• Mariah Carey MOAIA albums collection

    10 Abr 2010, 12:29 de SCyril

    its mine collection of this album Memoirs of an Imperfect Angel

    from left to right ,they are,MOAIA JP promo*2,Taiwan limited edition,USA 2cd edition and Chinese edition.
    And there are also a Taiwan gift mirror,3 China gift plastic covers for cards~
    i have a big MOAIA promo poster but havent taken its photo^^
  • i'm going to upload some part of my Mariah Collection here

    10 Abr 2010, 8:08 de SCyril

    since i like MC 2much,i started collect her items years ago,maybe it has been id like to share them with u~
    To protect them,some jp items' obi is inside and i wont take them out ^^
    Mariah lover&collector,follow me
    Close My Eyes
  • Michael Jackson Grammy Tribute Announced

    25 Ene 2010, 3:31 de BackNDaDay90

    GRAMMY winners Celine Dion, Jennifer Hudson, Smokey Robinson, Carrie Underwood, and Usher will join together, along with the voice of Michael Jackson, in a moving tribute to Jackson at the 52nd Annual GRAMMY Awards on Sunday, Jan. 31. This very special GRAMMY Moment will feature the never-before-seen 3-D mini-movie for "Earth Song" that was created by Jackson as the centerpiece of his much-anticipated This Is It tour, but was never seen by the public prior to this GRAMMY performance.

    The 3-D film was created to support the performance of "Earth Song," an original composition and a No. 1 hit for Jackson. The song has a strong theme about the future of the planet, and Jackson saw it as a unique opportunity to deliver a message to millions of people who would have seen him on tour.

    Presenters include actress Kristen Bell, pop/R&B singer Justin Bieber, actor Jeff Bridges, pop singer and actress Miley Cyrus, actor Josh Duhamel, pop sensation the Jonas Brothers, nine-time GRAMMY winner Norah Jones, pop singer/songwriter Ke$ha, two-time GRAMMY winner LL Cool J, GRAMMY winner and three-time Latin GRAMMY winner Ricky Martin, 10-time GRAMMY and three-time Latin GRAMMY winner Carlos Santana, and nine-time GRAMMY winner Ringo Starr.

  • Apresentação de Matheus Elias e Jacq Medeiros Ao vivo

    28 Nov 2009, 19:01 de mathelias

  • Guess The Artist 2009

    20 Oct 2009, 3:58 de Toodalimit

    Here's a quiz ...
    I'm going to list my top 35 artist from the song that is the most played in my library, You Identify the artist.

    1. Get Me Bodied
    2. Let's Wait Awhile
    3. Stay The Night
    4. Afrodisiac
    5. Bang It Up
    6. Got To Be There
    7. Come To Me (Peace)
    8. More Than A Woman
    9. Breaks My Heart
    10. Showtime
    11. Crazy Feelings
    12. I Need You
    13. Who Knew
    14. Get On The Bus
    15. Like You
    16. Ringtone
    17. Sober
    18. Coming For You
    19. Hollywood
    20. Scream
    21. So So Dumb
    22. Let Go
    23. Goodbye
    24. Losing My Way
    25. Where Did He Go
    26. Wonder Woman
    27. Crying Out For Me
    28. She Needs My Love
    29. Not Falling Apart
    30. Breakin' Up
    31. When I See U
    32. Rehab
    33. Is It You
    34. Mr. Cool
    35. Sitting Home

    Artist Pool: P!nk, TLC, Fantasia, Mariah Carey, Total, The-Dream, Ciara, Janet Jackson, Ne-Yo, Tamia, Kelly Clarkson, Amerie, Keri Hilson, Gwen Stefani, R. Kelly, Cassie, Kelis, Mary J. Blige, Trey Songz, Destiny's Child, Maroon 5, Rihanna, Beyonce, JoJo, Timbaland, Jagged Edge, Alicia Keys, Aaliyah, Brandy, Missy Elliott, Monica
  • Mariah Carey - Memoirs Of An Imperfect Angel review.

    27 Sep 2009, 13:56 de onyxparadise

    My Blog:

    Finally, it's here (unless, like me you live in the UK in which case you are expected to wait until NOVEMBER 16TH!!!! I will be buying the import collector's version on Amazon, which drops on Tuesday.) - Mariah Carey's new album, Memoirs of an Imperfect Angel. Preceded by the lead single "Obsessed", which has done very well but not shot to number one (leading certain people to brand it a 'flop' all the same), several questions were being asked of this CD: "Is Mariah's voice really shot?" (No.) "Is it better than Whitney's album?" (Yes.) "Does the fact that The-Dream and Tricky Stewart produced the whole album make it a bit monotonous?" (No... not really. A couple of the songs are somewhat repetitive and reminiscent of other The-Dream tracks, but Mariah's input and The-Dream's variety are pleasantly surprising.) "Why did Mariah push her CD back? Was she running scared?" (No; she was making a cohesive R&B album and taking the time to make it perfect.) Listening to the finished product makes this clear - where The Emancipation of Mimi (Mariah's "comeback" "classic" album, which is possibly her least cohesive effort and contains some fantastic tracks surrounded by the most filler in any of her albums this decade) and E=MC² were literally a collection of songs, Memoirs Of An Imperfect Angel takes you on a unified journey the way that Mariah's best 90s efforts, the seminal Butterfly and Rainbow, and yes, even 2003's Charmbracelet did.

    Mariah's vocals are stronger now than they were on Charmbracelet, though she often employs her whisper voice in place of full belting. As it did on Butterfly, this gives the songs an intimate feel which brings out the intricate emotions inherent in her lyrics. Standout "H.A.T.E.U.", which means "Having A Typical Emotional Upset", at first sounds like an angry-woman-scorned missive thematically similar to other songs on the album, but it is emotionally vulnerable as Mariah finds herself in a place where she misses her lover, but doesn't know what to do with herself other than "change her number" and "move away" in an attempt to get over him and begin to move on. The emotional limbo echoes in the production, which employs a hard-hitting slow beat and a baby's cries along with Mariah's whistle register. Her high-pitched wails are a massive feature of this album, and are present on many of the songs - according to various tweets, Mariah wanted to explore using her upper range as a texture in homage to Minnie Riperton. Just as on Rainbow's "Bliss", on tracks such as "H.A.T.E.U.", "Ribbon" and "Angel (Prelude)", Mariah's stratospheric notes come across less as an opportunity to showboat than as a genuine part of the song's instrumentation and setting the mood. At the album's climax, a tasteful cover of Foreigner's "I Want to Know What Love Is", Mariah lets loose with gospel melisma and ecstatic squeaking to emphasise her joy and rapture in finally finding true love and encountering happiness after the ups and downs and broken relationships explored throughout the course of the album. The only criticism of this song is that it ends far too quickly, robbing the listener of the climax - as soon as the vocal and musical apex is reached, the track is fading out!!! Here's hoping that a longer edit of the song will surface. But the point is that Mariah Carey is using all the ranges of her impressive voice for legitimate reasons - to serve the song and its mood, musical instrumentation, lyrical punctuation and emotional expression. If there is any proof required that Mariah has grown as a singer, this album is it - even if she doesn't belt as happily as she used to, her voice serves the songs more.

    Having said that, Mariah also embraces radio trends on some of the more uptempo numbers. Lead single "Obsessed" is one of a few tracks to use auto-tune. Another question: "Why does someone with Mariah Carey's voice need to use auto-tune?" This is a somewhat valid question, but I think that Mariah is just trying to stay current and have fun. Although some of the album's slower material is more weighty and emotionally deep, songs like "Obsessed", "Up Out My Face" and "More Than Just Friends" (which contains some fantastic lyrics such as "Secretly I know you wanna hit it like the lotto / And after that we can ketchup like tomato / We can make love in Italy in the grotto / Fresh off the jet at the Met they screamin' bravo") are designed to keep the BPMs up, keep things light and moving briskly, and create songs which have sharper lyrics and fun, bouncy melodies. The marching band "reprise" of "Up Out My Face" is a fantastic, creative interlude that really knocks, and would have been great as an extended song - it harks back to one of Mariah's performances of "Shake It Off" (perhaps the Thanksgiving Parade performance? I don't remember... if anyone knows, feel free to comment!). "Standing O" is another hard-hitting uptempo track that gathers its intensity as Mariah applauds an ex-lover for breaking her heart - "All you did was pound on it". The beats accumulate towards the end of the song, as Mariah's voice gets more insistent and an almost operatic soprano punctuates her despair. Although it had to grow on me somewhat, I am really enjoying the track.

    There are a couple of tracks where I differ from what I understand to be the general consensus, according to other forum and blog comments, as well as video reviews of the album I've seen on Youtube. "Ribbon" has been garnering comments such as being 'overproduced' with its distorted hooks forming part of the music, and more of a crunk beat than other tracks, really hitting hard. From what I understand, people are saying the track is a bit overcooked and Mariah gets lost in it - I disagree! I love the song, its music is dark and percussive, but Mariah's syrupy vocals and lyrics "Wrapped up, wrapped up, ribbon with a bow on it" sit on top of all that like the icing on a cake. It's actually one of my favourite tracks on the album, and although it is a typical The-Dream track that could have easily fit on his Love vs. Money album, I don't think that it suffers for that - there's not another track like it on the album, so it stands out.

    Whereas my only weak track, which other people seem to love, is "It's a Wrap". Mariah pours wine at the beginning of the track, so I guess we are supposed to relax into it, but the doo-wop beat and sparse piano forces the song to melt away and become unmemorable. The lyrics are somewhat lackluster compared to the zingers on other songs such as "Up Out My Face" ("If we were two Lego blocks, even the Harvard University Graduating Class of 2010 couldn't put us back together again" !!!!!!) and "More Than Just Friends", or to the emotional heft of ballads such as "H.A.T.E.U.", "The Impossible" and "Angels Cry". The only line that "It's A Wrap" has going for it, IMO, is "It's going down like a denominator" - and you have to wait for the end of the song to get to that bit. Just a bit lackluster for me - but other people love it, so you may love it too and we'll agree to disagree.

    Earlier I compared Memoirs Of An Imperfect Angel to classic Mariah albums Butterfly and Rainbow. This becomes apparent during the album's closing stretch - though on "Candy Bling" and "Inseparable" Mariah offers a relaxed yet absorbing throwback vibe (to former Mariah tracks "Yours" and "We Belong Together", respectively), and on opening 'prologue' "Betcha Gon' Know" Mariah masterfully weaves an absorbing tale of heartbreak and infidelity just as she wrote spellbinding descriptive lyrics on classic "The Roof" - it's not until "The Impossible" that we really seem to penetrate into Mariah's heart. The sexy R&B feel gives nods to Jodeci and provides a classic texture that once more exemplifies just how much is missing from 2009-typical R&B. Hopefully this is a sign that older R&B values are coming back around - although Mariah popularised the trend of female singers working with rappers, Memoirs does not boast a single collaboration and is all the better for it. "Angels Cry" is a heartfelt ode to love lost that sounds like classic Mariah, and of course there is the closer "I Want To Know What Love Is". These last two tracks really ratchet up the emotional impact of Mariah's album, where other tracks are lighter and more fun, or restrained slower material - and make sure that it goes out on a high.

    Okay, so I am a big Mariah Carey fan, and I am bound to say that I love the album. For me, it's a real album that flows (hence the various reprises and little flourishes that help the songs segue together sonically as well as thematically) rather than just a collection of songs. The lyrics and vocals work together to compliment each song's mood, content and impact. And apart from "It's A Wrap", I really enjoy every track on the album. So for me, taking the songs individually, they are winners, but the album as a whole is elevated beyond the sum of its parts to something quite special. In my opinion, this is why it stands head and shoulders above Whitney Houston's I Look to You (certainly not an album which has a cohesive feel, and I only like half of the songs anyway) as well as nearly every other album I've heard released in 2009. This is where Mariah Carey is not only a gifted singer and vocalist, but an artist who keeps working at and developing her craft as a writer, producer and someone who envisions how her project should sound from start to finish. Check the credits: Mariah Carey is Executive Producer, Album Producer, and a producer and writer on every single song (apart from the cover version). As a singer, a songwriter and an artist, she is what I aspire to be, and Memoirs Of An Imperfect Angel is, like Butterfly and Rainbow, an example of her at her very best.

    My Blog:
  • "Memoirs of an Imperfect God"

    22 Sep 2009, 15:52 de empoor

    We've been told that "Memoirs of an Imperfect Angel" is Mariah Carey's attempt to deliver an album that brings back her 90s sound. The comparisons between her presence in the start of her career and the current-day personality she has become have even surpassed the music alone—her appearance on the Oprah Winfrey Show took everyone almost twenty years back in time. The hair, the smiles, the fact that she wasn't wearing a mini-skirt, and especially the high notes at the end of her live performance. Apparently, the media wants me to believe that this is still the Mariah Carey I grew up with.

    However, is it? Mariah Carey, 39, has, in my own opinion, never sounded out of sync with the music of the times she lived in, and the things happening in her own life have always transcended into her albums. So, if this album is truly a plain throwback to the albums she produced in the 1990s, I simply cannot abide it. Nevertheless—and I will repeat myself—is it?

    The Past
    In the spirit of the media's obsessiveness about her 90s sound throwback, "Charmbracelet" was a castrated first attempt to bring back the old Mariah. It turned out to be a lacklustre album with few high notes, because let's be honest, Island Records probably wanted people to forget all about her Virgin Records disaster, and going from screaming disco-pop to crickets-crickets definitely did the job. Even though they killed any musical outbursts in the process, thereby guaranteeing that Mariah sounded bored and still-depressed on every song.

    Though this all might just be my own personal interpretation of "Charmbracelet," I bet everyone will agree with me that she broke through that castration-barrier with "The Emancipation of Mimi." I'm not sure what she was on while recording "Emancipation," but we should all have a taste of that specific brand of crack. The production suddenly went from snooze to Hey-Bitch-Why-Aren't-You-Dancing, and every media outlet was calling this her grande comeback to the top of the music industry.

    Really? A three year period between albums justifies calling something a "comeback" now? We all know Mariah Carey went nowhere, and we definitely know that "Emancipation" was nothing like her previous albums ("Rainbow" excluded). With "Emancipation" she told the world that she doesn't need to be relevant: the rest of the world needs to be relevant in accordance to her presence. If you want to call "The Emancipation of Mimi" anything, then call it an "industry reckoning"—Mariah making a statement that she was not to mess with. It's like that.

    Then came "E=MC²"—which to me was nothing more than an attempt to solidify that reckoning. Some people called it "Emancipation 2" and they were probably right; if not that "E=MC²" felt like something "Emancipation" never achieved: consistent. The initial statement ("Emancipation") contained a lot of great songs, but lacked the overall steadiness of greatness—while "E=MC²" on the other hand achieved consistency. Mariah's musical, writing and production interests had finally come together, and it showed.

    So, what does one do after finally feeling like a whole person again? Well, most people would chill and relax, and enjoy their country-sized Manhattan apartments.

    Thankfully, Mariah Carey—every time I feel the need to write her full name; she's a corporation, you know—did not feel the need to relax. And thus we return to the original subject of this article: "Memoirs of an Imperfect Angel."

    "Memoirs of an Imperfect Angel"
    I will stay on topic this time and start-off by stating that the first time I listened to it, it seemed to be an album that followed a few key rules from the Janet Jackson rulebook.

    First of all, the album contains a prologue, two reprises, a prelude, and an interlude. Except for one of the reprises and the prelude, these are all almost full-length songs, making them an addition to the songs they're supporting instead of just introductions and endings. Some people don't like interludes; and under normal circumstances, I'm not part of that group. However, I found myself wondering why some of the interludes were included. The "Up Out My Face" reprise is nothing more than an unnecessary continuation of the original's song ending; "The Impossible (The Reprise)" feels almost like an entirely different number than the song it's supposed to be supporting; and "Angel (The Prelude)" does nothing more than establish what we already know: Mariah's voice can replace any man-made instrument.

    Would I have been less critical if the interludes would've been full-blown Janet copies? Chatter and speaking introductions; orgasms and grunts; whole, awkward conversations with an inanimate robot? Perhaps; it would've showcased a more personal Mariah, and would have given us a different way into some of the songs. Yet, she didn't go that way; the interludes never surpass their two-dimensional nature, and while there is little to criticise when it comes to her execution of the interludes, they could've been much more.

    Now on to the actual songs, considering that's what the album's really about. Is it a musical return to old-school Mariah Carey? Short answer: No. Grab your copy of "Mariah Carey" or "Emotions" or "Daydream", and compare it to "Memoirs"—you will quickly hear that this is in no way the same Mariah Carey. And though this may sound like a bad thing, in my opinion it's a compliment.

    If she would've sounded exactly the same now like she did all those years ago, would that have been a positive commentary on her musical talents? It would not have been. The Mariah that sings on "Memoirs" is so much more a grown woman: a real woman, an emancipated woman. This is the woman Mariah Carey should have been from day one. Instead of wasting her talents on mediocre R&B-crossover songs, she sat down and recorded songs that showed progress, growth and stability.

    The Bad (Or, The Nice)
    Her crossover roots are still there, though. In "Ribbon" you can hear her slide between tempered R&B and a more hiphop-oriented sound; and she almost pulls it off. "Ribbon" is not one of the winners on the album, because to me it feels unfinished. It's a nice song to have playing in the background, but to actually pick-and-play it—no.

    There are only three other songs on the album that have the same faith as "Ribbon": "Obsessed," "H.A.T.E.U." and "Standing O." The first one in this array, "Obsessed," should've been left off the album all-together in my opinion. It's a nice revenge song, that showcases Mariah's claws nicely. Which marks the second time I've used nice to describe a song, and that's really all that "Obsessed" is. Nice. Well, perhaps there's something else: it's extremely out of touch with the rest of the album. It's as-if Mariah recorded "Obsessed", walked into a door, and recorded the rest of the album.

    "H.A.T.E.U." is not nice, on the other hand. It's much more than nice, and that's why it's such a shame Mariah's voice ruins the songs potential. While listening to the song, over and over, I wondered whether why she kept restricting her voice throughout the whole number. I didn't want to put all the blame on the awful use of auto-tune, but, I have to. "H." never became the song it should've been because Mariah doesn't need auto-tune. Do you have a lousy voice? Use auto-tune to make it seem hip. Have a superb, world-rocking voice? Use auto-tune to ruin every single note.

    Then there's "Standing O," which doesn't suffer so much from auto-tune, but more from a lack of creativity. It's not an awful song—on the contrary, it's a great listen if you don't feel like experiencing inspiration.

    The Good (Or, ... The Good)
    If you have been waiting for praise, read on. Because from her ridiculously-awesome cover of "I Want to Know What Love Is" (including its awesome interlude) to the pop-sounding, voice-cracking "Up Out My Face", the rest of the numbers are fantastic, and many should deserve Grammy Awards.

    "Up Out My Face" is just plain—dare I say it?—hip and cool. From the lyrics to the voice, to the repetition; this is a song that benefits greatly from a fun-sounding and tongue-in-cheek production. Where the repetition of "Standing O" fails, "Up Out My Face" excels.

    All right, let's just stop and rewind for a bit. I started off by talking about Janet Jackson, and then almost-completely disregarded my own comment. Because, secondly, now that we're going to discuss "Candy Bling" and "More Than Just Friends", something from the Janet Jackson rulebook comes to mind. Mumbling. Or, to be more specific, alleged mumbling.

    Especially in her recent work ("Discipline" excluded for convenience), Janet has been singing like a fourth-grade schoolgirl: very soft, very mellow, and without focusing all too much on enunciation. A lot of times you just want to shake her and yell at her, "Speak up, dammit!"

    And that little routine comes to mind when listening to "Candy Bling" and "More Than Just Friends", both great songs with awesome beats and production, but both suffering from the alleged-mumbling syndrome. Especially when Mariah sticks with her whispering voice for more than a few lines it starts to become annoying. One shouldn't need printed lyrics to understand a song.

    But I digress. There are five songs left on the list to talk about, and I'll start off by applauding Mariah for her cover of Foreigner, and the incredible prelude that goes with it. Many people don't like it and tell me that the timing is off, to which I say, it's a cover, people. It shouldn't need to follow the same timing and pacing; I actually believe it's a great improvement. The emotional baggage that is presented in the song really comes to the foreground in this way, and the relaxed build-up serves a presentational point. There is one annoyance in the song though: why isn't it about a minute longer? It fades-out in the best part of the song right now. Minor annoyance, though.

    I have nothing intelligent to say about why I feel "Inseparable" is a superb song. Everything just fits—from the story-lyrics to the supportive execution of the music—and, furthermore, it feels like a pure Mariah Carey extraction. The same can be said from "The Impossible," a snug fit that also has the added benefit of providing Mariah with a way to show-off that she does know how to whisper-sing while enunciating.

    "It's a Wrap" is a song that relies heavily on Mariah's voice, and which wouldn't have worked with a different artist. The song showcases the layers of her voice, puts a spotlight on her shouting abilities, and asks you to join in with your own singing—or, *cough*, at least that's what I got from it.

    And that leaves just one song to discuss: "Angels Cry," the masterpiece song on the album. As you may have noticed, when it comes to applauding songs I have less to tell than when I'm criticising them, and the same applies here. "Angels Cry" is a song you just fall in love with. Ever been asked why you fell in love with someone, and you couldn't think of anything besides the clichéd obvious? I have the same with "Angels Cry." "What do you mean, why? Just listen to the song; isn't it bloody obvious why I did? That sound, those lyrics, the emotion and feeling, that awesomely fierce-yet-mellow ending, ... Pure excellence!"

    No, really
    Yes, I will say that "Memoirs" overall sound has more to do with Mariah's earlier albums than the recent batch that came from the House of Carey. The restless nature of "Emancipation" and the creative blandness of both "Glitter" and "Charmbracelet" (and perhaps also "Rainbow") have very little influence on "Memoirs" ("Obsessed" excluded; that one would've fit on "Emancipation").

    However, run away from people who proclaim that this album is old-school Mariah Carey. The title, "Memoirs of an Imperfect Angel" is a perfect description of what this album really is. It's the coming together of a willingness to sit back and enjoy life and music, and the talent to excel at providing your musical colleagues with a fuck-off message. Anyone who dared to doubt Mariah's ability to shine nineteen years after her debut, has been set right. There's only one, true and holy God, and her name is Mariah Carey.
  • musiBLOG[gone2soon RIP michael j jackson]

    26 Jun 2009, 23:18 de djraghkstar

    if u dont already have this.

    please allow me to share it with you.

    please email me and i will send it to you w/o delay.

    the song:

    better on the other side feat. p diddy. the game. polo da don. chris brown. mario winans & boyz II men

    i cried literally while hearing this.

    im crying now as i listen to it & type to you.

    str8 up.

    if u kno me u kno how i am when mike is played in the club & i dance or when i play it wherever i am.

    as i heard the news yesterday & as you all kno from my twitter feed

    this time yesterday, i was deeply distraught.

    holding on to any shred of hope that all the reports would be wrong.

    see, i was going to see the tour in the UK.

    & for the first time in my life.

    i was going to be able to see him, scream in the arena while hes onstage, feel

    the music live & close my eyes open them & live a dream ive had since i was very young.


    quite frankly would have had an good opportunity to finally meet him. (i kept that
    under wraps til now)

    being around several celebreties, knowing them personally & at various times i
    dont get startstruck at all.

    (ok maybe when i met clive davis or had dinner with babyface)

    but i truly feel like a piece of me was taken away.

    i love michael jackson.

    now and forever i will.

    im deeply sadden'd still.

    but i rejoice in the music that he has left us with.

    im playing michael jackson out of my respect & love for him & his music.

    feel free to play my library.

    its for my enjoyment & yours.

    i hope that u will reminisce with me also.

    peace, love and music.



    michaels fanatically musical desciple.

    ~dj raghkstar
  • New Mariah!

    17 Jun 2009, 5:03 de Rayffle

    and I was like... why is he so obsessed with me?

    "Will the real Slim Shady, please stand up?"
    I mean... "Will the real MC please step to the mic?"


    So new Mariah single was released today... and it's hot! Each time I listen to it, it gets better... and apparently it's an Eminem diss!

    If you didn't know here's a little info...
    Eminem claimed he dated Mariah Carey for six/seven months and said it didn't work cuz she's too diva and he's more of a regular and he also said that he can't deny her talent but just don't like her as a person.
    Mariah on the other hand, denied they had something... she said they hung out and talked on the phone.... but she never dated him... and probably was with him a total of 4 times.

    I love when people bring beefs to music lol
    So far we had

    Round 1:
    Superman x Clown

    "and you know that I know, you're no superhero... I guess your mama never told you that wht goes around comes back around... pow!"
    Mariah wins!

    Round 2:
    Bagpipes from Baghdad x Obsessed

    Mariah wins again... and this time is a K.O.!

    "You a mom-and-pop, I'm a corporation
    I'm the press conference, you a conversation

    Ooh oh oh why you so obsessed with me?
    Boy I want to know - lyin' that you're sexin me
    when everybody knows it's clear that you're upset with me
    Ohh finally found a girl that you couldn't impress
    Last man on the earth - still couldn't get this

    You're delusional, you're delusional
    Boy you're losing your mind..."

    Anyhoo, the song is hot and it's another hit for Mariah! I hope it's the 19th #1!
  • My Music A-Z 2008

    8 Dic 2008, 8:04 de Toodalimit

    My Music A-Z, because everybody's doing it
    24 Dec 2006, 16:40


    First:50 Cent
    Last: 702
    Favorite: 702

    Last: Avril Lavigne
    Favorite: Aaliyah

    Last: Busta Rhymes
    Favorite: Beyonce

    Last: Common
    Favorite: Cassie

    First:Danity Kane
    Last: Dido
    Favorite:Danity Kane

    First:Enrique Iglesias
    Last: Evanescence

    First:Faith Evans
    Last: Floetry
    Favorite: Faith Evans

    First: Ghostface Killah
    Last: Gwen Stefani
    Favorite: Gwen Stefani

    First:Jagged Edge
    Last: Justin Timberlake
    Favorite: Jagged Edge

    First:Kanye West
    Last: Keyshia Cole
    Favorite: Kanye West

    First: Lady Gaga
    Last: Lil' Wayne
    Favorite: Lil' Wayne

    First: Mariah Carey
    Last: Musiq
    Favorite: Mariah Carey

    Last: Nina Sky
    Favorite: Nina Sky

    First: Omarion
    Last: One Chance
    Favorite: Omarion

    Last: P!nk

    First: R. Kelly
    Last: Ron Browz
    Favorite: R. Kelly

    Last: Swizz Beatz
    Favorite: Sade

    First: T.I.
    Last: Trey Songz
    Favorite: Trey Songz

    Last: U2

    First:Young Jeezy
    Last: Young Jeezy
    Favorite:Young Jeezy