naïveté and "violent times" on "Side Effects." Mariah refers to that separation so often that it's hard not to think of it as something recent but it happened a long, long time ago -- well over a decade prior to the release of E=MC2, to be precise -- but as the separation was the pivot point for Carey's career, it's easy to see why she keeps returning to it, even if the emotional heft of her singing about the pain has long since diminished.

After that separation, Carey restyled herself as a relentlessly modern R&B diva, chasing every passing trend in a given year, a move that often kept her on the top of the charts -- apart from the post-millennial stumble of Glitter, of course -- but had the side effect of making Mariah a musician who became progressively less mature with each passing year, culminating in the hazy soft-porn fantasies of "Touch My Body," the single that broke Elvis' longstanding record and will likely only be remembered for that achievement. Like so much of Emancipation and E=MC2, which is a virtual replica of its predecessor in almost every way, "Touch My Body" is all about sound, rhythm, and texture and not so much about song, something that helps sustain Mariah Carey's run at the top the charts, but something that also pushes melodic hooks, and in the process singing, into the background. As Carey's multi-octave voice has always been her calling card, the one thing that even her biggest critics have grudgingly acknowledged as her unassailable strength, this is a little odd -- especially on the T-Pain duet "Migrate," where she succumbs to auto-tune -- but it not only makes Mariah modern, it also camouflages her slightly diminishing range, so it does have a dual purpose. Sometimes all this production is good and occasionally it's married to a full-fledged, hooky song, as on the excellent "I'm That Chick," a sleek slice of Off the Wall disco that's nearly giddy in its energy and melody, and perhaps on "I'll Be Lovin' U Long Time," which also has a lightness that so much of E=MC2 lacks. Everything else pushes the rhythm and bass to the forefront and mixes Mariah into the middle, so it becomes a wash of sound -- sound that is designed to be fashionable, but like so much fashion, it's tied to the time and dates quickly. Which is why it's misleading to judge Mariah based on her new record of possessing the most number one singles, as she's not about longevity, she's about being permanently transient, a characteristic E=MC2 captures all too well. ---Stephen Thomas Erlewine, AllMusic Review

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01 - I Know What You Want (Feat. Busta Rhymes)
02 - Mizza (Feat. Damizza)
03 - What Would You Do (Feat. Damizza, Nate Dogg & Butch Cassidy)
04 - U Make Me Wanna (Feat. Jadakiss)
05 - Friendz (Feat. N.O.R.E. & Big Pun)
06 - My Life (Feat. Damizza & Knoc-Turn'al)
07 - With You I'm Born Again (Feat. John Legend)
08 - I Like It (Feat. Buccweet)
09 - It's Only Make Believe (Feat. Sam Moore & Vince Gill)
10 - Paul Robbins - I Pray (Wow Exclusive)
11 - Pisces (Feat. Trey Lorenz)
12 - Lil L.O.V.E. (Feat. Bone Thugs-N-Harmony & Bow Wow)
13 - I Understand (Feat. Bebe Winans, Kim Burrell, Rance Allen)

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01. Hero 4:20
02. One Sweet Day (Feat. Boyz II Men) 4:42
03. Vision Of Love 3:30
04. Without You 3:35
05. Can't Let Go 4:27
06. Love Takes Time 3:48
07. I'll Be There (Feat. Trey Lorenz) 4:44
08. Thank God I Found You (Make It Last Remix) (Feat. Nas & Fat Joe) 5:10
09. Endless Love (Feat. Luther Vandross) 4:21
10. I Still Believe 3:56
11. My All 3:52
12. The Roof 5:15
13. When You Believe (Feat. Whitney Houston) 4:34
14. Anytime You Need A Friend 4:27
15. Always Be My Baby 4:19
16. Dreamlover 3:54
17. How Much (Feat. Usher) 3:30
18. Reflections 3:21

In 1998, it would have been a cheap joke to say that Mariah Carey had no other kind of hits than ballads, but in the ensuing decade she steadily remade herself into an R&B diva, obscuring if not quite erasing the well-mannered adult contemporary singer of the '90s. The 2009 compilation The Ballads -- released just before Valentines Day 2009 -- attempts to turn back the clock by focusing just on those AC tunes -- 18 of them, in fact, including such mammoth hits as "Hero," "One Sweet Day," "Vision of Love," "I'll Be There," "I Still Believe," "Dreamlover," and "Always Be My Baby." Of course, this concentration on middle of the road ballads is a side effect of label affiliation: The Ballads is a product of Sony, who had Mariah during the '90s, before the club R&B overshadowed these office-friendly hits, so it's easier for them to cobble together a comp of Carey at her most sentimental. And that's what The Ballads is: nothing but big love songs sung in a big voice. For fans who have missed this side of Mariah in the 2000s, this is a welcome reminder of what they used to love. ---Stephen Thomas Erlewine, AllMusic Review

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