‘EMC2’

‘EMC2’

Mariah Carey (Island)

Grade: A

As April brings new music from two of pop’s biggest divas — Madonna and Mariah Carey — we’ll hear once again about the Material Girl’s art of reinventing herself to remain musically relevant over the decades.

Overlooked is Carey’s equally deft gift — not for reinvention, but of evolution.

Once considered an expert vocal technician with a knack for creating power pop without much soul, Carey has grown into a performer who, while not necessarily creating high art, crafts music that moves people, whether it’s to dance, to love, or even to cry.

Carey perfected that gift on her last CD, 2005’s top seller “The Emancipation of Mimi,” which marked a stunning comeback for the veteran singer.

On her new disc, “EMC2,” the formula is not quite as potent as her last creation. But it’s nearly as good, and equally as enjoyable.

In some many ways, it can be compared to the rare film sequel that’s equal to its predecessor: While based heavily on the original, it still has qualities that make it good enough to stand on its own.

“E-MC2” kicks off with the slow-burn jam “Migrate,” which like just about every other song on urban radio, features a verse from vocally enhanced singer-songwriter T-Pain. But unlike many of T-Pain’s collaborations, he doesn’t make the song, he just adds to it — the track belongs to Carey.

The first single, “Touch My Body,” is a fun, flirty tease — a mood that’s repeated on party jams like “I’ll Be Lovin’ U Long Time” and “I’m That Chick.” The latter song includes the must-rewind line “(Don’t) take this seriously, like Pac all eyes on me.” Few artists could deliver a verse like that without eliciting a serious eye-roll, but Carey’s tongue-in-cheek delivery makes her audience smile along with her.

While Carey (listed as the co-writer on all the tracks) delivers a batch of simmering Jeep-blasters that could all vie for summer jam of the year, she works her best magic on irresistible ballads, when she puts her multi-octave range on full blast like the Mariah of old. The heartbreak tune “I Stay In Love,” could have been recorded in her early ’90s heyday — except it’s not as saccharine as some of her early work. Another great song is “Love Story,” which manages to remain a beautiful ballad despite questionable use of the words “Ay Bay Bay.”

—Nekesa Mumbi Moody, Associated Press

‘Spirit’

Leona Lewis” (J Records)

Grade: C

Endorsed by Oprah, faster-selling than the Arctic Monkeys, and so stupendously marketable that both Simon Cowell and Clive Davis had to get a piece of her, Leona Lewis darn well better be huge, or the 23-year-old Englishwoman will be a colossal disappointment. And we’re not talking Amy Winehouse huge. We’re talking Mariah Carey huge.

Lewis won Cowell’s Brit TV talent competition, “X Factor,” in 2006, and “Spirit,” upon its release in Britain in November, promptly broke the Monkeys’ record as the quickest-selling debut act in Brit history. In her favor, Lewis comes across as a poised, nascent pop starlet with a touch of suffering in her soaring voice. Though she can effortlessly elevate to a fluttery soprano, she largely avoids unnecessarily ornate ululating. But though her version of Ewan MacColl’s “The First Time Ever I Saw Your Face” doubtless makes Cowell’s cold, cold heart swell with pride, it’s stilted and doesn’t hold a candle to Roberta Flack. This is industrial-strength, ready-for-the-radio romantic pop done with care and a couple of catchy songs, like the already chart-topping “Bleeding Love,” but most of “Spirit” is essentially characterless. Which is not to say it isn’t going to be huge.

—Dan DeLuca, Philadelphia Inquirer

‘Lady Antebellum’

Lady Antebellum (Capitol Nashville)

Grade: B+

The name Lady Antebellum may suggest a graceful image of the old South, but the new vocal trio performing under that name is as contemporary as country music gets. Consisting of two men and a woman, Lady Antebellum feature a progressive blend of middle-American grooves, rootsy harmonies and lyrics that probe relationships with a youthful point of view.

The trio features Charles Kelley, brother of pop singer Josh Kelley (and husband of Grey’s Anatomy star Katherine Heigl). He shares lead and harmony vocals with Hillary Scott, whose mother is Grammy-winning country singer Linda Davis. Dave Haywood occasionally adds harmony as well, but his primary role is the group’s accomplished multi-instrumentalist.

Together, they present snapshots of relationships that boldly go beyond the boundaries of most current country music themes; “Lookin’ for a Good Time,” for instance, finds a couple convincing themselves not to take a one-night stand as anything serious. As with other current country artists, they’re more likely to confront a lover, or condemn a former partner, than they are to express pain or regret, as they do in the current country hit, “Love Don’t Live Here.”

As with Sugarland and Little Big Town, two other mixed-gender vocal groups, the emphasis is on energizing rhythms, upbeat fare and personal empowerment. With Kelly’s throaty growl and Scott’s breezy self-assurance, they sound ready to take on the world — and capable of conquering it.

—Michael McCall, Associated Press

‘The Vegas Years’

Everclear (Capitol/EMI)

Grade: C

Collections of cover songs are a love-it-or-hate-it affair for fans (see Guns ’n Roses’ “The Spaghetti Incident” for proof).

Offering a slew of covers recorded between 1994 and 2007, Everclear wears their influences on their sleeves on “The Vegas Years.” Frontman Art Alexakis and his mates are no strangers to radio-friendly hits (“Santa Monica,” “Father of Mine”) so it isn’t surprising when they offer their take on pop-rock hits of yesteryear such as Hall and Oates’ “Rich Girl,” Tom Petty’s “American Girl” and the delightful cheese of The Go-Go’s “Our Lips are Sealed.”

That being said, they fail to offer a new take or something fresh here, and it relegates “The Vegas Years” to the status of an amusing aside for hardcore fans only.

They may grab your attention on a pair of live tracks, Van Morrison’s “Brown Eyed Girl” and Tommy Tutone’s goofy hit, “867-5309 (Jenny)” — but these tracks are elevated mostly because of the crowd’s sing-along energy.

The better bet is to wait on a batch of new material from the band — reportedly, a new disc will be released later this year.

—John Kosik, Associated Press

‘Through These Walls’

Hillary McRae” (Hear Music)

Grade: B

On the lovely ballad “Waiting,” when Hilary McRae sings “You probably won’t even like this song,” she couldn’t be more wrong.

McRae has a chance to make a big splash on her debut album, in part because she enjoys the backing of Starbucks Entertainment as the first developing artist on the company’s Hear Music label. Also in her favor: She’s a terrific talent, which “Through These Walls” makes clear.

The 21-year-old native of Boca Raton, Fla., is a PG-rated Amy Winehouse, channeling retro pop and R&B into something original. McRae sounds a little sound like Michael Jackson, Fiona Apple, Chicago, Jamie Cullum, Lisa Stansfield and Gloria Estefan, but mostly she sounds like a fully formed artist with a precocious knack for turning out distinctive, catchy tunes.

This Hilary’s apolitical, her subject matter limited to the pursuit and heartache of romance. But there’s plenty of range in the music — punchy horns here, Latin percussion there, dance grooves in abundance and winning ballads, too.

McRae wrote all 12 songs and delivers them in a warm, husky alto, resisting the temptation to oversing that trips up so many “American Idol” wannabes. With music this good, McRae knows there’s no need to showboat.

—Steven Wine, Associated Press