Walter Afanasieff and Mariah created some of her greatest songs, and “My All” marked one of their final collaborations. Due to Carey’s separation from then-husband Tommy Mottola, Afanasieff was stuck in the middle and ended up leaning towards Mottola after the divorce, ending their more than half-decade musical partnership.

The ballad was written at Carey’s upstate New York mansion and recorded both in New York and at Afansieff’s San Francisco studio. He credits a steel acoustic guitar sound on a new keyboard, the Trinity, with helping to spark the creative process for the song. According to Carey:

I had gone to Puerto Rico and was influenced by Latin music at that moment. When I came back, the melody was in my head. It was at a melancholy point in my life and the song reflects the yearning that was going on in me. It was like being in a situation but you want to break free and you can’t, so you’re confined yet you’re releasing those emotions through the lyrics and the actual act of singing. That’s why I think a lot of people felt very strongly about that song, because the emotion is clear when you listen to it.

She sings passionately and longingly of a lost love for which she’d give anything and everything to spend another night with. Structurally, the song was compared to something Toni Braxton might sing at the time, most notably “Unbreak My Heart,” and was declared by Entertainment Weekly “the best Babyface track Babyface never produced.”

The music video was appropriately shot in Puerto Rico. Completely black and white, it was one of the few music videos directed by late famed photographer Herb Ritts (also responsible for Mark Wahlberg’s Calvin Klein campaign and Janet Jackson’s “Love Will Never Do Without You” video). The video caters to Ritts’ love of both black and white and Greek imagery, at times recalling the Botticelli painting The Birth Of Venus. Throughout the video, Mariah sings across a body of water to a lighthouse, which is revealed to be the dwelling of the man she is singing to. Flashbacks show their night of passion in the lighthouse while her pleas become more full-voiced and soulful throughout the song.

“My All” is an example of a classic Mariah song that was then reworked to appeal to her ever-growing range of fans with various spectrums of musical interests. Once the track was released as the 3rd single from Butterfly in the US in the spring of 1998, she went back into the studio to re-record her vocals and craft dance remixes with David Morales, a Hip-Hop remix with Jermaine Dupri, and even a Spanish version of the song, “Mi Todo.” There were also additional remixes that compliment the Spanish feel of the song created by Full Crew, but they were limited to a release outside the US and do not feature any new vocals.

The Morales remixes put Mariah right into the clubs, where she was already established as a queen of the dance floor with her previous dance remixes. The “Def Club Mix” is more house oriented with the synths, while the “‘My’ Mix” is more club oriented with a harder hitting beat and percussion, and also shares many elements with the “Classic Club Mix”. The music video was re-edited to accompany some of the dance remixes, but the only one that is still accessible is the ETV Bonus Mix.

Jermaine Dupri’s Hip-Hop remix, known as “My All/Stay Awhile” features Lord Tariq and Peter Gunz and incorporates Loose Ends’ “Stay A Little While, Child.” It is the first of many remixes Mariah would create by incorporating and interpolating another song into the lyrics and theme of the song (“Thank God I Found You”, “I Still Believe” and “Heartbreaker” all followed in this trend). A new music video was shot to accompany the remix, and directed by frequent Carey director Diane Martel. It features Carey and all affiliated with the remix at a house party, using a grainy effect to create the impression that it’s a home movie.

Over the years “My All” has become a mainstay in Carey’s repertoire. Aside from the barrage of live performances that helped promote the song (including Saturday Night Live, The Rosie O’Donnell Show, Pavarotti & Friends, The Soul Train Lady of Soul Awards, Top of The Pops, and VH1 Divas Live [see bottom]) she has performed it during every tour she has embarked on since it’s release. Even last year (2014), she delivered a show stopping rendition in Manila during The Elusive Chanteuse Show Tour.

On a personal note, “My All” holds a very special place in my heart. It was the first Mariah song I heard with a cognizant understanding that it was Mariah Carey. VH1 Divas Live was one of the first CDs I owned, and the performances Mariah put forth on that album sparked my interest in her 17 years ago. I was also very surprised when I finally heard the studio version years later and the pulsing percussion was nowhere to be found.

The post “I’m thinking of”… Mariah Carey’s 13th #1: “My All” appeared first on THE 97.

“Don’t Forget About Us”, released on December 5, 2005, belongs in a category of Mariah Carey songs that are unmistakably about a specific event or person, but which she wants the general public to interpret however they want, as an open-ended narrative. Just as she wants “Obsessed” to be interpreted as a song that she wrote for all the little girls who are constantly having their ponytails pulled by sinister little boys who just won’t leave them alone, Mariah didn’t or wouldn’t want you to think that she is in the habit of turning past heartbreaks into chart-topping break-up jams. She would rather that people hear her songs as something that they could think of as being about anyone or anything in their lives.

With “Obsessed”, this claim is dubious – how else could anyone interpret it as anything other than about being stalked by a weed-toting, pill-popping rapper who’s constantly broadcasting an inexistent tryst? As a create-your-own-meaning song, then, “Don’t Forget About Us” works because it’s specific enough to appeal to people who are captivated by the confessional nature of her songwriting (often with a little help from frequent songwriting collaborators Jermaine Dupri, Bryan-Michael Cox and Johnta Austin), not to mention, daring dips into different vocal registers, but vague enough to let people relate with the very familiar ‘wistful ex’ storyline.

Even the video, directed by “Honey” music video director Paul Hunter, seems to be telling something, and at the same time, nothing. The video is supposedly rife with references to past loves or certain Mariah moments, but to the casual viewer, the video’s main messages are that Mariah is pining for an unforgettable ex and she chooses to do so while paying homage to a scene in a Marilyn Monroe film.

Lyrically, there is no trickery, just a slow burning march towards a climactic bridge involving a slightly vindictive Mimi who isn’t going to take being replaced sitting down. The word “trickery” does appear, however, and the verse it appears in provides a glimpse into the kind of insane lyricism that she’s about to dabble in for succeeding albums. Has there been a Mariah lyric as hard to sing as the “And if she’s got your head all messed up now, that’s the trickery…” bit?

The clever turns of phrase, the zany wisecracks, the Harvard University graduating class of 2010-referencing break-up bops, would, in fact, show up in follow-ups E=MC2, Memoirs of an Imperfect Angel, and beyond. In retrospect, The Emancipation of Mimi, from whence her 17^th #1 came, looks like a much tamer Mariah album. Compared to its successors, Mimi did not have lyrics more outrageous than ‘them chickens is ash and I’m lotion’, ‘hot as you can stand it, something like organic, you and me seems organic’, and ‘I gotta shake you off, just like the Calgon commercial I, really got to get up out of here,’. In Sasha Frere-Jones’ otherwise flattering Mariah Carey New Yorker profile ‘On Top’, he points out that Mariah was ‘keeping with current trends in R&B.’ in reference to meandering Mariah melodies, but somehow failed to make mention of Mariah’s remarkable fast-singing (such as in the aforementioned bridge), something Fourfour saw fit to bring up in his equally astute Mariah piece.

Despite being similar in theme and sound to “We Belong Together” (a song that’s quite worthy of emulation), “Don’t Forget About Us” managed to reach number 1 which could have meant that: 1. People like Mariah heartbroken, or 2. The song was really good enough to merit the peak position. The ascension to top was simply a sublime surprise. It was not the kind of hit that “Shake it Off” – a more memorable song, more to the taste of radio, a song that almost dethroned last decade’s Billboard Song of the Decade – should have been (ie, #1), and its receipts certainly were not as thick as “We Belong Together”. She would go on to make beat driven ballads with a similar tempo (“I Stay in Love”, “For the Record”) and be criticised (and sometimes, praised) for doing so, but “Don’t Forget About Us” seemed to have a struck a chord with those who, like Mariah, think themselves as infinitely superior to their ex’s current amours.

Massive amount of goodwill also helped Mimi single #4 hit the top of the Billboard Hot 100. Although, it wasn’t just goodwill. Being 2005’s “it-girl” she had become radio gold and “Don’t Forget About Us” was the perfect single to fall next in line in her string of emancipating hits. Not to mention, as Jadakiss and Styles P said on the “We Belong Together” remix, “This is the emancipation of Mimi/Hot like a real fever, the real diva/So successful, yet still so eager,” Mariah was indeed eager and determined for success. In the video for “Don’t Forget About Us,” there was a hidden message on the graffiti wall behind the soccer net that read “making history is seventeenth,” revealing her obvious goal: to make “Don’t Forget About Us” her 17th #1. The single was also a hit at the Grammy Awards, reaping what “We Belong Together” had sown, getting nominated for a Best R&B Female Vocal Performance and Best R&B Song – the former award won by another “We Belong Together” beneficiary, Mary J. Blige’s “Be Without You”.

Prior to 2005, Mariah was languishing in an underdog status and was frequently referred to as the ‘Glitter star’; which is almost unflattering but not inaccurate. Against all odds, Mariah silenced naysayers with The Emancipation of Mimi, and “Don’t Forget About Us” reaching the top helped make her “comeback” that much sweeter. Although Mariah was ready to take a much needed break, she sealed that glorious era with a reminder that when it comes to making the personal universal, very few come close.

The post “Don’t Forget About…” Mariah Carey’s 17th #1 single appeared first on THE 97.

Spanning thirty-plus years, from her very first #1 in 1990 (“Vision of Love”) to her most recent #1 (“All I Want For Christmas is You”) in 2019, Mariah Carey’s #1’s total (19) is the highest of any solo artist, and second only to The Beatles overall. As a songwriter and producer, she ranks as the #1 and only woman in the top 5 of both categories. She was the first woman to debut at #1 (“Fantasy”) and has racked up 3 #1 debuts in total. With her 19th #1, she has charted #1’s in four decades: 90s, 00s, 10s and 20s. She also holds the record for most consecutive years charting a #1: eleven (1990-2000). Those are just a few of her Hot 100 achievements, but to read more about each of Mariah Carey’s #1’s, click on the song titles below.

01. “Vision of Love“

02. “Love Takes Time“

03. “Someday“

04. “I Don’t Wanna Cry“

05. “Emotions“

06. “I’ll Be There“

07. “Dreamlover“

08. “Hero“

09. “Fantasy“

10. “One Sweet Day“

11. “Always Be My Baby“

12. “Honey“

13. “My All“

14. “Heartbreaker“

15. “Thank God I Found You“

16. “We Belong Together“

17. “Don’t Forget About Us“

18. “Touch My Body”

19. “All I Want for Christmas is You” (in-depth article coming Christmas 2021).

Listen to Mariah Carey’s #1 to Infinity:

The post All 19 of Mariah Carey’s #1’s, in-depth. appeared first on THE 97.

To celebrate the residency, Epic is re-issuing her 1998 #1’s collection, which will now include all 18 #1 Hot 100 hits and 1 new track. The new album is coming out on May 18. Mariah released the artwork yesterday with the help of her fans around the world. The social media campaign bore the hashtag #RevealMariah and encouraged fans to share the news in order to reveal the cover bit by bit.

#1 to Infinity is the title of the new collection, Mariah herself announced the exclusive pre-order starting today on her website. The tracklist includes all of her 18 #1’s and the new single, “Infinity,” to be released on April 27 alongside its music video directed by Brett Ratner.

1. “Vision of Love” (4 weeks, 1990)
2. “Love Takes Time” (3 weeks, 1990)
3. “Someday” (MTV Unplugged version) (2 weeks, 1991)
4. “I Don’t Wanna Cry” (2 weeks, 1991)  
5. “Emotions” (3 weeks, 1991)  
6. “I’ll Be There” (featuring Trey Lorenz) (2 weeks, 1992)
7. “Dreamlover” (8 weeks, 1993) 
8. “Hero” (4 weeks, 1993) 
9. “Fantasy” (Bad Boy Fantasy version) (8 weeks, 1995) 
10. “One Sweet Day” (featuring Boyz II Men) (16 weeks,1995-1996) 
11. “Always Be My Baby” (2 weeks, 1996) 
12. “Honey” (3 weeks, 1997) 
13. “My All” (1 week, 1998) 
14. “Heartbreaker” (featuring Jay-Z) (2 weeks, 1999) 
15. “Thank God I Found You” (featuring Joe & 98 Degrees) (1 week, 2000) 
16. “We Belong Together” (14 weeks, 2005) 
17. “Don’t Forget About Us” (2 weeks, 2005) 
18. “Touch My Body” (2 weeks, 2008) 
19. “Infinity” (2015)

To celebrate this very exciting moment in Mariah’s career, we will be honoring her in a very special way here at EST. 1997. Beginning on April 27th, with the new single “Infinity,” we will posting reviews and retrospectives about each of her 18 #1 singles. Following our review of “Infinity” on April 27th, we will celebrate the 25th anniversary of Mariah’s iconic, industry-changing first single, “ever,” – “Vision of Love.” With an immaculately researched, in-detail post written by Jason, we will highlight the very significant impact of the song over the last 25 years featuring quotes from numerous singers and hip-hop stars.

Following “Vision of Love” we will move through reviewing the remainder of her #1’s, as well as share a number of “Mariah 25” playlists, highlighting different aspects of her music and career in the form of “Top 25” lists. We hope that Mariah’s lambs will enjoy this very special feature as we celebrate an artist without whom this site would not exist!

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