Mariah Carey

Following her separation from Mottola in 1997, Carey introduced elements of hip hop into her album work, to much initial success, but her popularity was in decline when she left Columbia in 2001, and she was dropped by Virgin Records the following year after a highly publicized physical and emotional breakdown, as well as the poor reception given to Glitter, her film and soundtrack project. In 2002, Carey signed with Island Records, and after a relatively unsuccessful period, she returned to pop music in 2005.

VOICE
Carey is said to be able to cover all the notes from the alto vocal range leading to those of a coloratura soprano, and her vocal trademark is her ability to sing in the whistle register. She has cited Minnie Riperton as the greatest influence on her singing technique[106] and from a very early age, she attempted to emulate Riperton's high notes, to increasing degrees of success as her vocal range expanded. According to most sources, she has a five-octave vocal range, though some credit her with seven or eight octaves. At one point, The Guinness Book of Records recorded that there was no other singer who could hold a higher note than Carey. In 2003, her voice was ranked first in MTV and Blender magazine's countdown of the 22 Greatest Voices in Music, as voted by fans and readers in an online poll. Carey said of the poll, "What it really means is voice of the MTV generation. Of course, it's an enormous compliment, but I don't feel that way about myself."

THEMES & MUSICAL STYLE
Love is the subject of the majority of Carey's lyrics, although she has written about themes such as racism, death, world hunger, and spirituality. She has said that much of her work is partly autobiographical, but TIME magazine wrote: "If only Mariah Carey's music had the drama of her life. Her songs are often sugary and artificial—NutraSweet soul. But her life has passion and conflict." The Village Voice wrote in 2001 that, in that respect, Carey compared unfavorably with singers such as Mary J. Blige, saying "Carey's Strawberry Shortcake soul still provides the template with which teen-pop cuties draw curlicues around those centerless [Diane] Warren ballads [...] it's largely because of [Blige] that the new r&b demands a greater range of emotional expression, smarter poetry, more from-the-gut testifying, and less unnecessary notes than the squeaky-clean and just plain squeaky Mariah era. Nowadays it's the Christina Aguileras and Jessica Simpsons who awkwardly oversing, while the women with roof-raising lung power keep it in check when tune or lyric demands."