“E=MC2″ is another one for the record books. Songs from this album will grace radio waves deep into 2009.

In similar fashion to her unprecedented commercial comeback “The Emancipation of Mimi,” 2005’s highest-selling LP, Mariah Carey has crafted what both fans and casual listeners will enjoy – an album that plays like a greatest hits project, with nearly every selection having the makings of a killer hit single. Her songwriting is at its peak – deep, earthy, frisky and fun – much like Carey herself. That generation-defining voice has never sounded fuller of passion, vigor and purpose. The melodies are strong and instantly memorable, the songs perfectly sing-able even for those lacking Carey’s luminous pipes.

The biggest surprise about “E=MC2″ is that, aside from its being a consistently satisfying collection of unshakable pop melodies and inspiring ballads, it shares no obvious commonalities with other LPs in Carey’s catalogue, including its predecessor. This may discourage those with set expectations, but further listens reveal increased treasures. This is a recording built to last.

Her lyrics are always self-effacing, but she raises the bar on “Side Effects” and the dignified closer “I Wish You Well.” The former is dark and straightforward, detailing the pain of an emotionally crippling relationship with a sizzling rap from mega-talented Young Jeezy.

The latter, meanwhile, deals with the same topic in a more understated fashion. Finding solace in verses from the Bible, she rises up against persecution (“No weapon formed against me shall prosper”) and finds inner strength:

“So the more you curse me/The more you’re blessing me/The Word said it/Love your enemies/Do good to those who curse you/Pray for those who mistreat you.”

There is plenty of room for fun as well – as she coos on “I’m That Chick,” a bouncy, ultra-catchy slice of old school soul, “I brings that levity.” That track, as well as the Supremes-esque “I’ll Be Lovin’ You Long Time,” sizzle with addictive hooks and wall-to-wall Mariahs singing over each other. Others like the sassy, dancefloor-ready “O.O.C. (Out of Control),” which has such snappy lyrics and blazing attitude that its title seems destined work its way shorthand vernacular, sound crafted to blare out of top-down convertible stereos on hot summer afternoons.

“Migrate” featuring T-Pain (“From my car into the club we migrate/From the bar to V.I.P. we migrate”) and “Cruise Control” featuring Damien Marley (“I’ve been told so many sagas/He brings the drama, six baby mamas”) both appear destined smash hits with their irrepressible choruses, and “I Stay In Love” is a classic Carey ballad that nevertheless finds her throwing curveballs at her creative palette.

“For the Record,” however, may be the album’s penultimate moment. Assuring a former love that her fire still burns bright, she namedrops some of her ’90s records amid the buoyant, violin-infused instrumentation:

“Can’t nobody say/I didn’t give my all to you/And for the record/I told you underneath the stars that you belong to me/For the record/It’s obvious that we just can’t let go of us, honey.”

Carey proves herself to be in the throes of an awesome creative streak with “E=MC2.” The last album proved her talent unstoppable in spite of the odds against her, but this one affirms she is here to stay. She has never been more sexy, more beautiful, more moving or inspiring. Carey proves yet again that through all the imitators and worthy chart rivals there is only one performer with the killer combo of vocal perfection and songwriting panache.

“Them other regularities, they can’t compete with MC,” she continues on the aforementioned track. “The whole entire world can tell that you love yourself some me.”

Our great-grandchildren will surely not remember most of today’s entertainers, but “E=MC2″ adds further likelihood that Carey will prove an exception to the rule.
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