Due to Columbia's removal of the single from stores in an attempt to boost the album's sales, "Can't Let Go" failed to become her sixth chart topper in the US, peaking at number two.

Similarly, "Make It Happen" peaked at number five in the US, and achieved relatively weak international charting, prompting Columbia to halt promotion of the album.

[4][5] He promptly signed her into the label, enlisting top music producers Ric Wake, Narada Michael Walden and Rhett Lawrence for her first album; those songs were re-recorded and newly mastered, with new material also being developed.

[4] Marketed as the main female artist of Columbia's roster,[6] Mariah Carey released her self-titled debut album in June 1990 to positive reviews and commercial success: it earned her five nominations at the 33rd Annual Grammy Awards, winning Best Female Pop Vocal Performance for "Vision of Love" and Best New Artist, topped the Billboard 200 chart for 11 consecutive weeks and was the best-selling album of 1991 in the United States, where it was certified nine-times platinum by Recording Industry Association of America (RIAA), with estimated global sales of 15 million copies.

[13] Following the discussion, Margulies filed a lawsuit against Sony, claiming that under contract, he would be entitled to work with Carey, as well as reap extra benefits.

[14] Even though he had only produced second single "Love Takes Time", Carey felt a strong working chemistry with him, soon developing a unique form of songwriting alongside him.

During a conversation with Carey, King suggested she should cover "(You Make Me Feel Like) A Natural Woman", a song she had written with Gerry Goffin for Aretha Franklin.

[15] After giving it some thought, the singer declined the offer, feeling uncomfortable about recording a song she felt that was performed so perfectly by one of her musical influences.

[17] The album's lead single "Emotions" borrowed heavily from 1970s disco, and flaunted Carey's upper range and extensive use of the whistle register.

[18] The song's lyrics were described as "joyful" by author Chris Nickson, and told of a strong and deep emotion felt by the protagonist when with their lover.

[18] One of the album's more gospel infused songs, "And You Don't Remember," featured organ chord changes and held minimal production to give the vocals a more "raw and sixties feel.

"[18] It and the former song were part of a trio of tracks from the album that were meant to pay homage to Motown ballads, with the inclusion of soft church choir vocals, and sole musical arrangement by Carey.

[19] For the duration of the first half of the song, Carey sings in her lower and huskier registers, eventually leading to the belted crescendo and falsetto and whistle finish.

Describing it as a "truly vocal showcase" for Carey, the author noted that it allowed her to "really tear loose and show what she could do [...] [f]rom a deep rumble to a high wail, she covered five octaves wonderfully, as the power of the tune built.

[20] Nickson wrote "The song sailed into the chorus, driven by the house-y piano work, the bubbly, snacking rhythm belying the angry lyrics, the upbeat tone of voice".

In the United Kingdom, Carey performed the song on British music program and talk shows Top of the Pops, Wogan and Des O'Connor Tonight.

"[31][32] The song's music video features different scenes of Carey singing and enjoying herself throughout a car ride by the countryside, as well as a small celebration with several dancers.

[25] Aside from Canada, where it attained a peak of number three, "Can't Let Go" performed weakly across continental Europe, reaching the top twenty in only the UK.

"[31] The video filmed for "Make It Happen" featured Carey performing in front of an audience in a large cathedral-like church, alongside back-up singers and child dancers.

[45] 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.

[2] 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.

"[3] Orlando Sentinel editor Parry Gettelman was also critical of Carey's vocal acrobatics, writing that the singer had become "so enamored of the ultra-high-frequency part of her range that I'm starting to suspect she may be an intergalactic spy trying to re- establish communications with the far-off Planet of Dogs.

"[32] In a retrospective review, Q hailed Emotions as "a technically perfect example of mainstream R&B," boasting Carey's shapely vocals and "the customary elegance of a multi-million dollar production.

"[1] AllMusic editor Ashley S. Battel called the record a "musical journey" and "strong follow-up" to Carey's first album that successfully replicated its predecessor's formula of "dance/R&B/ballads."

[40] The Harvard Crimson writer Sarrah Bushara noted that, "The counterpoint between the funk aesthetics of the bass and synthesizer and the classic R&B ethos of the piano and percussion is certainly attractive and masterful in its own compositional right".

[49] Additionally, Carey was nominated for two Grammy Award at the 34th annual ceremony, for Producer of the Year and Best Female Pop Vocal Performance, losing in both categories.

Emotions was certified 4× Platinum by the Recording Industry Association of America (RIAA), denoting shipments of four million copies within the United States.

[64] In France, though the album failed to chart there, Emotions received a gold certification from the Syndicat National de l'Édition Phonographique (SNEP), denoting shipments of 100,000 units.

[66] Following its exit from the chart, the album was certified Platinum by the International Federation of the Phonographic Industry (IFPI), denoting shipments of 100,000 units.

[67] On October 13, 1991, Emotions debuted at number sixteen on the Swiss Albums Chart, attaining its peak position of fifteen the succeeding week.