Mariah releases 'Ballads' in time for V-Day
Mariah Carey, 'The Ballads'
Before Mariah shed her girl-next-door image – and just about every article of clothing – she was the quintessential queen of ballads, from the pick-me-ups to the heart-torn weepies. As a pre-Mimi reminder, or an easy way to make a quick buck off her hottest hits in time for Valentine's Day, Sony's latest collection – which recycles many of her sublime No. 1 singles from two of the three best-of's – wisely showcases what used to flow as effortlessly as swallowing a shot of Patron. "Endless Love," her lovely duet with the late Luther Vandross, "One Sweet Day" with Boyz II Men and the timeless "Vision of Love" fit the ballad bill, but other misguided inclusions would boggle even Jessica Fletcher's mystery-solving mind. As it pertains to the traditional "ballad" definition, sex-crazed "The Roof" passes. But adding up-tempos like "Dreamlover" and Usher-teamed "How Much," especially with a handful of rare B-sides to pick from, makes Mariah look money hungry. C
Duncan Sheik, 'Whisper House'
Once a one-hit wonder (remember "Barely Breathing"?), Duncan Sheik made his name known in the gay community for his later theatrical leanings. Album number four, and his first since the award-winning "Spring Awakening" musical production and 2006's LP "White Limousine," is rooted in lite pop and mild folk, with faint traces of theatrical flourishes. Laying the groundwork for a stage show later this year, about a boy living with his aunt in a haunted lighthouse, the 10-song story is an earnest outing, and several tracks zing with ear-pleasing harmonies from Holly Brook. But it's the whimsical vaudeville-ish "The Tale of Solomon Snell" that should've been the foundation for the album, which, with a sleepy execution, might fare better when paired with visual elements. By itself, though, "Whisper House," sounds sometimes as dead as the ghosts in it. C+
Wynonna, 'Sing: Chapter 1'
Her voice could climb Mount Everest in one fell swoop, and at times on this collection of vintage pop and country songs, it does. Traipsing from love ballad (orchestral-shaped "When I Fall in Love") to heartbreaker (the mighty tender reading of "I'm So Lonesome I Could Cry"), the queer-loved down home diva (an Olivia cruise-line performer, by the way) is best when she lets her made-for-belting instrument loose, growling her way through "The House is Rockin'" and "I'm a Woman." "That's How Rhythm was Born," a spirited toe-tapper, and the Merle Haggard cover "Are the Good Times Really Over" swings back to her Southern roots. But Wy's never been one for being genre cornered, and this reflection of her life thus far is paved with heartache, sassy kiss-offs and, on the original "Sing," a keep-on-keepin'-on message we can all appreciate: "Sing your heart out," she commands. That, she does. B+
ALSO OUT
Kylie Minogue, 'Boombox: The Remix Album 2000-2008'
The gay-adored vixen was meant to be heard this way – awash with disco ball shimmer and shine, which is what this set does. Mostly. "Slow (Chemical Brothers Mix)" is a sexy body-grinder, swooshed with laser effects, but "Your Disco Needs You" is a time-warpy tragedy. But you'll be too busy bumping to it to notice.
Gavin Castleton, 'Home'
Mimicking the Chipmunks for the tail-end song of this high-reaching concept album might be off-the-charts ridiculous – but this classically trained pianist isn't one for convention. His latest theatrical outing, an ambitious break-up disc that hopscotches between genres (hip-hop, goth, dance, pseudo-rap – all with musical swathes) churns out plenty of nifty nuggets. (Out Feb. 13)
Chris Pureka, 'Chimera'
That bourbon-soaked voice of this Massachusetts folkie is, really, reason enough to own her seven-song EP. Or parts of it, at least. Forget the lo-fi live recordings, but the new song, the quiet "California," and a re-imagined old ditty, "Hold it Together" are zestfully good. Almost as good as the studio cover of road-trippy "Wagon Wheel," a must-have morsel. (Available on iTunes)
