Just found this NYT review of Mariah's debut album from July 8, 1990 and wanted to share. (They also reviewed Anita Baker and Oleta Adams in the same article - I cut out the Anita/Oleta parts, but the link is here if you care about them, LOL):
http://www.nytimes.com/1990/07/08/ar...rd=relbias%3Aw
RECORDINGS; Three Voices And the Dangers Of Compromise
By contrast, ''Mariah Carey'' (Columbia CK 45502; all three formats), the debut album of a 20-year-old white soul singer from New York, hits the commercial bull's-eye. In fact, it has already yielded a hit with its first single, ''Vision of Love.'' The daughter of a former singer with the New York City Opera, Ms. Carey has a strong, steely voice reminiscent of Whitney Houston's that projects an almost Olympian invincibility. 
Stylistically, Ms. Carey's record falls slightly on the conservative side of the pop-soul spectrum. Ballads outweigh uptempo songs, and only one cut, ''Prisoner,'' directly acknowledges hip-hop styles. 
What makes ''Mariah Carey'' stand out from similarly formulaic records is the singer's sheer talent. The commercial core of her album consists of four ballads - ''Vision of Love,'' ''Love Takes Time,'' ''There's Got to Be a Way'' and ''I Don't Wanna Cry'' - which she belts out with bravura. 
Ms. Carey has a remarkable range that extends from a rich full alto to an octave above an opera singer's high C. Her upper register is showcased in dazzling little coloratura embellishments on the song ''All in Your Mind.'' Although Ms. Carey maintains a strong gospel flavor throughout the album, the depth of her affinity for the genre is revealed on ''Vanishing,'' in which she sings with the pianist Richard Tee. 
Ms. Carey seems to have everything it takes to become successful quickly. One hopes that mass popularity won't constrain her to pop formulas, and that if she does break away, the break does not entail the sort of compromises that made Ms. Baker's album such a disappointment.
----My only beef with this review is that they consider TGTBAW a ballad.