"Auld Lang Syne (The New Year's Anthem)" garnered a negative response from critics. Mike Diver of the BBC wrote that Carey shows restraint for the most part of the album, but "Auld Lang Syne (The New Year's Anthem)" as the final track is "slathered in cheesy beats". "Rolling Stone" writer Caryn Ganz disapproved of the dance beat, saying "It's hard to figure out what's 'extra festive' (as the full song title promises) about her 'All I Want for Christmas Is You' update, and far easier to determine what's wrong with 'Auld Lang Syne' (an awkward dance beat)." Juzwiak was critical of the song, describing it as "robotic".
Critical reception
Auld Lang Syne (The New Year's Anthem)
Auld Lang Syne (The New Year's Anthem) | Critical reception
Negative responses from critics. It garnered a negative response from critics. It garnered a negative response from critics. It received negative response from critics
who sang all i want for christmas in 1995
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Mariah Carey.
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who is she?
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She is an American singer-songwriter and actress.
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what was her early days like?
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Racial tensions prevented the Carey family from integrating into their community though she excelled in the arts, such as music and literature in school.
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what are some famous songs she performed during 2010?
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Oh Santa! and Auld Lang Syne (The New Year's Anthem).
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who composed the former mentioned one?
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Mariah Carey.
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how did it perform in the charts?
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It became a record-breaking entry on the "Billboard" Adult Contemporary songs chart.
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how was it received critically?
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There were mixed reviews.
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what was her other song about?
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It is a re-write of "Auld Lang Syne" and Robert Burns and Mariah Carey had re-composed the poem into a house song.
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how was it received critically?
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"Auld Lang Syne (The New Year's Anthem)" garnered a negative response from critics. Mike Diver of the BBC wrote that Carey shows restraint for the most part of the album, but "Auld Lang Syne (The New Year's Anthem)" as the final track is "slathered in cheesy beats". "Rolling Stone" writer Caryn Ganz disapproved of the dance beat, saying "It's hard to figure out what's 'extra festive' (as the full song title promises) about her 'All I Want for Christmas Is You' update, and far easier to determine what's wrong with 'Auld Lang Syne' (an awkward dance beat)." Juzwiak was critical of the song, describing it as "robotic".
Auld Lang Syne (The New Year's Anthem) | Critical reception
"Auld Lang Syne (The New Year's Anthem)" is a re-write of "Auld Lang Syne" by Scottish poet and lyricist Robert Burns, which was written in 1788 and published in James Johnson's "Scots Musical Museum" in 1796. However, as noted by the BBC's Pauline Mackay, Burns often re-arranged and rewrote old songs before publishing them as his own work, and is thus listed under the public domain. Mariah Carey's version is a new arrangement that uses some of the original lyrics by Burns, and was composed by Carey with Randy Jackson and Johnny "Sev" Severin. The singer's vocals were recorded by Brian Garten at Henson Studios and Westlake Recording Studios, both located in Los Angeles, California.
Auld Lang Syne (The New Year's Anthem) | Background and composition
"Auld Lang Syne (The New Year's Anthem)" is a song by American singer and songwriter Mariah Carey from her second Christmas album/thirteenth studio album, "Merry Christmas II You" (2010). The second single from the album, an extended play consisting of nine remixes was released by Island on December 14, 2010. Using the public domain poem "Auld Lang Syne" by Robert Burns, Carey along with Randy Jackson and Johnny "Sev" Severin (of RedOne) composed a new arrangement, added lyrics and re-titled it. The track garnered a negative response from critics, all of whom disliked how Carey had re-composed the poem into a house song.
Auld Lang Syne (The New Year's Anthem) | Introduction
A music video for "Auld Lang Syne (The New Year's Anthem)" was released on December 15, 2010. A pregnant Carey, who only moves from the waist up, wears a black laced dress while standing in front of a green screen, which depict exploding fireworks in the nights sky. Becky Bain for Idolator positively reviewed the video, writing "There is something so endlessly entertaining about watching Mariah Carey do her patented diva theatrics — waving her arms like a crazy hand model; tenderly stroking her hair; spinning around dramatically."
Auld Lang Syne (The New Year's Anthem) | Music video
Kevin J. Coyne of Country Universe gave the song a C rating. "There’s such an incongruity between the softly sung verses and the bombastic chorus that it’s hard to get a handle on how she’s asking the titular question. Is she angry? Sad? Disappointed? Disbelieving? Take any twenty seconds of the song, and you might get a different answer."
Didn't You Know How Much I Loved You | Critical reception
The Young Folks considered the song to be the 34th best in the musical, while a community post on Buzzfeed ranked the song 20th. "Huffington Post" remarked that "the mash-up of previous tunes works well" and complimented the use of auto-tune.
The Reynolds Pamphlet (song) | Critical reception
The heartfelt and harrowing performance she gives here should put her in line for a heap of year-end awards." The film was nominated to the Golden Bear at the 54th Berlin Film Festival.
Maria Full of Grace | Critical response
Digital Spy's Robert Copsey awarded the song with a four out of five points rating, writing that Perry sounded "effortless" as compared to her peers.
Unconditionally | Critical reception
"Emotions" received positive reviews from critics. "Emotions" was nominated for the 1992 Grammy Award for Best Female Pop Vocal Performance, losing to "Something to Talk About" by Bonnie Raitt. It won a BMI R&B Award, continuing Carey's unbroken streak of wins for this award. Carey was also nominated for Producer of the Year (non-classical), becoming the second woman to achieve this honor.
Emotions (Mariah Carey song) | Critical reception
The song was given mixed reviews by musical critics: Mark Guarino of the Arlington Heights, Illinois "Daily Herald" called the song "earnestness at its slickest", while Ann Powers of "The New York Times" said that it was "splendidly corny".
It's Your Song | Critical reception
In a contemporary review, "Entertainment Weekly" wrote that while Carey possessed an "astonishing vocal range and high ideals", the album was plagued by poor songwriting. Robert Christgau was more critical in "The Village Voice", unenthusiastically touching on the opera roots of Carey's mother while finding much of the material clueless about its love themes. Jan DeKnock from the "Chicago Tribune" was more impressed by the album, finding it abundant with "sparkling tracks" that showcase Carey's songwriting and production talents, particularly "Vanishing". "Mariah Carey" was nominated for the 1991 Grammy Award for Album of the Year, while "Vision of Love" received nominations in the categories of Song of the Year, Record of the Year and Best Female Pop Vocal Performance.
Mariah Carey (album) | Critical reception
He described the production as a "mumbo jumbo of disparate elements", and wrote "the mighty may have fallen here".
Loverboy (Mariah Carey song) | Critical reception
The Young Folks had it ranked as the 16th best song in the musical. "Huffington Post" praised the "poignant rumination on death and legacy", and said that the song was effective as it makes Burr complex and real, rather than a mere villain.
The World Was Wide Enough | Critical reception
The song did not win either nomination, a typical trend of Carey's nominations at the Grammys. "Honey" won many prestigious awards throughout the music industry in 1997 and 1998. The song was nominated at the 1998 Grammy Awards for Best Female R&B Vocal Performance and Best R&B Song. Additionally, the song won the BMI Pop Award for "Songwriter."
Honey (Mariah Carey song) | Critical reception
The opera received lukewarm reviews. "The Morning Post" thought the libretto suffered from having an obscure and unfamiliar subject. "John Bull" commented, "We do not greatly object to mere improbability in the story of a drama especially a musical one; but, though a Drury-Lane grand serious opera is scarcely above the level of [a] melodrama yet neither the one nor the other should contain absurdities palpable to a child of ten years old." There was criticism that the character of Matilda was morally repugnant for receiving the attentions of Podiebrad while believing her real husband might be alive. The music was no better received.
Matilda of Hungary | Critical reaction
Overall, the New York critics disliked the opera, although some noted her technical skill. However, Yohalem notes "whether the music evidenced "femininity" was a matter of no little disagreement" and he goes on to quote "The Telegraph"'s review: But, as Yolahem comments, "the most enthusiastic account comes from "The Telegraph"": In regard to the quality of the music, "The Telegraph" continues:
Der Wald | Critical reactions
American magazine "Trouser Press" described "'74-'75" as "so sweet [it] borders on cloying". Rob Ross of Popdose called the song "emotionally-charged and poignant".
'74–'75 | Critical reception
With the exception "Hero" and "Dreamlover", the other songs lacked her usual "personality and intensity", according to Wynn. "Q" was more impressed by the record, writing that "this 1993 celebration of the all-conquering power of love was her defining moment".
Music Box (Mariah Carey album) | Critical reception
The expensive film received mixed reviews, mainly due to the lackluster direction of William Nigh and Harry Beaumont. Its Technicolor sequences and musical score, however, were universally praised. "The story's strong enough to be festooned with Technicolored girls, ballets, songs and effects without breaking down," said "Photoplay" "You'll like this." Sheet music sales and sales of phonograph records with songs from the film were brisk. "Should I" and "A Bundle of Old Love Letters" proved to be among the most popular song hits of the year 1930.
Lord Byron of Broadway | Critical response
Janet Maslin of "The New York Times" thought the film missed the mark: However, Roger Ebert of the "Chicago Sun-Times" rated it 3 stars out of his 4 star rating system and found the film well done but painful:
Track 29 | Critical reception
Digital Spy's Nick Levine called the track a "slushy duet". Writing Minogue's biography for her special on Australian music video programme "Rage", they called the song one of the "richly beautiful ballads".
If You Were with Me Now | Critical reception
An accompanying music video was released featuring a pregnant Carey singing in front of a background of exploding fireworks. "Auld Lang Syne (The New Year's Anthem)" charted on the lower regions of the South Korean international singles charts and at number nine on the US Holiday Digital Songs chart.
Auld Lang Syne (The New Year's Anthem) | Introduction
Singer. Streisand responded publicly to Maslin, saying: "I spent more than ten years researching the material; how long did she spend on it?"
Yentl (film) | Critical reception
The song won two awards at the 2015 Much Music Video Awards, Video of the Year and Best Director.
Often | Critical reception
Deborah Evans Price of "Billboard" gave the song a favorable review, saying that it "has a hauntingly beautiful melody and affecting lyric about the mercurial nature of love" and that "Wright possesses a strong voice, full of emotional depth and presence."
It Was | Critical reception
The pop legend wears an understated — by her standards — headdress and coyly looks at the camera like the 18-year-old ingenue she still is at heart."
Woman's World (song) | Critical reception
"Slant Magazine" called the song "the album’s most radio-friendly offering so far". Rolling Stone mentioned that the song "boasts a triumphant R&B vibe".
The Distance (Mariah Carey song) | Critical reception
Deborah Evans Price, of "Billboard" magazine reviewed the song favorably, calling it a "finely crafted song with a powerful lyric and delicate melody." She goes on to say that Brooks and Yearwood have a wonderful blend and natural chemistry that will make listeners wish they'd record together more often."
In Another's Eyes | Critical reception
The song was nominated for Best Song Written for Visual Media at the 56th Annual Grammy Awards.
Young and Beautiful (Lana Del Rey song) | Critical reception
Brady Vercher of Engine 145 gave the song a thumbs-down review. He said that the song seemed like an attempt to capitalize on Kristofferson's fame, and did not expand on the title beyond name-checking. However, Vercher said that the production was pleasant and that McGraw sang the song well.
Kristofferson (song) | Critical reception
Powell. It is purely a personal reaction and, if you happen to like the Keeler-Powell musicals, you probably will find this one entirely satisfying.
Colleen (1936 film) | Critical response
"The New York Times" wrote, "another film which was manufactured with a particular eye to American consumption has on its showing here fallen far short of standards set by British critics...It was thought that the story of the Scottish poet whose fame has been spread throughout the world by his fervently admiring countrymen would command a certain amount of universal appeal. An undoubted opportunity has been missed in that respect. Joseph Hislop, a well-known and popular tenor, was selected for the rôle of the poet, and he does his part, so far as the rendering of a series of Burns's famous songs is concerned, as well as could be desired.
The Loves of Robert Burns | Critical reception
Amy Linden from "Vibe" also reviewed the song positively, calling Carey's vocal performance in the song "emotional" and "graceful." Additionally, Linden wrote "It could very well be Carey's version of Nas' "Hate Me Now"; she makes it through all the trials and tribulations undaunted."
Can't Take That Away (Mariah's Theme) | Critical reception
And its story moves at a pace that's a mite too slow for this more hurried day and age." When the production reached London in 2000, however, it received uniformly positive reviews; the "Financial Times" called it "a handsome, spectacular, strongly performed introduction to one of the truly great musicals".
The King and I | Critical reception
Writer Barry Walters from "Rolling Stone" felt the song failed to produce a significant and memorable hook, though noting its dance appeal: "it has a beat that makes you move, but the songs' pop hook doesn't stick." While "New York Times" columnist Jon Pareles called the song an "earthy delight", Glenn Gamboa from "Newsday" felt Carey's vocals could have easily been replaced by a less skilled singer, and wrote "she sounds like a hook girl in her own song. Her vocals could have been delivered by Kelis or Amerie and no one would have been the wiser."
Say Somethin' (Mariah Carey song) | Critical reception
Why the poem is alone sufficient to redeem the character of the age we live in from the imputation of degenerating in Poetry [...] The subject is well chosen. It opens well [...] On the whole, I expect Southey one day to rival Milton." (A few days later, though, in a June 13, 1796 letter to Coleridge, after reading his opinion of the work, Lamb tempered his praise: "Perhaps I had estimated Southey's merits too much by number, weight, and measure.") Coleridge, in a 31 December 1796 letter to John Thelwall, admitted, "I entirely accord with your opinion of Southey's "Joan" [...] the poem tho' it frequently reach the "sentimental", does not display, the "poetical", "Sublime".
Joan of Arc (poem) | Critical reception
The album was received extremely negatively by critics. "The Guardian"'s Caroline Sullivan said "it would be stretching a point to say I'd ever want to hear it again." Virgin Media criticised the "painfully wooden dialogue before the layers of auto-tuned backing vocalists kick in." "The Scotsman" called it "a 35-minute comedy of errors". "Digital Spy" said it "contains more crimes against music than the combined discographies of The Cheeky Girls, Phil Collins and Lou Bega." The duo's compatriot newspaper "Irish Independent" were unsympathetic and declared "Burn it: In the traditional sense of the word, burn the entire thing." "OK!" magazine said it was "all very karaoke and never going to win any awards, but it's fun.
Planet Jedward | Critical reception
"What the Water Gave Me" was praised by music critics, several of whom labelled the song "epic". Fan reaction towards the song was also very positive. Simon Vozick-Levinson of "Rolling Stone" magazine gave it a rating of three-and-a-half stars, writing that the song "opens softly, with Welch cooing slightly spooky pastoral poetry ("Time, it took us to where the water was")". However he further wrote, "soon enough, she's out-and-out howling about learning to let go after a failed relationship, ancient Greek giants and possibly drowning herself. Her veiled incantations feel like the stuff of myth, even if it's not entirely clear how the images relate to one another".
What the Water Gave Me (song) | Critical reception
"What sets this work above many others are the absolutely beautiful, soaring, unforgettable melodies. These melodies seem to have been the very essence of the characters that sang them ... I was instantly captivated ... It was vibrant, logically conceived ... The story unfolded at a quick dramatic pace and [in] a quite believable manner ... During the poignant final scene, as Katharina is dying I thought to myself, 'What is this running down my cheeks?' It was tears!"
Katharina von Bora (opera) | Critical response
As a result of critical acclaim, the album received four nominations at the 44th Annual Grammy Awards ceremony in on 27 February 2002. The album itself received a nomination for Best Pop Vocal Album, while Furtado herself was nominated for Best New Artist as well as Song of the Year and Best Female Pop Vocal Performance for "I'm Like a Bird", in which she won the latter.
Whoa, Nelly! | Critical reception
AllMusic reviewer William Ruhlmann calls it a "lovely folkish ballad", while AllMusic's Bruce Eder, reviewing the album, founds the song "achingly beautiful."
Today (The New Christy Minstrels song) | Critical analysis
Smith from "Daily Vault" felt the song represented the album "perfectly" and had labelled the songs as "undiscovered gems". Smith felt the song was "another underrated song" from the "Impossible Princess" album and labelled it an "indie classic". In the annual 1997 Triple J Hottest 100 list, "Did It Again" was eighty-one. At the 1998 ARIA Music Awards, "Did It Again" was nominated for Single of the Year but lost to Natalie Imbruglia's single "Torn" respectively.
Did It Again (Kylie Minogue song) | Critical reception
The play is genuine and it is felt the Pulitzer Prize could not serve a better purpose than to recognize such work. The prize was awarded only to Kaufman, Ryskind and Ira Gershwin; George Gershwin received no recognition, since the Pulitzer Prize was considered a literary award. In 1998, at the centennial of his birth, he was posthumously awarded an honorary Pulitzer. In his "New York Times" review of the 2006 concert revival, Charles Isherwood called "Of Thee I Sing" "a trenchant little musical satire... the laughter that greets the show today is tinged with surprise at how eerily some of its jokes seem to take precise aim, from decades back, at current affairs.
Of Thee I Sing | Critical reception
It is lovely." According to Steven Citron (p. 181), "[Sally Ann] Howes and the majority of critics now believe that with a rewritten libretto it could be turned into a successful musical."
Dear World | Critical response
1 (But Didn't Get There)", calling it "an absolute stand out among a slew of songs draped in 80s garb". Writing for "Variety", Danielle Turchiano said it was the song that "transcended Carey’s catalogue and deserved to become an anthem". Turchiano said that the song's lyrics, which talk about a lost loved one, "held against the backdrop of Sept. 11" and transmitted the message "most needed to hear" at the time; "inspire[d] everyone [who had been through the trauma of the attacks] to look inward to find strength to push through".
Never Too Far | Critical reception
Cassam Looch from Hey U Guys film website reviewed the film favorably calling it "One of the most beautiful, heartbreaking and tender films of the year". Mike McCahill of "The Guardian" awarded the film 3 stars calling it "a mixed bag, but one that comes good in its closing stretch, working its way towards a place of quiet power". The "Los Angeles Times" called it a "British Tear-jerker which hits all the high notes".
Urban Hymn | Critical response
Similarly, "The Michigan Daily"s Chris Gaerig criticized Carey's "airy vocals" and wrote "Carey sounds like a 13-year-old boy going through puberty, singing love songs to a grade school crush."
Shake It Off (Mariah Carey song) | Critical reception
Carey won for Best Female Pop Vocal Performance and also received the award for Best New Artist. In "The Rolling Stone Album Guide" (2004), Arion Berger later wrote that "Carey debuted with an album of uplifting dance pop and R&B ballads, each song's composition co-credited to Carey and each providing an opportunity to unleash her wide vocal range." Ashley S. Battel from AllMusic found the record "extremely impressive" and described the songs as "smooth-sounding ballads and uplifting dance/R&B cuts" on an album that served "as a springboard for future successes". "Carey establishes a strong standard of comparison for other breakthrough artists of this genre", Battel concluded.
Mariah Carey (album) | Critical reception
Upon its release, the single received a lot of media coverage, mostly in the context of Fältskog's musical comeback and news about the forthcoming album. The Swedish media reviewed the song, calling it an "epic ballad", and highlighting its acoustic elements, like strings, guitars as well as the sweet harmonies. Swedish newspaper Aftonbladet pointed out the contrast between production and musical elements from the 1970s and the synth-loop in the latter half of the song, which would also suit for the likes of Britney Spears. Online portal Musikindustrin referred to these elements as "charming 80's synths".
When You Really Loved Someone | Critical reception
Writing for the website HitFix, Katie Hasty concluded: "For a song that goes for 5+ minutes, about a legendary writer that drowns herself, titled for a famous painted work and performed by Florence + The Machine, the word 'epic' is perfectly acceptable". James Montgmery of MTV News praised the song calling it "epically massive" and added that it "seems destined to rule the festival circuit for the foreseeable future". A writer for "The Guardian" concluded that the song "has enough melody to stop it from collapsing under the weight of its own drama. This delicate balance gives the song its edge".
What the Water Gave Me (song) | Critical reception
Deborah Evans Price, of "Billboard" magazine reviewed the song favorably, calling it a "stunning ode to lost love." She goes on to call the production "full and rich, buoyed by the trio's outstanding harmonies and accented by the tasty mandolin flourishes that are part of the act's distinctive sound."
Almost a Memory Now | Critical reception
Critical response to "Ellipse" was generally positive. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has received an average score of 68, based on 12 reviews. It also earned her a further two Grammy Nominations on 2 December for Best Pop Instrumental Performance for "The Fire" and Best Engineered Non-Classical Album. On 31 January 2010, it was announced that Heap had won the latter award.
Ellipse (album) | Critical reception
Using a neurotic theater director from upstate New York, it encompasses every life and how it copes and fails. Think about it a little and, my god, it's about you. "Whoever" you are." In 2009 Ebert wrote that the movie was the best of the decade. Manohla Dargis of the "New York Times" said, "To say that [it] is one of the best films of the year or even one closest to my heart is such a pathetic response to its soaring ambition that I might as well pack it in right now ... Despite its slippery way with time and space and narrative and Mr.
Synecdoche, New York | Critical reception
Lisa Haines, a music editor and columnist for BBC, was less favorable in her review, opining that "the cheeky upstart charm Madonna sported in the 80s is embraced to shrewd effect" for the track's duration.
Serious (Gwen Stefani song) | Critical reception
Critical response for the film was generally mixed, with Metacritic calculating an average rating of 42% based on 8 reviews. Based on 21 reviews collected by Rotten Tomatoes, it had an average rating of 33% with an average score of 4.5/10. "The Hollywood Reporter" said that the pacing is off and that the movie meanders until it reaches its unexpectedly powerful conclusion. Most of the critics praised Mariah Carey's performance, describing it as "emotional" and "effective". The music behind the film, especially the Mariah Carey written song "Right To Dream" received acclaim as well, and was even considered by notable critics as a contender for an Academy Award.
Tennessee (film) | Critical reception
Part of the problem is the straightlaced nature of postwar British cinema, which kept emotions firmly in check.; while "The New York Times" wrote, "Patricia Roc is lovely in form and grace, but her hair-dos, her dresses and her expressions smack more of Elstree than of the Hebrides"; and "TV Guide" called the film a "fair effort with technical talent outweighing the performers"; but "Eye for Film" found the film "startlingly bold and suggestive for its time...surprisingly gripping."
The Brothers (1947 film) | Critical reception
In his opinion, "it would have been a more effective album if the heartbreak, sorrow, and joy that bubbles underneath the music were brought to the surface."
Rainbow (Mariah Carey album) | Critical reception
"Billboard" magazine reviewed the song favorably, saying that "when she writes, she turns out masterpieces, and then when she does the interpretation herself, it is superb. This is a case in point."
What's Happened to Blue Eyes | Critical reception
The song was nominated for Best Song Written for a Motion Picture, Television or Other Visual Media at the 2001 Grammy Awards. It was also ranked at number 85 on the list of Britain's favorite 100 songs, published in May 2002. It was named the 18th most successful song of the 2000s, on the "Billboard" Hot 100 Songs of the Decade. It was also nominated for Worst Song at the 2001 Stinkers Bad Movie Awards.
Independent Women | Critical reception
"Time" called it "the season's loveliest production and most charming failure [that] never quite catches the inner glow of art or the outward stir of theater." It continued, "There should have been either less spectacle or less story. As it is, the old tale is retold at considerable length, but loses much of its flow and human feeling through gorgeous interruptions and sumptuous distractions. What's more, neither the writing nor the acting has quite the stylized quality it reaches after."
Lute Song (musical) | Critical reception
Critical response to the score was generally favorable, with an average rating of 76% based on five professional reviews on Metacritic. The score debuted the following week at number one on the U.S. "Billboard" Soundtrack chart, and was largely well received by critics. It was awarded a five-star rating from "The Music Cycle", four stars from AllMusic and "Kerrang!", three-and-a-half stars from "Movie Music UK", and three stars from "Rolling Stone". Roger Ebert wrote positively of the score, calling it an "urgent composition that drove the film's headlong momentum". Adam Spunberg of "Picktainment" noted "how seamlessly it corresponds with the tenor of the film.
The Social Network (soundtrack) | Critical reception
the climax to "Red Den" is a choral feast, and "It Was Me" is a slab of surprisingly crisp pop'.
Find the Sun | Critical reception
"Inalcanzable" was generally well received by music critics. Judy-Cantor Navas, director of online music service "Rhapsody", complimented the song for being a "beautiful and sweet collective ballad." Cantor-Navas also commented that the new music "could signal the start of a more mature phase for RBD".
Inalcanzable (song) | Critical reception
At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 77, based on 20 reviews, indicating "generally favorable reviews". AllMusic's Stephen Thomas Erlewine commended Swift's mature lyrics and stated, "she writes from the perspective of the moment yet has the skill of a songwriter beyond her years". Ann Powers of the "Los Angeles Times" wrote that "she makes memorable music by honing in on the tiny stuff: the half-notes in a hummed phrase, the lyrical images that communicate precisely what it's like to feel uncomfortable, or disappointed, or happy".
Speak Now | Critical reception
"The Way We Were" was featured on the by the National Board of Review. Roger Ebert of the "Chicago Sun-Times" gave the film three stars out of four and called it "essentially just a love story, and not sturdy enough to carry the burden of both radical politics and a bittersweet ending." He added "It's easy to forgive the movie a lot because of Streisand. She's fantastic. She's the brightest, quickest female in movies today, inhabiting her characters with a fierce energy and yet able to be touchingly vulnerable...The Redford character perhaps in reaction to the inevitable Streisand performance, is passive and without edges.
The Way We Were | Critical response
[when] it's time for Perry to reflect on her 3 am follies, she stiffly sings, "That was such an epic fail." It sounds like a clueless parent's attempt to speak teenager." "Billboard" included the song in their "Five Potential Pop Hits for 2011" list. Tom Hawthorne from "Future Music Charts" said that it sounds like a pop song as it should be without any auto-tune voice changes and hard DJ beats, which is the song's strength and weakness at the same time".
Last Friday Night (T.G.I.F.) | Critical reception
The dominance of ballads and scattering of midtempos make it less of a buoyant listen overall, although still a worthy one."
Passion Like Fire | Critical reception
Kevin John Coyne of Country Universe gave the song an A grade, saying that the song could have performed well because it "looked back on the innocence of adolescence with bemusement and fondness for that transitional period of life."
Chattahoochee (song) | Critical reception
"Like Comedy" received an aggregate score from "Metacritic" of 71/100, suggesting "generally favorable reviews", based on 6 critics. In a review by Andy Gill, "The Independent" professed the album to feature "their ebullient charm in large dollops" and described the song "Whatever You've Got" to share "the rolling, singalong appeal" of the duo's previous hits. Describing "Like Comedy", "Irish Independent" opined that the blue-eyed soul of the band "still shines bright, especially on the tender ballads".
Like Comedy | Critical reception
Larry Flick, of "Billboard" magazine reviewed the song favorably, calling it a "slow and pretty ballad." He goes on to say the song proves that "as good as Hayes sounds on uptempo, this ballad is further proof that he can slow it way down and still deliver the goods with warmth and style."
What I Meant to Say | Critical reception
The album received a Metacritic score of 80 based on 16 critics, indicating generally favorable reviews.
Golden Sings That Have Been Sung | Critical reception
In a contemporary review, "Rolling Stone" critic Rob Tannenbaum found "Emotions" dependent on "commercial dance-pop" and Carey's indulgent vocal exercises, making it difficult for listeners to connect with the lyrics. "Carey has a remarkable vocal gift, but to date, unfortunately, her singing has been far more impressive than expressive," Tannenbaum wrote. Dennis Hunt from the "Los Angeles Times" said Carey's "spectacular and impressive" voice was comparable to that of Whitney Houston, but criticized the songwriting and production for "playing high on the angst scale." In "The New York Times", Stephen Holden believed the record showcased Carey's vocal strengths more effectively than her debut, but showed no improvement in writing lyrics, which Holden said "describe the rapturous highs and desperate lows of romance in blunt, strung-together pop clichés, with minimal rhyming." Arion Berger from "Entertainment Weekly" found the record "colder and more calculated" than Carey's debut, describing "Emotions" as "the hybrid progeny of a venerable tradition — the tradition of the R&B diva — and crass commercial instincts.
Emotions (Mariah Carey album) | Critical reception
The Film did overall well at Box Office. Jeet's performance was critically acclaimed. Soundtrack of this film was superhit.
Sangee | Critical reception
It was because of this, he writes, that despite Carey having a vocal ability that is "worth watching," what she is singing vocally is more interesting than what she is singing lyrically, having not yet found her own style.
There's Got to Be a Way | Critical reception
Deborah Evans Price of "Billboard" reviewed the song favorably, saying that "Like 'I Hope You Dance'…the song will touch a universal chord with everyone who has experienced a moment so perfect they wish they could capture it and live it over again."
What I Did Right | Critical reception
At Metacritic, which assigns a weighted average score out of 100 to reviews from mainstream critics, the album received an average score of 63, based on 8 reviews, indicating "generally favorable reviews".
As U Were | Critical reception
Luke, saying that it does not share the latter's "passion". Lizzie Ennever of BBC felt the track was not "the most single-worthy song". "The Guardian" wrote that the song "didn't seem to capture the public's imagination" the way her previous single "I Kissed a Girl" did. The song was nominated for the Grammy Award for Best Female Pop Vocal Performance at the 52nd Annual Grammy Awards, but lost to Beyoncé's "Halo".
Hot n Cold | Critical reception
He added: "[It's] the album's most engaging track and joins her previous LP's "Good Tradition" and "World Outside Your Window" as convincing proof of her remarkably keen pop sense." Brent Ainsworth of the "Santa Cruz Sentinel" considered the song a "lame, unsexy love song with a pitifully sophomoric melody."
We Almost Got It Together | Critical reception
"Seven long years of moving through the streets, letting people in/ But they don't talk to me, they look right through" he sings over a bobbing house line, finger-snapping beats and a looping chorus that quickly lodges deep in the brain. The result, like all fairytales, already sounds like a classic."
Look Right Through | Critical reception
In her review in the "New York Times", Renata Adler said the film "should be visually fascinating to anyone in a state that I think is best described as stoned. The movie is flamboyantly colourful [and] wildly active: hardly anyone holds still for a single line, and the characters – in the ancient tradition of musicals – live on the verge of bursting into improbable song. The songs themselves, trite, gay, and thoroughly meaningless, make absolutely no concession to anything that was happened in popular music in the last 10 years ... some of it is quite beautiful to watch...
Half a Sixpence (film) | Critical reception
Deborah Evans Price of "Billboard" reviewed the song with favor, saying that the song was "well-written" and that Herndon "delivers a powerful performance", although she added that "in a national climate where people are yearning for comfort and peace, this may have a challenge at the starting gate."
Heather's Wall | Critical reception
"TV Guide" gave the film 2 out of 4 stars, and wrote, "the film is stylish and witty at times, but its pace just isn't as fast as it should be."
Information Received | Critical reception
Deborah Evans Price, of "Billboard" magazine reviewed the song favorably, saying that while it doesn't have the "dramatic feeling or sweeping cinematic power of 'How Do I Live'", it still an effective ballad. Price described Yearwood's performance as "beautiful and flawless."
I'll Still Love You More | Critical reception
Brendon Veevers from "Renowned for Sound" noted the song as "a timeless power ballad that has aged like a fine wine."
It Must Have Been Love | Critical reception
But more than that, it reflects in her songwriting."
Hundred More Years | Critical reception
If left up to Davis, she would simply be another vocalist singing professional product." "Rolling Stone", giving a similar lukewarm review, wrote: "Clarkson clobbers you over the head with her emotions and arena-ready choruses. The result is a record that's bland in some spots and annoying in others."
My December | Critical reception
Upon release, the album received critical acclaim. At Metacritic, which assigns a normalized rating out of 100 to reviews from music critics, the album has received an average score of 85, indicating "universal acclaim", based on 12 reviews.
Wind's Poem | Critical Reception
Martin Gignac, writing for "Métro", found the film intelligent and emotionally distant. Conversely, Sophie Durocher wrote in "Le Journal de Montréal" that she was disappointed with the film's derivative style, whereas Arcan had a unique voice.
Nelly (2016 film) | Critical reception
Chris Wasser from the "Irish Independent" said the song "drowns slowly under cloggy production and a lyrical theme that for all of its close connection with the trials and tribulations Spears has had to deal with, weren't even penned by the singer who could have very easily recorded her fairly unchallenging input on "Blackout" in less than a week." The song was later included in "Rolling Stone"'s 100 Best Songs of 2007 at number fifteen.
Piece of Me | Critical reception
The film garnered an Annie Award nomination for Best Animated Short Subject and was even shortlisted for an Oscar in the same category.
Duet (2014 film) | Critical reception
She even hit those famous, piercingly high ‘whistle notes’ during "Emotions". Shuk-Wah Chung from "The Guardian" gave the performance in Sydney four out of five stars writing Carey "instantly redeemed herself with a trill here, a whispery vocal there and a gentle caress of those signature curves." Joanna Hunkin from "The New Zealand Herald" gave a positive review for the performance in Auckland writing Carey hit "the supersonic high notes" and "performed those signature vocal gymnastics with relative ease." Suzanne Simonot from "The Daily Telegraph" praised the performance in Brisbane writing the singer "hasn't just got it, she flaunts it.".
The Elusive Chanteuse Show | Critical response
At "The Independent" the album scored 3 out of 5 and critic Hugh Montgomery felt, "Ultraviolence is more of the same, but less. There is quasi-transgressive mixture of hopeless passivity and coquettish sexuality running through songs." Kyle Anderson of "Entertainment Weekly" wrote about Del Rey's musical aesthetic on the album, stating, "Kubrick would have loved Del Rey—a highly stylized vixen who romanticizes fatalism to near-pornographic levels, creating fantastically decadent moments of film-noir melodrama. It's an aesthetic that demands total commitment from both artist and listener, and it would be difficult to buy into if she didn't deliver such fully realized cinema".
Ultraviolence (album) | Critical reception
Britmovie called the film "gushingly sentimental"; while Sky Movies called it "a likeable little drama with earnest performances and atmospheric background detail."
Jacqueline (film) | Critical reception
He further wrote that when he put his headphones into his computer, he was worried that Carey would sing the word "hashtag" in the lyrics, but after listening to the song in its entirety, he proclaimed it as a "perfect pop song". He was complimentary of the songs instrumental and production, and described it as "seductive". Roberts also wrote that although Carey does not enter the song until a third of the way through, she matches Miguel's "glorious tone with the confidence of someone who knows she can lift her verse to equal whatever comes her way" with a "glorious tone".
Beautiful (Mariah Carey song) | Critical reception
And though the lack of a discernable hook means it's unlikely to rehabilitate Mariah's former chart glory, this one was clearly intended for the lambs." Bill Lamb of About.com gave the song a rating of 4.5 out of 5 stars, praised the song's "meaningful, resonant lyrics", Carey's "powerful mid-range vocal performance" and its "simple arrangement", also noting that the song "resonates with real emotion", while also "[not] forget[ting] to include a touch of self-referential humor along the way."
The Art of Letting Go | Critical reception
Meanwhile Eileen Fitzpatrick of "Billboard" wrote that the song "pounds" over a climactic scene in the film while the magazine's Catherina Applefeld Olsen described it as "rhythmic lullaby". Richard L. Eldredge of the "Star Tribune" thought the "majestic" song had a driving rhythm and "didn't disappoint", while David Ansen of "Newsweek" thought the ballad saw the film's themes of difference "hammered out".
Two Worlds (song) | Critical reception
On 14 November 1991, Shane Danielsen of "The Sydney Morning Herald" said the album is "bright, slickly produced and essentially appealing, but hardly likely to inspire any revolutions".
Think About It! | Critical reception
"The Washington Post" described the song as "too mushy". Al Fox of BBC Music said that the song "displays a breezy maturity and serious set of pipes, a true demonstration of Perry's musicianship without contradicting the kittenish mischief of the bigger picture." The song was nominated for Record of the Year at the 54th Grammy Awards.
Firework (song) | Critical reception
This one’s like insurance – in case nothing else is a hit, here’s a sure-shot. But ultimately, it turns out that the album is too good for that."
Bye Bye (Mariah Carey song) | Critical reception
Writing for "The Straits Times", Jan Lee commented that the song "feels particularly poignant given that IU lost one of her close friends, K-pop star Sulli, to a suspected suicide last month".
Love Poem (song) | Critical reception