Quote:
Originally posted by goldsoundz
The mixing on that record is the best since Daydream, mostly because she didn't use Phil Tan for the Hit Boy tracks. I didn't like "Infinity" much. The melody was nice, but the production is terrible, and the co-writing team they used was extremely low budget. L.A. is loyal to her, but he's too close to be honest, and he has terrible judgment when it comes to singles. Mariah is always on the money, but too easily convinced by people she trusts, like L.A.
I think the vocals are great on MIAMTEC. They aren't nearly as comped as on any of her albums at Universal, the reverbs are really lush, and she sounds more like 90s Mariah than on the seven previous albums. There was some auto-tune, but it wasn't overdone like on Memoirs or MCIIY. Of course, there are exceptions: the extra songs she tagged on after July are rough vocally, but she was going through the most difficult period of her life.
The only label with a decent budget left at Sony is Columbia. Republic, Capitol, Island, Def Jam, Warner/Atlantic, etc. can afford to promote their artists.
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I enjoy reading your posts. Do you have any tidbits on Charmbracelet (vocals, single choices; who chose what / what should've been released), TEOM & E=MC2 (single plans that didn't happen for each), MOAIA (whose decision was it to have The-Dream do the whole album; did Mariah work with Timbaland besides Skydiving, and what about JD) that you can share with us?
Her voice was just too light and bright then for that.
RainGutterBow
Here for VOL winning 
