Due to the reception of the film, and the comparatively mild success of the album (it didn’t yield a Hot 100 number 1 nor did it reach number 1 itself, and went platinum, which was considered low sales compared to Mariah’s at-the-time recent releases), it was heralded as both a critical and commercial flop. However, looking back at this body of work and the reputation it received, it’s perplexing. What the Glitter album really is, is a misunderstood, brave attempt at bridging gaps and merging genres as only Mariah can do.

Scanning through the critical reception of Glitter in 2001 finds a variety of opinions. Some critics were optimistic while others were down right negative. Comments range from “a big step forward” and “quite good” to “a minor misstep in a stellar career” all the way to “a mess” and “the pop equivalent of Chernobyl”.

Billboard got closest to describing the album, when they analyzed the album’s styles as follows:

First, there’s the ’80s-hued material reflective of her imminent film debut (after which the set is titled). Then, there are the ballads that are an essential element of her every album. Finally, she indulges in her fascination with hip-hop culture – a move that should continue to confound fans who pledged allegiance to the diva during her early pure-pop phase.

They almost hit the nail on the head except for the final classification of the hip hop songs on the album. If anything, this piece of Glitter is the most important. It showcases Mariah’s continued status as a musically visionary who can both identify and create trends based on the direction popular music is moving. These songs are not merely hip hop tracks erratically juxtaposed with ballads and ‘80s-hued material: They are, by enlarge, updates and interpretations built on 80’s songs and would-be hip hop breaks.

80’s Meets Hip Hop

Take “Last Night A DJ Saved My Life” for example. The song (original and Mariah version) relies on a loop that would have, and could have served as a killer hip hop break in the 80’s. It fits perfectly amongst the early 2000’s musical landscape with updated instrumentation (including Randy Jackson on the bass) and more hip hop-based, hard-hitting drums. It’s both an extension and an update: with furthering contemporary hip hop elements, such as the verse from a young Fabolous and adlibs from producer DJ Clue. Busta Rhymes serves as the song’s hype man, another example of paying homage to the structure of 80’s hip hop groups. In retrospect, the song foreshadows the 80s throwbacks that would become musically ubiquitous in the years to come.

There are similar comparisons to be made with the “Loverboy” remix (which was also included on the Glitter album), along with “Don’t Stop (Funkin 4 Jamaica).” Both of these songs find themselves to the left and rely heavier on contemporary hip hop to incarnate them. Both versions of “Loverboy” rely on an updated loop of Cameo’s “Candy” to drive their instrumentation. While the remix is slightly reconfigured to include two rap verses (one where Ludacris and Shawnna trade bars and the other where Da Brat and Twenty II do the same), the original is mapped out like a standard pop song. All sampling drama aside, Mariah went as far as to invite Cameo into the studio to re-sing parts of “Candy” which serve as a bridge on the original version of the song.

“Don’t Stop,” on the other hand, is built with many of the same elements as the original “Funkin For Jamaica,” but instead tweaks minor pieces to form an update. Furthermore, the included elements are reconfigured to structure a typical 2000s rap song with full-fledged verses from Mystikal and Mariah playing hook girl (along with a vocal bridge that is an album highlight). Mariah and Mystikal create a brilliant marriage between an 80s funk jam and 2000s rap.

Only “If We” featuring Ja Rule and Nate Dogg refuses classification in the aforementioned trio of categories. It sits perfectly as a time capsule and blueprint of early 2000s hip hop/pop collaborations that broadened Ja Rule’s mainstream appeal (most notably being the blueprint for the Jennifer Lopez/Ja Rule “I’m Real” Remix). The song has a west coast rap influence and is driven by a toy piano, lush strings, and particular guitar licks that recall early 90s Dr. Dre productions. While it doesn’t fit perfectly, as a single it would have been a great hood ornament to help tie everything together for the 2001 audience and display the progression of music that adorns the album.

True 80’s Homage

The trio of ‘80s-inspired material is a prime showcase of Mariah’s continued musical versatility. She has never been shy about her admiration for the era, and over these upbeat tracks, she doesn’t hold back. Samples and interpolations aside, “Didn’t Mean To Turn You On” is the sole straight up cover on the album. Produced by Jimmy Jam & Terry Lewis (who also wrote the song), Mariah actually sings over a shortened version of the original instrumental that Cherelle used in 1985 (with some additional drum programming).

“All My Life” is a stellar period piece. Mariah wanted authenticity with this project. She reached out to the legendary Rick James, who was more than up to the task of contributing to the project. Strings and funky synths adorn the Mary Jane Girls-esque instrumental as Mariah coos and fills the breaks with airy conversation between Mariah and Rick.

Jimmy Jam and Terry Lewis were determined to achieve an authentic sound while working on this album. They were so determined that they went as far as to dust off their old synthesizers from the 80s. This is most apparent on “Want You,” a duet with Eric Benet. The synths are a time machine, as are the keyboards, guitar and the programmed drum loop.

Ballads

As far as the ballads go, Mariah always excels when she releases some emotion and throws in a few melismatic runs. On Glitter, she steps a bit out of her typical writing process and writes from the perspective of another person. Yet she still excels at showing off her songwriting prowess, especially when it comes to her diverse adjective use. Though most of the Glitter soundtrack leans heavily on the 80s, these ballads have a distinct Mariah sound of the time.

Mariah started writing music for Glitter years before it came to fruition: So many, that Walter Afanasieff (whom Carey stopped working with after Butterfly in 1997) gets not only a writing credit but also a credit as an instrumentalist on “Lead The Way,” a momentous Mariah love song. It details her character’s unforeseen romance with the film’s love interest, Dice. The song also contains the longest note Mariah has ever held, clocking in at 21 seconds (though some argue that she actually goes over 30 seconds without a breath). “Lead The Way” stands as one of Mariah’s most beautiful and poignant love songs to date.

The two ballads that are performed in the film both focus on heartbreak and loss, as opposed to love. “Reflections (Care Enough)” is a gut-wrenching ode to Billie’s mother, who abandons Billie at the beginning of the film. Mariah digs deep as a songwriter and laments Billie’s emptiness without her mother in her life. She questions whether the mother ever cared and even goes as far as to suggest that she “could have had the decency to give (her) up, before (she) gave (her) life.” “Never Too Far” is the driving ballad of the film. Placed as the final musical performance of the film, Mariah’s character Billie reflects on love torn away too soon. She declares that she “won’t let time erase, one bit of yesterday” and that “nobody can take your place.”

“Twister” has heartbreaking significance to Mariah. All of the other ballads are written from the perspective of her character Billie, but “Twister” is a tribute to Mariah’s stylist Tonjua Twist. Twist worked with Mariah for years, most notably being responsible for the cut-waistband look in the “Heartbreaker” video. She tragically took her own life in the spring of 2000. It’s the shortest song on the set, clocking in under 2:30. What it lacks in length it more than makes up for in honestly and vulnerability. The song remains one of the few that Mariah has revealed the meaning of. Eerily the song took on a perceived autobiographical meaning from the outside looking in when weighing all of the tabloid drama surrounding Mariah leading up to the project’s release.

Through and through Glitter may not have accomplished what it was supposed to, but the impact it made is undeniable. It remains as a stellar body of work amongst Mariah’s catalog. Glitter continues to highlight her singular forward-thinking creativity and ability to both see and influence trends.

PS: Mariah, if you’re reading this, it’s been years. PLEASE let us hear the original “Loverboy.” We know it slays. We know it sits over “Firecracker” perfectly (we have proof of it from Brat’s verse in the remix). It’s time.

Listen to Mariah Carey’s Glitter

The post Celebrating Glitter, Mariah Carey’s Most Underrated Album appeared first on THE 97.

Jennifer Lopez recently returned to Andy Cohen’s Watch What Happens Live! and was questioned on her alleged beef with Mariah Carey. Once again, Jennifer insisted that there is no bad blood on her end between the two, and that she admires and respects Mariah. Then, during an interview with on The Wendy Williams Show, Jennifer got a little more shady. However, consider this a Wicked moment amongst this yellow brick road of shade. A lot happened before “I don’t know her.”

Rewind back to 1999 with us for a moment. Jennifer is an actress looking to break into the music business. She signs to Sony Music, headed by Mariah’s then-ex husband, Tommy Mottola, and is considered a priority (similar to how Mariah was treated in 1990). On the flip side, Mariah is running into the end of her Sony contract. The relationship she has with her label is, to put it nicely, strained as a result of her divorce from Mottola (whom she was married to from 1993-1997). At this point, there were no real issues between Mariah and J. Lo, just speculation and some under-performing singles for Mariah.

Move ahead to 2000. Mariah was working herself into the ground on a trifecta of projects: Glitter, her film debut, the accompanying soundtrack, and Wisegirls, an independent film. Glitter is set in the 1980s, and will reach back to that decade for its musical backdrop. The first single, “Loverboy” was scheduled to sample “Firecracker” by Yellow Magic Orchestra. Mariah was the first person to ever license the song to be sampled, according to the song’s publisher. Within 3 weeks, Jennifer’s people (via Sony) contacted the publisher to license the same sample. Coincidence? No. Sabotage, orchestrated by Tommy Mottola.

While working on the album, Mariah hit the studio with Ja Rule, and crafted what became “If We.” It was Ja Rule’s first foray into R&B collaborations. Right after finishing the record, Irv Gotti (head of Ja’s record label, Murder Inc.) was contacted by Tommy Mottola. Mottola asked Gotti to craft a collaboration for Jennifer and Ja Rule “in the same style” of the record Ja already did with Mariah. “It was exactly the same style — with Mariah and Ja talking back and forth, just the way he does with Jennifer on ‘I’m Real.'”

Ja Rule spoke to LAUNCH in 2002 about the “I’m Real” remix coming together:

‘I got a call from J. Lo and them, they heard the record that I did for her (Mariah) somehow, and they thought the record was like incredible. So they called me and said, ‘We want you to do a record for J. Lo’s new single, ‘I’m Real,’ but we need it now. Like right now. We’re shooting the video Saturday.’ It was like Thursday, I got the call. So they bring the record over, and drop it off. Like with no instructions, like, ‘Do what you want Ja.’ And that was the whole awkward thing about it, like, ‘What do you mean? Do what I want.’ I was like, ‘I’ve never wrote a whole R&B record,’ and it just shocked me. And he was like, ‘Yeah, do what you want with it.”

Listen to the two songs back-to-back. The similarities are glaring.

Jennifer’s records were released first, and Mariah was left scrambling for a solution. She chose to retain “If We” for Glitter, but use it only as an album cut. On the flip side, “Loverboy” presented a dilemma. Much of Glitter was already filmed, including scenes with Mariah’s character singing “Loverboy” with the “Firecracker” sample. She had to act fast and find a song that could maintain her vocal track while still adhering to the 80s theme of the film. She settled on Cameo’s “Candy,” rushed into the studio with members of Cameo and recreated the instrumentation/track. When she released her hip-hop remix the song (a trademark of Mariah’s single releases that she pioneered in the 90’s was to go back into the studio and record new vocals over new tracks to create both hip hop-oriented and dance-oriented remixes), her friend Da Brat threw major shade at Jennifer. To add to the theatrics, Brat sang-rapped her diss to the “Firecracker” melody. She says: “Hate on me, much as you want to. You can’t do, what the fuck I do. Bitches be, emulating me daily. Hate on me, much as you want to. You can’t be, who the fuck I be. Bitches be, imitating me lately.” Listen below.

Despite never being released or leaked in the almost-15 years since this unfolded, a snippet of Mariah’s “Loverboy” with the “Firecracker” sample can be heard at the end of this Glitter trailer (the original can also be heard in the film during the “Loverboy” recording studio scene with the “Candy” version overdubbed).

From there, Mariah infamously spiraled into a meltdown. “Loverboy” underperformed and was met with lukewarm critical response (Billboard went as far as to call the song ‘self-sabotage‘). The song peaked at #2 on the Billboard Hot 100 and was certified Gold in the US (Mariah’s singles up to that point typically hit #1, easily, and went platinum). On the flip side, Jennifer’s “I’m Real” hit #1 on the Hot 100, and the remix helped further establish her as a figure with hip-hop crossover appeal. Furthermore, both Glitter the soundtrack and the film bombed when released (though the former has become regarded as one of Mariah’s most underrated bodies of work and the latter has developed something of a cult following and appreciation in recent years).

While the situation was playing out, Mariah never mentioned it publicly, aside from alluding to issues on long-deleted messages left on her website. She began discussing it and J.Lo after the fact, when the dust started to settle. The first instance came when Mariah was being interviewed by Vanessa Grigoradis for Allure Magazine, which hit stands in September of 2001. The interview itself only touches on the situation for a moment, compared to what Grigoradis claims Carey said while being interviewed. Mariah then commented on the sampling controversy during an interview with Blender Magazine published in February 2003. She elaborated further during an interview published in the March 2003 issue of Vibe Magazine.

“You wonder why some companies aren’t doing so well?” Lyor Cohen asks. “It’s because they’re too focused on negatively impacting a successful Mariah Carey album.” Carey’s apparent suspicions were confirmed when producer Irv Gotti revealed that the track sampled for J.Lo’s album version of “I’m Real” was originally to be used by Carey (Lopez is signed to Sony). “He could’ve admitted that a year earlier and saved me a lot of grief,” Carey states flatly. Was it difficult, then, to watch Jenny from the block bite Mariah’s patented hip-pop formula, using choreography (and booty) to distract from a voice that doesn’t come close to rivaling hers? “Everybody has their place,” Carey offers diplomatically. “I’m trying not to feel competitive and let that take over me, even if I feel like what someone’s doing isn’t especially noteworthy.”

The infamous “I don’t know her” interview occurred in LA during the filming of Mariah’s video for ‘Bringin’ On The Heartbreak’ in March 2003. It’s safe to assume that this was a few months after the above interview was conducted. Yes, Mariah was shady, but it’s safe to argue that Mariah was still reeling from what unfolded less than 2 years prior.

Since then, there have been numerous instances of shade throwing back and forth. It’s unclear why someone hasn’t stepped in and tried to get the two divas to squash the beef. Maybe Jennifer isn’t as much of a pawn in this chess game as she appears, and had a bigger role in the Mariah’s sabotage than we know. However, since things continue on as they have for a decade and a half, all we know for certain is what Mariah said a few weeks back when asked about her infamous statement…

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