Mariah Carey. You know she’s a loaded subject.

But she’s made her best album in 20 years with “Here For it All.” It’s a classic R&B collection of actual songs that feature her extraordinary voice.

Except for the first two singles that didn’t do well, the rest of what she’s put together here is something for adults, for connoisseurs of pop music and laid back lush soul. It’s so enjoyable that some of the songs actually feel too short.

How do ya like that?

My real complaint for years with Mariah’s records is that they were encumbered by hip hop scatting and yodeling, computer tracks and artificiality. After “The Emancipation of Mimi,” Carey fell into the trap of making the same album over and over, trying to recapture a magic that wasn’t necessary. Her famous range had turned into manic screeching.

So “Here For it All” is a surprisingly pleasant collection of mid tempo numbers and ballads in which Mariah shows off her full throated voice a la her first hit, “Vision of Love.” It’s the kind of record Whitney Houston might have made at this stage of her life. .

As Mariah sings on one of the moving tracks, “Nothing is impossible.”

The centerpiece of the album is actually the title track, “Here For it All,” a soaring anthem that turns into a six minute celebration of soul. Yes, there’s a reference to a Bugatti — Mariah’s commitment to being a diva is outsized — but otherwise, “Here For it All” is earthy and real. If you’re looking for Mariah’s famous octave range, this is the song for you.

If you’re still into the whole diva thing, you’ll find it on “Mi,” the opening track. Mariah sounds like she’s having trouble shrugging off her PR persona and embracing the music. She sings: “I don’t care about much if it ain’t about mi/ Let the money talk first, conversations ain’t free/ I’m the D-I-V-A, that’s MC/ I’m the hot toddie, hottie body, yea that’s tea.”

This is a signal to fans who are expecting the Mae West Mariah, the one who likes to send herself up. It’s all caviar, dahling. It’s hard to break old habits. Her motto: “I’m a bad bitch but I’m good company.”

But then comes a curve ball. With Anderson.Paak, who did this so well with Bruno Mars on “Silksonic,” Carey’s all old school R&B with “Play This Song,” sung with the emotion she once infused the Jackson 5’s “I’ll Be There” or Nilsson’s “Without You.” She’s looking back at an old love that’s to going to be rekindled, much the way or Anita Baker would handle it.

That’s followed by two songs I still don’t care for, “Type Dangerous,” and “Sugar Sweet,” which feel like leftovers from old albums. But enough about that. At one point we get Mariah singing her guts out on Paul McCartney’s signature ballad, “My Love,” and wrapping her vocal chords around “In My Feelings,” a song that Patti Labelle might wrestle her for. The latter is a single in the making.

A lot of the songs are about breakups or maybe one in particular. “I Won’t Allow It,” candidate for dance floors and radio, is a little scathing about an ex who’s still trading on the past relationship: “Wanted the fame, used my name/ Bet you thought you could do that/I won’t entertain all your narcissistic ways.”

What should we call “Here for It All”? A throwback album? I guess so. For a diva who likes to sing about being self-absorbed, this a collection that actually shows — can we say it? — maturity. You know, Mariah has this whole thing about acknowledging time. But on this record, she clearly does, as we all do. And there’s nothing better than hearing actual musical instruments, not programmed drums and synths. The band assembled and produced here by Daniel Moore may be a revelation to contemporary ears.

Did I mention the value added of The Clark Sisters on “Jesus, I Do,” a gospel tinged dance song? Talk about going to church!

So, kudos, it’s nice to know we’ve all grown up so well.

Come back at midnight for some songs.