Charmbracelet, Mariah’s 9th studio album, was released in December 2002 under her then-new label Island Def Jam, after the turmoil of the 2001Glitter era. It was an album that Mariah needed to write and, to this day, one of her personal favorites.

While it was somewhat of a commercial disappointment, Mariah Carey’s Charmbracelet is often praised by fans for containing some of her finest work as a songwriter. It is a deeply personal album that Mariah used to relieve the struggles she was going through, and the pressure she felt as a person.

This is the album that set the stage for the comeback of comebacks, The Emancipation of Mimi. Think of the pastor’s intro on “Fly Like a Bird”: “Weeping may endure for a night / but joy comes in the morning.” With Charmbracelet Mariah was still weeping: over the break-up with Luis Miguel and feeling abandoned; over being ridiculed and written off by the media; over being pestered by M&M’s; over the loss of her dear father. She needed this album like a therapy session to recollect, to re-evaluate her life and her faith and get closure on a dark chapter in her life.

If she hadn’t done that, she wouldn’t have been in the right mindset for The Emancipation of Mimi. And she knew joy was going to come in the morning. She was ready to take it all in and get her vindication.

Today, we celebrate the lambs getting justice for this important tile in the mosaics of the MC catalog, by ranking its tracks from least to most favorite.

Mariah Carey’s Charmbracelet, ranked:

17. “Through the Rain [Remix]”

The original version was so much better, but we are thankful to Mariah for continuing the tradition of re-sung remixes. We basically got an entirely different song, while still maintaining the uplifting and empowering vibe of it.

16. “Boy (I Need You)”

Mimi took the “Oh Boy” beat by Cam’ron and put her spin on it, assisted by Just Blaze. “Boy” was released as the album’s second single and was accompanied of her most interesting music videos, shot in Japan, with the use of CGI technology and a futuristic vibe. The music video also saw the return of Bianca, Mariah’s alter ego from the Rainbow era, who is vanquished again in a car race.

15. “Sunflowers For Alfred Roy”

This poignant piano ballad was dedicated to her father, who passed away from cancer prior to the album release. It’s an ode to their reconciliation after being estranged ever since her parents’ divorce. Mariah has said that this moment was very important for her, because she got to know him better as a person and feel the father-daughter connection she had missed her whole life. The sunflowers also became a symbol of this period and Mariah decided to include them in the music video for “Through the Rain” as a dedication.

14. “Bringin’ on the Heartbreak”

We love a Rockriah moment and this cover of Def Leppard has a great arrangement that even got praise from the band. Mariah really gave the song a sense of intimacy with her subtle vocals and approach, which is totally different from the power ballad of the original version. Dave Navarro appears in the music video and he played guitar on the single mix.

13. “Through the Rain”

Queen loves an inspirational moment and so do we. “Through the Rain” was Mariah setting the record straight about all the rumors and the drama and teaching us that perseverance is the key to survival. After all she had to go through just a year before, it’s a miracle Mariah didn’t give up her artistry and instead became a role model for everyone who goes through struggles and still manages to reinvent themselves and be stronger than before. Because of how personal Charmbracelet is, there couldn’t have been another lead single to introduce us to this new chapter in her life.

12. “My Saving Grace”

Mariah’s always been religious and she has deep faith in God, but most of all she’s always been extremely thankful for the gift of music, her saving grace. If you know her, you know this is a constant in her life and this song is a testimony.

11. “Clown”

Even if Mariah will never explicitly tell us who this song is about, we all know who it’s about. All she needed was a slick guitar beat and her pen and she didn’t even need to raise her voice to READ. She is addressing everything: from rumors of a non-existent relationship, to allegations of said relationship being sexual and even belittling an ego that has no reason to exist. “Nobody cares when the tears of a clown falls down.” Get into it!

10. “Lullaby”

The lambs have always considered this song as the sequel to “The Roof.” Mariah references that song herself and it really feels like a sequel of that “warm November night.” The ability she has to paint a picture with her lyrics really comes to life with this song, Mariah is truly a genius storyteller. The only question is.. who’s the guy?

9. “You Had Your Chance”

“Where were you when I needed you most?” Mariah went off! And that she did so over a classic West Coast Rap sample is even more badass. This side of Mimi is why we always need to pay attention to her lyrics. There’s always a little shade to be caught between her lines.

8. “Irresistible”

A bop. The Ice Cube sample is a total groove and Mariah rides the beat effortlessly with her iconic coo’s. Mariah should give us an updated version of this song with better mastering, because it could’ve been a nostalgic banger.

7. “Yours”

This sweet track produced with Jimmy Jam and Terry Lewis is very akin to their work with Janet Jackson. With a few minor twists to the lyrics, it could’ve become the official dedication to DemBabies as well! (Thank God the Justin Timberlake duet never came to fruition!)

6. “You Got Me”

Charmbracelet was the only time Mariah and Just Blaze collaborated, from which also came this track that is sort of the epitome of early 2000s R&B with the chipmunk-y vocals and the slick syncopated beat. The pre-chorus and the bridge are the best parts in terms of melody and lyrics. Guest verses from Jay-Z and Freeway seal the nostalgia.

5. “The One”

This song was originally intended to be the second single, but was changed last minute. Mariah and JD produced a hot beat with an electric guitar solo and she wrote some of the most relatable lyrics about finding yourself in a new relationship and being “scared and nervous” to jump in.

4. “I Only Wanted”

A Latin guitar for another song about feeling abandoned. The AC ballad of the album, reminiscent of “My All” and a sequel to “After Tonight,” with one of her most heartbreaking lyrics to date: “farewell fairweather friend, abandonment returns to taunt me again…” Love!

3. “Miss You”

This was a bonus track on the 2003 rerelease of Charmbracelet and the compilation album, The Remixes. Featuring Jadakiss, produced with Jermaine Dupri and built on a sample of “It’s All About the Benjamins” by Puff Daddy, this is a total VIBE! Mariah knows how to flip a hip-hop beat and she has the swag to make it her own.

2. “There Goes My Heart”

“There Goes My Heart” was never included on the album, if not for the Tour Edition released in selected markets in 2003. It’s a beautiful song that explores a more organic sound with live instruments and it’s always been very peculiar in Mariah’s catalog. It’s sad that many people don’t know about it, because it’s really a lost gem.

1. “Subtle Invitation”

Picture this: you’re in a smokey lounge and Mariah’s up there on stage performing a jazzy number she just “casually” wrote, possibly on a chaise longue. The bassline kicks in, the horns section pervades your soul and she is sensually inviting you to “call” her if you ever need her. It’s not hard to grasp why this is absolutely a career highlight and the best song on Mariah Carey’s Charmbracelet. It’s something only a true DIVA could craft.

Stream Mariah Carey’s Charmbracelet

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However, unlike Glitter, Mariah Carey’s E=MC² was a success when it was released, debuting at #1 on the Billboard 200 Albums chart with the highest first week sales total of her career to date. It also spawned her 18th #1 single, “Touch My Body.” Regardless, E=MC² did not receive the same acclaim of its predecessor The Emancipation of Mimi, and being in its shadow, this bright, fun album often gets overlooked.

Today, in celebration of #JusticeForE=MC², I’ve ranked every song on the album from least favorite to most favorite.

Mariah Carey’s E=MC², ranked:

16. “I Stay in Love”

The fourth single from Mariah Carey’s E=MC²  is a heartfelt “ballad with a beat” that is an anthem for unrequited love, but on an album with such a vibrant variety of fun, fresh sounds, “I Stay in Love” stands out least.

15. “Last Kiss”

Similar in sound and message to “I Stay in Love,” this song is another ballad with a beat co-produced by Jermaine Dupri. It’ll set you in your feels for sure with its emotive vocals and lyrics.

14. “Love Story”

Thanks to its gorgeous acoustic performance on MTV during the promo campaign for Mariah Carey’s E=MC² , “Love Story” earns bonus points for its beautiful melody and romantic lyrics.

13. “Bye Bye”

An anthem for Mariah in that she’s singing to her father who passed away a several years prior, but also written in a relatable way for her listeners, “Bye Bye” surely holds a special place in the hearts of many.

12. “4real4real”

This bonus track finds Mimi once again collaborating with longtime friend Da Brat on a sexy mid tempo jam. Like many songs on Mariah Carey’s E=MC², it showcases the fun side of her personality and the creative lingo she uses among friends.

11. “O.O.C.”

This fun bop was co-produced by Swizz Beatz, who she also collaborated with on The Emancipation‘s “Secret Love.” The title comes from another Mariahism and stands for “out of control,” and its a fun bop where Mariah playfully rides the beat and even switches languages in its second verse.

10. “Heat”

Another bonus track, “Heat” was co-produced by will.i.am and is one of Mariah’s most seething, shady cuts to date. I adore it for its biting lyrics that showcase another, more confrontational side of Mariah. More often vulnerable that cocky, here she shows unabashed confidence and a readiness to fight for what’s hers.

9. “Cruise Control”

Once rumored to be a contender for the album’s lead single, “Cruise Control” features Damien Marley and is a summery, island inspired jam. An interesting and unique feature in Mariah’s catalogue, the song even finds Mariah taking a shot at singing with a Jamaican accent.

8. “Thanx 4 Nothin'”

My personal favorite of the ballads with beats on E=MC², “Thanx 4 Nothin'” has an anthemic quality that makes you want to blast the song and sing-a-long, whether you’ve been hurt or not.

7. “Migrate”

The should-have-been second single from Mariah Carey’s E=MC², “Migrate” features T-Pain who also co-wrote/produced the song with Mariah. This banging uptempo even uses Mariah’s high notes within its instrumental. This club ready track would’ve been the perfect follow up to her 18th #1. She even performed it on Saturday Night Live during her promo tour.

6. “Touch My Body”

What more can I say about her 18th #1 single, “Touch My Body” other than it was smoking hot and a huge success? Well, it’s one of the most fun songs in her catalogue of hits, and I think one of the times when she best showcased her amazingly hilarious personality on a song beloved by the masses.

5. “I’ll Be Lovin’ U Long Time”

Mariah brought out all the punches on E=MC², working with perhaps the most diverse array of producers of any of her albums. Produced by DJ Toomp and featuring T.I. on the remix, “I’ll Be Lovin’ U Long Time” is the perfect summer anthem, and Mariah is flawless in its aptly Hawaiian video.

4. “I’m That Chick”

The better of her two Stargate collaborations for the album, “I’m That Chick” was another lead single contender and even album title. Though it never got single treatment, she did perform it on the promo tour and even on recent tours! The song is the perfect mix of airy Mariah vocals, clever metaphorical lyrics, and a little diva attitude.

3. “For the Record”

This whole top ten has really been a challenge, but this top 3 is downright torture to rank. To be honest, its sort of a toss up and super close three-way tie between them for me, but I had to make the call ultimately to place “For the Record” at #3. In the case of this song, there’s no reason why it falls below the next two, but rather why they rank above it. However, “For the Record” belongs in the top tier of this album first and foremost for its genius lyrics, particularly on the bridge. Mariah shows off literary prowess, using allusions to reference several of her own songs so seamlessly that a non-fan might not even notice.

How Mariah Carey proved her literary prowess via lyrical allusions

2. “I Wish You Well”

This gospel inspired ballad finds Mariah offering us the most Holy diss track every recorded. She addresses a number of people in her life who have hurt her, wishing them well with quotes from the Bible. Intensely personal, “I Wish You Well” showcases what fans like myself love most about her: her vulnerability and willingness to tackle personal topics, not just love songs.

 1. “Side Effects”

Coming in at #1 on my ranking of Mariah Carey’s E=MC² is “Side Effects,” for a multitude of reasons. Essentially, Mariah is a multifaceted artist, and this is such a unique album in her catalogue because of how diverse it is. “Side Effects” best showcases that aspect of her as an artist, and its album, too. Lyrically, “Side Effects” is an extremely personal tale of her time in what she called “Sing Sing,” her marriage to Tommy Mottola. Using vibrant imagery and impeccably vivid storytelling, she takes the listener back to those days to deliver a heartbreakingly honest depiction of her life back then. She does this atop of a gritty, hard-hitting hip-hop beat co-produced by Scott Storch that aptly fits the cold nature of what she’s describing in the track. Vocally, she delivers two of her signatures: rap-style, rhythmic singing and some of her most gut wrenching soulful belting at the end. A well documented lover of hip-hop, “Side Effect” features Young Jeezy on the album version and Busta Rhymes on a remix that was never officially released. Born out of and as a means of triumphing over adversity, hip-hop is the perfect compliment to this song of survival.

Listen to Mariah Carey’s E=MC², ranked:

Click here to listen on Spotify

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(includes bonus tracks)

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Rainbow is Mariah’s seventh studio album, and by the time I was drafting my 1999 Christmas list, “Heartbreaker” was all over the music channels, with an unforgettable music video to boot. A movie theater stakeout led to a bathroom fight scene between Mariah and a brunette Mariah (Bianca), meanwhile in the midst of all the chaos Jay-Z appeared on the movie screen to recreate an iconic scene from Scarface. I was enraptured by the song and accompanying music video.

Throughout Rainbow’s 13 other tracks, Mariah’s pen paints over a diverse landscape of genres. She furthered her immersion in hip hop that dominated her 1997 magnum opus Butterfly, while still incorporating elements of pop, R&B, and even gospel into the tapestry of the album. There are catchy, radio-friendly hits, big ballads, and sharp-as-ever lyrics. Rainbow is a colorful palette over which Mariah’s diverse artistry and big voice shine. 

It took me years to properly dissect Rainbow: much of my listening in those early days revolved around putting the album in my boombox before bed and setting the sleep timer, or my Walkman on long car rides, because my parents were not trying to listen to Rainbow (not more than once or twice at least). I focused a majority of my energy around the album’s first 3 songs, and naturally gravitated to the album’s other 2 singles. 

On and On and On

One of my favorite cuts on Rainbow is the third track: a nearly 6-minute Minnie Ripperton ode called “Bliss”. Mariah leans into her whistle register more than she ever did before, and it drives the hook. “Bliss” is a slinky, sensual cut, that’s as sexual as it is soothing. When I got Rainbow at 9, I had no idea what “Bliss” was actually about. It was just a smooth track that I could fall asleep to. As I’ve aged, I’ve obviously realized the true subject of the song. But as a kid, the easy pace of the drums, keyboards, and limitless whistle notes provided for the perfect backdrop to fade out. With age, the brilliance of “Bliss” became more and more apparent. The doubling of the her whistle with an airy range vocal on the hook, the progression to the climax, the divine moment when she doubles her whistles, those fleeting seconds when she comes out of her upper register to sing and even slightly belt a note, and a moment of choir? It’s a masterclass in vocal arrangements, and a middle finger to the numerous critics who had something negative to say about her using her whistle register in excess. On “Bliss”, the whistle register is what makes the song a standout. 

She embraces west coast hip hop on the remix to “Heartbreaker” and “Crybaby,” one cut sampling and another featuring the Dogfather himself, Snoop Dogg. On the “Heartbreaker” remix Mariah reunites with friend Da Brat and “Babydoll” co-writer Missy Elliott for a full-blown men-ain’t-shit female posse cut, flipping a sample of Snoop Dogg’s misogynistic “Ain’t No Fun.” The three lament their dismal men, while the beat gives Mariah room to vocally show out more than the confectionary original.

There’s a similar pace to “Crybaby,” but it takes a different turn musically. It embodies characteristics of classic 90’s west coast hip hop, especially the meandering synth during the hook. She marries her airy upper register with cleverly placed vocal bursts, specifically the “why, is it 5am and, I’m still up spiraling?” and “I don’t get no sleep, I’m up awake, can’t stop thinking of you and me, and everything we used to be, it could have been so perfect see I cry” punctuated by an “I gotta get me some sleep.” It’s such a Mariah cut: lamenting her lack of sleep and being awake at all hours as she wanders around on her tippy toes. Snoop Dogg joins the party, effortlessly coasting over the beat with his smooth, unmistakable flow as if it was made just for him. 

Big Ballads

The ballads on Rainbow are arguably some of her strongest up to that point. She soars on the anthemic “Can’t Take That Away (Mariah’s Theme),” unleashing an unyielding sense of resilience that, time and time again, has helped me persevere through some of my darkest moments. It’s a very Mariah composition, in that it has certain qualities that are hallmarks of Mariah’s writing, production, and vocal stylings, most notably a crescendo that is reminiscent of “Outside” and “Vision of Love,” other melodic tendencies that recall “Vanishing”. With all the challenges she faced at Columbia and Sony at the time as a result of her split from Tommy Mottola, Mariah sounds resilient and optimistic for the future. 

“Petals,” which takes more of a reflective approach, is one of her most personal ballads to date, in line with “Looking In,” “Outside,” “Camouflage,” and “Portrait.” She pens words to her estranged sister Alison, her former step-children, and others. And though there are repeated progressions, melodies, and variations, there is no lyrically repeated chorus, a nod to the earlier, equally personal “Looking In.” It’s lyrically pungent, with other lines focused on her ex-husband Tommy Mottola (“I know you really like to see me suffer… I wish that you and I’d forgive each other”), and her former writing partner Walter Afanasieff (“So many I considered closest to me, turned on a dime and sold me out dutifully, although that knife is chipping away at me, they turned their eyes away and went home to sleep”). Songs like “Petals” are a true testament to the artistry of Mariah Carey and her power as a songwriter. It’s a stark contrast from the songs that top the Billboard charts, but she possesses the versatility as a songwriter to write a “Heartbreaker” and a “Petals” and allow them to exist on the same album.

On the album’s sole cover, Phil Collins’ “Against All Odds”, her vocal show out is beyond. She takes the song’s original key, and reaches for the sky, despite hitting not a single whistle note, nor going as far as she could had she taken the key upwards. It’s striking, powerful, and impactful. In the UK, it was released as a single featuring boyband Westlife.

Mariah also included two interludes that bridge the gap between songs in the album’s sequence. “Vulnerability” is a quick vocal show-out that bookends the “Heartbreaker” remix, utilizing lyrics from the song’s hook. The album’s title cut on the other hand, “Rainbow,” is something that she’s explained just never got finished. It’s just a few lyrics that optimistically lead into the album’s final track.

The closer on Rainbow begins another tradition of sorts, a gospel-tinged ode. “Thank God I Found You” sounds like a confectionary pop song, but lyrically it reads like gospel. With a grand key change, the song ascends even further into the heavens. It’s also a very unique union of voices with Joe and 98 Degrees joining for the spiritual closer. Clearly it struck a chord with the world, becoming Mariah’s second number one from the album after “Heartbreaker,” and her record-setting fifteenth number one single. 

Remix Queen

Of course, like many Mariah albums before and after, Rainbow is enhanced through a series of remixes, on both the dance and urban sides. “Heartbreaker” aside, “Thank God I Found You” was also reimagined in the urban direction. Unlike “Heartbreaker” though which leaned more into rap, “Thank God I Found You” was reimagined in an R&B vein with the heavily influence of Keith Sweat’s “Make It Last.” Joe reprised his role on the remix as he had the original, and instead of 98 Degrees, Nas graced the remix with his presence.

Perhaps the most notable remix from the Rainbow era came from “Heartbreaker.” Though David Morales oft assisted in big Mariah remixes (“Dreamlover,” “Fantasy,” “Honey”), this time Junior Vasquez brought Mariah’s mainstream hit into the clubs. With new vocals in tow, “Heartbreaker” instantly became a club anthem, and received further invigoration through the incorporation of Val Young’s 1985 dance hit “If You Should Ever Be Lonely.” There’s brilliance in seeing Mariah continue to incorporate these 80’s hits into her current singles, as she’d done on the “My All” remix with “Stay Awhile”. In 2006, Mariah delivered a set of strictly dance mixes at Disneyland Paris, and included a performance of “Heartbreaker/If You Should Ever Be Lonely”:

She did reunite with David Morales on Rainbow, for a set of remixes to “Can’t Take That Away (Mariah’s Theme).” Morales first created a mix for the clubs using the original track, in the vein of the remixes he and Mariah re-recorded together in the past. But that wasn’t the end of their reunion for Rainbow. Mariah did return to the studio for a version they dubbed as the “Morales Revival Triumphant Mix.” This mix is a 10 minute saga that evokes more of a jazzy house feel when stripped back, but still driven by a hard club beat. There are breaks where Mariah speaks, paraphrasing the song’s lyrics. It feels even more freestyled than previous remixes, as if Mariah just drops in as she pleases and sings what she wants. 

In a true full circle moment, I found myself sitting at a taping for Mariah’s appearance on TRL in November 2018, as she promoted her latest album, Caution. As she departed, she passed my way and etched her signature on my copy of Rainbow, grabbed my hand for a moment and held on to me before being quickly whisked away to her next stop. I walked down 7th Avenue with that CD in my hand, staring at it for nearly 10 blocks. Nearly 20 years later, I got to the other end of Mariah’s rainbow. 

The post Following Mariah Carey’s Rainbow: A Retrospective appeared first on THE 97.

Mariah Carey has HAD IT, and she’s making it crystal clear before even one listen to her fifteenth studio album, aptly titled, Caution. Returning to a tradition of early albums, Caution clocks in at just 10 tracks, but what it lacks in length it makes up for in width. It’s, interestingly, one of the most cohesive bodies of work from Mariah Carey in recent memory despite the revolving door of collaborators throughout. The variety of collaborators speaks to Mariah Carey’s ability as an artist and executive producer, to unleash an album with so many collaborators that all fit together so well.

Lyrically, her pen is as sharp as ever and she has laced those words through some fantastic melodies. Her voice sounds confident yet comfortably in its sweet spot; her tone is as rich and warm as ever. For the most part, the vocals are a lot tamer than the usual Mariah album, allowing the listener to focus on the lyrics and vocal production which often get overlooked. An album as much for the Lambily as it is for the casual listener, Caution answers why the Queen of Christmas doesn’t just sit back and collect royalty checks every December: she still has so much more to give.

After having spent a week with the album, a few members of our staff (Mario, Reece, Andrew and Vincent) collaborated to walk you through each of the album’s tracks.

Without further ado, let’s proceed with Caution:

The Kick-Off

The album kicks off with an unconventional, post “Hotline Bling” production (from the same producer) that was certainly not an expectation for Mariah Carey in 2018. The moody and meme-able music video for “GTFO” made it clear that Mariah wasn’t the legacy pop act that some tried to write her off as. Yet this uncensored, sparse kiss-off is oh so Mariah. Over a decade after she was censoring “fuck” on “Clown,” she’s ready to be Mariah: Uncensored, to a point. “GTFO” was well suited as the opener for the album, and the era. Caution, indeed. Mariah did not come to play, and she is not having the games. Don’t like it? #GTFO.

Next is “With You,” the album’s incredibly understated first single. It gives off the perception of being another album cut at first listen, but melodically it is incredibly sticky. With an allusion to her classic “Breakdown” in tow, it’s a brilliant Mariah moment. From the casual use of “trepidation” to the self referential pre-chorus, “With You” is the Mariah ballad that 2018 didn’t know it needed. Only she can weave such complex lyrics together over such a beautiful melody.

Not to mention, not many artists can so effortlessly refer back to the wealth of their own self-penned catalogue to elevate the meaning of a lyric in the way that her “Breakdown” allusion does. Fittingly, the song has become a slow burning success at AC radio. Not only that, but it’s a raw and honest depiction of where she is in her love life.

The Title Track

One might assume that “Caution,” the album’s title track, would be a sassy showcase of braggadocio, but in fact it is an introspective, self-aware love song with an ominous ambiance. With a seductive yet haunting beat and pristine vocals, it immediately engages the listener. The song has clear tropical influences allowing it to sound current without overdoing it to sound trendy, a line Mariah has always been able to tread well.

Her buttery vocals effortlessly slide atop the slick and cutting No I.D. produced beat. Its chorus might just be the best on the album, it just sticks. “Caution” is fresh, yet reminiscent of late 90s and early 2000s R&B such as Brandy’s Never Say Never (1998) and Aaliyah’s self-titled final album (2001), which is also probably why it sounds like something Drake would cook up. Without any specific promotion, the song has managed to become one of the album’s most streamed tracks, speaking volumes to its sheer greatness.

Single-Worthy Bops

“A No No” is the BOP of the album that is only bound to be elevated to the next level if the rumors of a Cardi B + Lil’ Kim remix are true. The sample is perfect and timeless, Mariah’s lyrics are as genius as they are scathing and showcase that fun (and shady) side of her that everyone loves. Only Mariah can make an obviously pointed diss track sound as if it’s just another love song about an imaginary man. She’s not fooling us, though – she’s happily paired with Bryan. We know she’s dragging She-Who-Must-Not-Be-Named. And is there anything more Mariah than her saying “no” in a few different languages during the song’s outro?

Mariah is in full romance mode on “The Distance,” tackling the naysayers who doubted her relationship with her lover, not dissimilar to how the media portrayed her current relationship with Bryan Tanaka. On the Skrillex production Mariah somehow manages to sound youthful yet mature, weaving current hip-hop sensibilities atop an 80s beat inspired beat. It almost sounds like something Solange would’ve put on her True EP.

The song achieves certified bop status with the help of a guest verse by Ty Dolla $ign who reiterates the loved up, us against the world vibe of the song, “we kissing in public, you like it I love it, You lit it I’m with it, we going the distance.” We love the honest yet relatable “in your face” lyrics about her and Bryan. The message is simple: they’re here to stay. “The Distance” proves that Mariah and her pen are here to stay, too. As per usual, she has crafted a beautiful pop song with a diverse cast of collaborators. It’s no surprise this one is shaping up to potentially be the next single.

https://www.youtube.com/watch?v=0fxY_mu4OtE

Life Received

Shout out to Jay-Z, head of Mariah’s new management home Roc Nation, for bringing Mariah and Dev Hynes together. The pairing was a surprise, but at the same time, is everything we didn’t know we needed. But we should have known. Just take a listen to Dev’s catalog as Blood Orange, or his work producing for Solange (a self-professed lamb) and you’d realize he is perfect for Queen. The aptly titled “Giving Me Life” does just that; issa mood.

Mariah is known for her impressive upper register and vocal acrobatics so it’s great to hear her use her lower register to create this haunting groove. It’s nearly seven minutes of blissful Mariah slow jam goodness. Some may hear a “The Roof” moment on this one, but it’s more like Lauryn Hill meets the early 2000s with the full drum and the electric guitar. Then of course, there’s the fact that it features hip-hop legend Slick Rick, which is great to hear after sampling “La Di Da” on The Elusive Chanteuse. “I mean, come on,” as Mariah would say. What more could we ask for?

Sex and Melancholy

“One Mo’ Gen” is like the raunchy sister of “Make It Look Good” with a splash of “Ribbon” in the production, which conjures up a feeling of a hip hop sample, yet it’s completely original. A slow-jam with frantic hi-hats in the background, #OMG is playful and seductive, yet edgy. In fact, it’s striking. “Did you like when I put my lips there?” should be on a shirt immediately. We love a nasty moment, and it’s been years since Mariah has been this suggestive in her lyrics. Not only are its lyrics sexy, but it just feels sexy, too. From the vocals to the production, she is really serving sex appeal – without it seeming forced at all.

Miss Eternally 12 takes us back to the year when she turned from 12 to… 12 again on “8th Grade.” A self-described melancholic moment about “falling in love” in your teenage years and wondering if it’s really true, “8th Grade” is uniquely Mariah. She rebukes the typical, hyperbolic exclamations of teenage love “I’m not your world, no, I’m not your life, tell me what that means to you.” Mariah, who “grew up too soon” was wise beyond her years even then. She even recants the fact that she began songwriting at that age, singing, “Maybe the lyrics are too heavy, in my song.” Simple minds, exit stage right.

There’s a little bit of “Candy Bling” mixed with the hard percussion of “One and Only” here. Timbaland’s production lays under Mariah’s voice impeccably. Most notably, the breakdown where Mariah reaches into her whistle register while Timbaland encourages her is a moment that recalls “Bliss” vocally and “Babydoll” musically.

More Bops

With its strange, grammatically confusing title, unique production, and feature from newcomer Gunna, “Stay Long Love You” definitely makes an impression. After the brief yet beautiful detour that is “8th Grade,” this playful bop has Mariah on the prowl again, telling her lover she wants to “uh uh, yeah.” Somewhat jarring at first, the Stereotypes produced track becomes infectious with its earworm of a hook that is sure to stick in your head. Reminiscent of the more experimental moments of the Mimi album, it feels simultaneously futuristic, nostalgic and current.

The Japanese version of Caution has a bonus track entitled “Runway,” that would have served as an excellent bridge between “Stay Long Love You” and the album closer to follow. This uplifting uptempo actually samples her own classic “Butterfly,” which Mariah explained came about because her collaborator Skrillex had a special connection to the song. The song is inspirational in nature, with an emanating essence of empowerment. After 28 years in the spotlight and several celebrations of being “Eternally 12,” the Songbird Supreme has canonized her experiences into a motivational anthem for all. “To fly,” she says, you’ve “gotta have no fear.”

The Closer

In the tradition of so many Mariah Carey albums, Caution ends with an incredibly raw and open ballad. “Portrait” doesn’t just visualize where Mariah Carey the person is in 2018, but also vocally defines her changing instrument. She pushes at a few moments, but there’s weathering and control unlike in previous songs like this. Its gorgeous, subdued melody grabs you and makes for the perfect album closer.

Compared to Mariah’s previous introspective moments, which are usually darker, “Portrait” is more hopeful in its message. The verses are very somber, but then the chorus alludes to looking at the future with a positive attitude despite retaining one’s secret sadness inside. In that sense, it’s like listening to “Petals” combined with the more inspirational “Rainbow Interlude” to help sort things out. After the last few years Mariah has had, it’s nice to see her in such a playful mood on Caution but also acknowledge that she is just human and she hurts too. 

Written with her new musical director and pianist Daniel Moore, “Portrait” proves that no matter who her writing partner is for her piano ballad moments, her unique signature sound will remain intact. However, with Moore it feels more genuine than it has ever been. It’s an endearing listen, and a welcome closer to a stellar album.

Quintessentially Mariah

Twenty eight years into her career, Mariah Carey has crafted an album that manages to seat itself amongst her best work. Caution is further proof that she is an undeniable musical genius. In the face of all the negativity that has surrounded her career in recent years, she arrived in a positive headspace, focused and ready to deliver this phenomenal album. Somehow, Caution manages to sound current yet still quintessentially Mariah; expert lyricism and background giggles included. She worked with an (almost) entirely new cast of producers, yet the output has her unmistakable stamp. True to form, the album is cohesive despite its diverse mix of collaborators, something that has always been essential to her greatest albums.

At this stage in her career, some may call Mariah Carey a “legacy” artist. Typically, that means an artist that is past their prime, struggles to sell albums, but sustains reliant upon the laurels of their back catalogue, legendary status, and lucrative tours. However, for Mariah, Caution cements her status as a “legacy” artist for a different reason. In this era, her team has managed to ensure she gets the respect she has deserved for so long. Caution has become her most critically-acclaimed album, ever.

Give Her What She Deserves

It’s true, Mariah Carey had never been a critical darling despite releasing such a profound body of work. For years, the fact that she is first and foremost a songwriter and producer had been overlooked. Mariah has written 17 #1 singles and plenty more hits, yet she has just five GRAMMY awards. Her often imitated, yet often denied impact on modern pop music by melding Hip-Hop, Pop and R&B into one had long gone overlooked. If you search for influential Hip-Hop artists, or Pop’s greatest songwriters, you’d be hard-pressed to find Mariah’s name. The list of injustices goes on and on, and for a while there was no end in sight.

Somehow, with Caution, it has all come to light. It’s almost as if the warning that we must heed with Caution is that Mariah Carey will no longer accept being underrated and disrespected; she has returned to claim the notoriety and respect that she had been denied for so long. She has done so by releasing an album that, despite whatever it ends up selling, will stand the test of time as one of her best albums because it is both timely and timeless. Mariah has long held a reputation of being fashionably late, in “Diva” fashion, but Caution proves she is just in time, and ever present.

Grade:

90/97

The post Mariah Carey commands respect on ‘Caution’ appeared first on THE 97.

Pop Princess

Mariah had worked on the album over the spring and summer of 1993, while planning her wedding to Tommy Mottola. The diva and the CEO of Sony Music married on June 5, 1993 in a lavish, star-studded ceremony in New York City and went to live in upstate New York in a multi-million dollar mansion. It seemed like Mariah’s fairytale was complete, happy ending and all.

For a “bridal” album, Music Box isn’t exactly a “happily, desperately in love” record. In fact, similarly to Mariah’s other post-marriage album, Memoirs of an Imperfect Angel, the songs are quite somber. Heavy on the ballads, Music Box‘s tracks reflect on love from a break-up standpoint or long for a love that was or could be. Only the upbeat “Now That I Know” was potentially dedicated to her then-husband.

The Music Box

Musically, the songs contain some of Mariah’s finest melodies. She paired with Walter Afanasieff for most of the album, while she worked with Dave Hall and David Cole and Robert Clivillés of C&C Music Factory for her uptempos. Mariah’s first collaboration with Babyface was also on this album.

It’s Mariah’s ear for melody that makes this album a classic. Let’s face it, if it weren’t for her, most of these songs would be dated and cheesy, but the arrangements (most importantly, the vocal arrangements) elevate them. That is why even if it’s Mariah’s most Pop/Adult Contemporary album, it holds a particular place in her catalog for her fans.

The title track was perhaps her sweetest, most gentle vocal up until to that point. Walter Afanasieff once recalled in an interview that Mariah wanted a specific keyboard sound that was inspired by George Michael’s Faith album for this track. The impeccable use of her softer register conveys the impression that she’s the ballerina spinning atop the music box, singing instead of doing ballet.

The other ballads are more bombastic, but nonetheless nuanced. “Just to Hold You Once Again” and “All I Ever Wanted” start on the low, but reach the heavens on their climax in an explosion of controlled power and resonance.

She also delivered flawless vocals on the album’s uptempo tracks. “I’ve Been Thinking About You” is a vocal bop that’s worthy of repeated plays if only for Mariah’s rich and full instrument being on display. In the same vein, “Now That I Know” sees Mariah effortlessly glide over synths and a joyful thumping beat. Then, of course, there’s the lead single.

Iconic Singles

Four singles were commercially released from the album. “Dreamlover“ led the campaign in July, with its funky beat and breezy melody. The song was built on a sample of “Blind Alley” by The Emotions with a Hammond organ that adds that sweet touch it needs. The music video, filmed in upstate New York features Mariah’s first recognisable look: the jean shorts and flannel.

David Morales also produced Mariah’s first, iconic re-sung dance remix for this song.

That summer Mariah also recorded a special concert at the Proctors Theatre that became a Thanksgiving TV special on NBC.

During the fall Columbia released “Hero” as the second single. The song was originally written for Gloria Estefan, intended for the soundtrack to the movie of the same name. Upon hearing the track, Tommy Mottola convinced her to keep it for herself and it became one of her biggest hits and signature songs. Its uplifting message of hope has resonated with fans worldwide for 25 years, making it an absolute staple in Mariah’s concert setlists. Yet another iconic image came out of the music video: Mariah looked stunning in her black gown and curls singing this song for the audience at Proctors.

The third single was a cover of Badfinger’s 1970 soft rock single “Without You,” later made popular by Harry Nilsson. Mariah has stated that the song was one of her favorites growing up and that is why she decided to record her own version. The poignance of her low register at the beginning of the song and the dramatic production make it one of her greatest performances. The cover is still today Mariah’s biggest international hit and topped the charts in many countries around the world.

The double A-side included on the “Without You” single was “Never Forget You,” written and produced by Mariah and Babyface. The nostalgic ballad has a slight R&B feel to it, even though a soft Country twang can be detected. The lyrics could be interpreted as either being about someone a lover who’s left or a dearly departed one, which allows for different interpretations.

The fourth and final single was the Gospel-infused “Anytime You Need a Friend.” The song is a Maria fan favorite for its soulful nature. The astonishing background vocals resemble a whole gospel choir, but were in reality arranged by Mariah herself and her background vocalists in the studio. The track is also famous for its two remixes: a dance one by C&C and an R&B one that both feature re-sung vocals by Mariah.

Commercial Breakthrough

There’s much to say about Music Box‘s commercial performance, but the one thing that’s worth acknowledging first and foremost is how this album gave Mariah her first break in many markets around the globe. The success of “Without You” helped the album sell an estimated 26 million copies worldwide. Music Box became, and still is today, her most successful album ever in this sense.

In the US it was certified Diamond by the RIAA for shipments of 10 million copies to retailers. “Dreamlover” and “Hero” were both #1 hits at Top 40 radio and on the Billboard Hot 100 (8 and 4 weeks respectively), “Without You” also reached #3 in early 1994 and continued her streak of consecutive top 5 singles. “Dreamlover” still holds the record for the highest debut at Pop radio (#12).

Elusive Bonuses

Even though they’re not included on the album, we cannot refrain from talking about the two B-sides that came from the Music Box sessions. The first is “Do You Think of Me,” a sultry R&B ballad included on the “Dreamlover” single, where Mariah wonders about a lover’s most secret thoughts. Its sound is probably the reason why it was excluded from the original tracklist as it would feel out of place.

The other is the “Hero” B-side, and international bonus track, “Everything Fades Away.” There’s been speculation about its exclusion because it definitely fits the sound of the album. However, the lyrics are a bit too dark for a newlywed and the vocals more subtle than the rest of the songs. It is plausible that Columbia wanted to steer Mariah towards bombastic balladeer territory, so this track would work against this image.

Our Beloved Hero

Mariah’s fans certainly cherish this album for what it meant to her career. “Hero” is the perfect example of why Mariah has always been able to reach a broad audience and touch people’s hearts. She is the hero to so many of us fans because her voice, her lyrics and melodies are the soundtrack to our lives. We are forever grateful to her for all she’s given to us and we anticipate what’s next with trepidation.

Happy Anniversary!

Stream the Music Box album on Spotify:

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In September 1997, Mariah Carey released Butterfly, her self-described favorite and best album. Among her adoring fans, the #Lambily, it is widely considered the fan-favorite and best album as well, though some do differ in opinion. Still, Butterfly remains a sorely underrated classic in the grander scheme of things. You won’t find Butterfly on most “best albums of all time” lists by music’s most revered and respected publications. Butterfly was not lauded by critics, nor was it showered with Grammy’s. Sure, it received good reviews and praise, but the album is not anywhere near as respected as it should be among other albums by pop stars. It is an injustice.

Butterfly is music’s most underrated album because of this lack of respect. The album contains quite possibly the most poetically beautiful lyrics of any album released by her peers, with vocals equal or arguably better than anyone with the pipes to rival her. Musically, the production is flawless, the sound is subtly innovative, and boasts some groundbreaking collaborations both behind the scenes and with its guest features. The content of the album makes it one of the most personal and honest albums ever recorded. It is by far Mariah’s best work, and Mariah is by far the most successful and talented female singer-songwriter-producer. That alone should catapult Butterfly to the Top 5 or at least Top 10 of every “best albums” list. Below, I’ve outlined 20 reasons why Mariah Carey’s Butterfly music’s most underrated album.

1. The unrivaled introspectiveness

Butterfly is by far Mariah Carey’s most personal album. Free from the control of her looming ex-husband, Mariah was finally able to make an album where she could be 100% true to herself. On Butterfly, she examined her life experiences, both past and present, in songs that sound as though they’re pages from her diary; “Breakdown,” “Close My Eyes,” “Outside” and the title track, for example.

2. The unabashed honesty

With introspection comes honesty, and on Butterfly, Mariah did not hold back. “Breakdown” is probably one of the most honest songs ever recorded about heartbreak. “My All” and “Babydoll” are painfully frank representations of the word “longing,” while “Outside” and “Close My Eyes” don’t hold back in assessing the adversities in her past.

3. The gut-wrenching emotion

Introspection and honesty are the perfect recipe for a gut-wrenching emotional response. Through both her words and her vocals, Mariah delivers some of the most emotional moments of her career. The ad-libs during the heartbreaking climax “Breakdown,” or the powerful promises of “Whenever You Call” will tug on your heart strings for sure.

4. The meaningful metaphor

As an album title, Butterfly is a metaphor for Mariah’s breaking out of the cocoon to be her true self. However, the masterful use of metaphor doesn’t cease there. Throughout the albums lyrics, she weaves in complex, thought-provoking metaphors. The title track creates an allegory through its use of extended metaphor. Within that, she includes a poignant metaphor, singing “wild horses run unbridled or their spirit dies.” Then of course, there’s the lead single “Honey,” which some believe is a metaphor for something very naughty…

5. The timeless nostalgia

Several tracks on Butterfly have a genuine, nostalgic air that made them feel timeless upon their release in 1997. “Fourth of July” and “The Roof” find Mariah recanting past experiences, longing for a replay. No one else delivers a nostalgic moment quite like Mariah. Alas, over the last 20 years, all of the album’s twelve tracks have become irreplaceable pieces of 90s nostalgia.

6. The subtle sensuality

Never before had a Mariah Carey album been so sensual, yet, Butterfly is still subtle in its sensuality. The sexual innuendo “Honey” is cleverly hidden by wordplay, while songs like “My All,” “Babydoll,” and “The Roof” express a sensual yearning for love and affection in a very intimate way. Never raunchy, Butterfly is a beautiful soundtrack for love-making on a romantic evening.

7. The Mariah Carey vocals

It wouldn’t be a Mariah Carey album without the Mariah Carey vocals. Yes, “Mariah Carey” is an adjective; a very specific one. Her versatile vocal abilities are unparalleled. Not only are her technical abilities on display on this album, but perhaps more significant are the many colors and textures of her voice that she showcases on Butterfly. They’re all unmistakably Mariah Carey yet so diverse in delivery. Mariah creates moods and provides outer-body experiences with those vocals. She will send you straight to your feels with the way she delivers a particular lyric. She takes songs to places only she can for their climaxes. On Butterfly, the most notable examples of this are the bridges of “Outside” and its title track. Her voice soars and will leave you on the floor.

8. The iconic visuals

Without question, Butterfly was Mariah Carey’s visual peak. From the album cover, to the full photoshoot, to her hair and ensemble style choices, and most importantly, the music videos… everything was on point. The free-flowing, golden brown, caramel drizzled hair and the controversial skin-bearing ensembles forever changed the image of Mariah Carey. Buttefly‘s videos were innovative, creative, artistic and thought provoking. Whether it be “Honey” where art seemed to imitate life, the theatrical “Butterfly,” or the painting-come-to-life “My All,” with Butterfly MC delivered visually.

9. The relatable themes

Mariah covers a lot of ground on Butterfly. Running through the album’s 12 tracks, in one word each: Infatuation, growth, yearning, reminiscing, young love, unrequited love, lust, adversity, devotion, liberation, heartbreak, and otherness. All of these are easily relatable, making Butterfly not only a fan-favorite, but a classic.

10. The superb samples

Being the hip-hop artist that she is, Mariah is a big fan of the sample. A lot of music we listen to has an element of sampling within it. From Tupac and Eminem to One Direction, inspiration has been taken from previous artists to create something new. With the use of vocal packs, it is becoming even more possible to sample vocals for an artists’ new track. On Butterfly, only two tracks utilize a sample, but both are superbly done. On “Honey,” she utilized two classic hip-hop samples, The World Famous Supreme Team’s “Hey DJ” and The Treacherous Three’s “The Body Rock.” Meanwhile, on “The Roof,” she sampled a then-recent hit by Mobb Deep, “Shook Ones Part 1.” The way she flipped these samples into completely different new songs while still keeping that hip-hop realness is unreal.

11. The incorporation of Hip-Hop

With the samples, Mariah effortlessly incorporated hip-hop elements into her music on Butterfly; more than ever before. In contrast 1995’s Daydream found most of her hip-hop influences regulated to the remix versions of songs. With Butterfly, she had a bit more freedom. Not only were there the samples, but Mariah even enlisted Bone Thugs-n-Harmony to guest on “Breakdown,” their first collaboration with a singer of Mariah’s stature. It was a big deal for both artists.

12. The inventive Prince cover

Mariah flipped Prince’s “The Beautiful Ones” from an energized rock-and-roll tinged electric ballad into a slower, more subdued yet equally emotional ballad. Not only that, but she turned Prince’s classic from a solo number into a duet with R&B group Dru Hill. Once again, Mariah found herself trading lines and holding her own vocally, alongside an entire group, cascading through her range effortlessly.

13. The thesaurus-opening vocabulary

While listening to Butterfly, you might need to pull out your thesaurus because Mariah Carey’s vocabulary is college level. The album’s twelve tracks are littered with SAT words that’ll leave you with an improved vocabulary by the time you’re done. Unlike most, she actually knows how to use the words properly, too. Here’s a sample of some of those words:

blatant, elusive, abruptly, unbridled, ambiguous, emblazoned, envision, apprehension, splendor, flourish, succumb, resounding, fervid, strewn, entwined, ominously, tentatively, unyielding, nonchalant, guise, wayward, dissipate, inherently.

14. The masterful poetic writing

Part of being a poet is using beautiful language in your writing, and her vocabulary skills alone prove that. However, throughout the album’s lyrics she also uses an array of poetic devices and figurative language that enhance the songs both lyrically and musically. The beautiful lyrics to a song like “Close My Eyes,” on which she sings, “orangey clouds roll by, they burn into your image and you’re still alive,” show not only her rhyme-making skills, but just how beautiful she makes language sound.

15. The style-making rap-singing

In the late 90s, as R&B and Hip-Hop became more and more mainstream in Pop music, singers began displaying a bit of a hip-hop, rap-style singing. Most would credit this trend to the rappers, however, Mariah Carey was one of the first release such rhythmic, rhyme-riddled recordings. The chorus of “Breakdown” is one of the best examples of this. Nearly every other word rhymes, and she emulates Bone Thugs’ signature flow effortlessly.

16. The innovative remixes

Mariah has a penchant for remixes, and the Butterfly era delivered some of her best. The lead single “Honey” had a So So Def remix featuring Da Brat as well as a re-recorded dance mix. For the hip-hop remix of “Honey,” she sampled a different part of the same “Hey DJ” song used in the original to create a whole new track. The club mix, on the other hand, is a vocal tour de force. The title track too had a re-recorded dance mix that really stands alone as its own song. “My All,” like “Honey,” had a So So Def remix and a dance mix. Its hip-hop remix was the first of many to come mash-up remixes by Mariah, where she samples and covers portions of an old song and mixes it with her new song that she is remixing. Meanwhile, “The Roof” was remixed featuring Mobb Deep, and “Breakdown” had a “Mo’ Thugs” version as well.

17. The ingenious adlibs

Certainly, its easy to rave about Mariah’s ad-libs from a vocal standpoint. However, equally impressive is the way she will riff and add new lyrics to a song that were clearly freestyled in the vocal booth. For example, on “Babydoll,” amidst layers of backgrounds at the end, she sings, “still laying up in bed, it’s 3:27, my body’s longing, so why ain’t you calling?” Not only does it flow and rhyme, but continues to add to the theme. Usually, an artist will just repeat the lyrics, sung differently – not Mariah.

18. The captivating storytelling

The nostalgic pair of “The Roof” and “Fourth of July” are amazing examples of Mariah’s profoundly captivating storytelling skills. She details these elaborate memories with vivid details and imagery, that it’s almost like listening to a short story. One could probably take either of these songs and work them into a full stage production for Broadway. That’s how well done they are. She gives you characters, a plot and imagery to bring these sensual, nostalgic stories to life.

19. The poignant outsider’s anthem

“Outside” deserves its own mention because, for Mariah’s biracial, LGBTQ or any fans who feel like the “other,” it is an anthem. The powerful song offers solace for anyone who felt similarly to Mariah growing up, and is the reason for the beautiful bond she has with her fans.

20. The lingering, liberating impact

Butterfly forever changed Mariah’s career and sound due to her newfound freedom. It also helped to change the sound and landscape of R&B and Pop, inspiring other Pop/R&B female artists to work with hip-hop artists. Not only that, but it opened the door for Pop artists, particularly females, to be a bit more introspective in their work.

Want more? Here are 10 more articles we’ve penned about Butterfly over the years:

“Butterfly,” the song, and the album overall:
Butterfly, Fly Away: Mariah Carey’s first emancipation

The debut of “Honey”
Breaking Out of the Cocoon: A look back at the debut of Mariah Carey’s “Honey”

The “Honey” remixes:
The Many Forms of Metamorphosis: A review of Mariah Carey’s “Honey” remixes

The “Honey” and “Butterfly” videos:
Emancipating Visuals: Mariah breaks free with “Butterfly” and “Honey”

“Breakdown,” “Close My Eyes,” and “Outside”:
The Butterfly Effect: Mariah discovers The Art of Letting Go

“The Roof,” “My All,” and “Fourth of July”:
Reliving the Splendor: Mariah’s nostalgic storytelling on Butterfly

The “My All” and “The Roof” videos:
Liberating Venus: Mariah’s sensuality awakens with “My All” and “The Roof”

“My All,” as a #1:
“I’m thinking of”… Mariah Carey’s 13th #1: “My All”

“Babydoll,” “Whenever You Call” and “The Beautiful Ones”:
I Wanna Be Your Babydoll: The longings of a Butterfly

The Lyrics = The Feels
18 lyrics from Mariah Carey’s ‘Butterfly’ that’ll put you in your feelings

The post Mariah Carey’s ‘Butterfly’ is Music’s Most Underrated Album appeared first on THE 97.

In 1992, a 22 year-old Mariah Carey had much to prove. A mere two years into her career, she already notched 5 consecutive #1 singles, starting with her debut single “Vision Of Love“. She also collected 2 Grammys Awards, including Best New Artist. Despite all this success, she didn’t take her act on the road.

She made numerous TV performances and appearances, but there were no signs of a full-length show or tour in the works. Of course, this incited the critics to question her abilities as a live performer. However, her performance on MTV Unplugged in June of 1992 shut them all down. Mariah’s MTV Unplugged proved that she could deliver a flawless, full-length performance. It even found her making history.

“I feel like that special really helped my career… It was like my first concert”- Mariah Carey, 2001

Now I’ll keep it real, I was 2 in 1992, and 6 years away from discovering Mariah Carey. However, MTV Unplugged is a crucial developmental moment in Mariah’s career. As she says before her closing number “Can’t Let Go,” “you know I’m not used to doing this.” The only other multi-performance show was The First Vision, released in 1990. However, that video is intercut with interviews, so it isn’t meant to feel like a show. Her MTV Unplugged EP is nothing but music, with a few spoken interludes/introductions.

Below, I dig into a few of the seven tracks which compose Mariah Carey’s MTV Unplugged EP. Let me take you back…

“I’ll Be There”

The most important moment from Mariah Carey’s MTV Unplugged is “I’ll Be There.” It is a bit of an MTV Unplugged tradition to include a cover song in the set. Mariah includes the Jackson 5’s “I’ll Be There.” The song is a classic amongst the Jackson 5 and Motown catalog. Everyone knows “I’ll Be There.” Mariah performs it here as a duet with longtime background singer Trey Lorenz. The two are magic together.

“I’ll Be There” makes such an impact that fans demanded it receive release as a single. Upon the single’s release, “I’ll Be There” shot to #1 on the Billboard Hot 100, a feat almost never achieved by live songs. It was also only the eighth song to have crowned the Hot 100 as both an original release and a cover. To this day, it remains as an iconic moment in Mariah’s career

“Someday”

Notorious for being a song Mariah “hates,” “Someday” was her 3rd number one single. Clearly it was an easy choice for inclusion on MTV Unplugged. Due to the plugged-in nature of the studio version of “Someday,” it is a great opportunity for Mariah to strip down a song. That is, after all, a good part of what MTV Unplugged is all about.

“If It’s Over”

Perhaps the least well-known song performed at MTV Unplugged (outside of Mariah’s fan base), “If It’s Over,” was used as the EP’s second single after the monstrous success of “I’ll Be There.” With lyrics written by Mariah and the music written by her in collaboration with the iconic Carole King, the song is a vocal show out for Mariah. She had recently performed the song on Saturday Night Live and at the 1992 Grammy Awards, to much acclaim.

“Can’t Let Go”

Finally, the closer of the show stands out to me especially, because this was the first version I ever heard. “Can’t Let Go” is regarded as a fan favorite amongst Mariah’s lambs. Unlike “If It’s Over,” there’s still a chance that Mariah includes the song in a setlist these days. I love the way the piano takes center stage here, as opposed to the synth-centered studio version. Mariah always sounds great vibing off a piano (case in point, “Vanishing”). Her vocals on this version are more raw and earthy. When she hits the bridge and key change, she goes all the way off. It is the perfect finale to an iconic moment in her career.

What’s your favorite cut from Mariah Carey’s MTV Unplugged EP?

The post How Mariah Carey’s MTV Unplugged silenced her critics appeared first on THE 97.

I have an interesting relationship with the Mariah Carey Memoirs of An Imperfect Angel album. During this era, for the first and only time in what is now 18 years, I jumped ship as a Mariah Carey fan. To make a long story short, I was exasperated. For starters, the continued use of auto-tune felt like Mariah was lowering herself to compete with the less-vocally-talented artists of the moment. It also appeared that she was pigeonholing herself by shutting out all other producers and just working with what I perceived as the flavors of the month, The-Dream and Tricky Stewart. It felt like a losing combination. As the rollout progressed the single selections, poorly photo-shopped album artwork, live performances, and promised-and-then cancelled remix albums further disenchanted me.

With all that said, there was no way I was actually going to avoid the album. The day it hit the net, I had it, and I listened to the hell out of it. I swore to everyone that I despised it when it was released, but it was Mariah, and that’s just not possible for me. As time passed I grew to openly appreciate and enjoy it (I even have the vinyl box set), and I listen to it regularly as I do her other albums. It still holds a strange place in my heart, both due to the album’s strange cohesiveness and my initial perception of it as a whole. I realized just how far I’ve come in my relationship with this album when I started putting this list together, and I struggled quite a bit narrowing down to just 5.

When I listen to Memoirs Of An Imperfect Angel, these are my top 5 songs:

“More Than Just Friends”

My absolute favorite on this album. This paints a fun, exciting picture of a blossoming relationship. Mariah delivers the song in a playful, whispery, half-rapping/half-singing voice over staccato piano chords while a cleverly placed melodic sample of Biggie’s “One More Chance (Remix)” makes this a true earworm.

• Standout Lyric: “Boy you got me all mixed up like Cerrato, you got me spinnin’ round for ya like a little model, steady feignin’ for you like them fries at McDonalds, I wanna be all on your lips like gelato- ice cream”

“It’s A Wrap”

The prolonged introduction (and accompanying whistle run that recalls Cissy Houston’s soprano showcase on Aretha Franklins’s “Ain’t No Way”) and the impeccable and powerful vocals have always made this a standout. This break up ballad is a serious Mariah gem, especially when she goes off during the bridge.

• Standout Lyric: “Put all your shit in the elevator, it’s going down like a denominator”

“Languishing”

One of the only songs on the album not crafted by The Dream & Tricky Stewart. This is a classic Mariah-Big Jim Wright collaboration. It recalls their earlier interlude collaboration “Rainbow” with a free-form and shortened structure, and understated vocal take. Once again though, Mariah’s brutally honest pen game drives this song to impact and resonate.

• Standout Lyric: “I was wondering, would you reach for me, if you saw that I was languishing?”

“Ribbon”

Another upbeat love song that, at first glance refers to the early moments in a relationship, but upon further examination, describes a relationship that shows no signs of wavering and still maintains the sparks of inception. The best part? It’s set to an instrumental that could easily double as a dirty south hip hop beat (which may be why Ludacris sounded so good on the remix).

• Standout Lyric: “It’s only been 20 good minutes since I kissed you, come back boo, I miss you”

“Betcha Gon Know (the prologue)”

A stellar example of Mariah Carey’s unwavering ability to tell a story with her lyrics. This is one of those songs that you can close your eyes and see scenes playing out as she sings. It also serves it’s purpose well as the album’s opening track, setting the tone well for an album full separate songs that are individual stories and scenes but come together under the cohesive production of The-Dream & Tricky Stewart.

• Standout Lyric: “I’m goin’ ‘bout 100, mascara runnin’, laughing out of anger, but it don’t strike me as funny”

Bonus: “Skydiving” 

This is a demo produced by Timbaland that did not make the album, or even get finished. It’s very rough around the edges, but something about it is whimsical and leaves you craving more. Plus, hearing Mariah curse without it being censored? Yes please.

• Standout Lyric: “So they say you got some chick, that keeps you warm at night along for the ride but, if you ask me that’s bullshit, because obviously heaven sent you for me”

Stream the Mariah Carey Memoirs of An Imperfect Angel album below, and jump into the comments to share your top 5 with us!

The post Top 5 Songs: Mariah Carey’s Memoirs of an Imperfect Angel appeared first on THE 97.

At 21 years old, Mariah Carey, coming off the enormous success of her eponymous debut album, has thrown herself into work for her second studio album. Expectations are high at Columbia Records: Mariah’s debut produced 4 #1 Hot 100 hits, all consecutive, and spent 10 weeks at #1 on the albums chart, selling over 4 million copies in the span of a year.

The label sends Mariah back to the studio with Walter Afanasieff, co-writer and producer of her second #1 hit, “Love Takes Time,” and the duo known as C+C Music Factory, David Cole and Robert Clivillés. For the first time Mariah is allowed not only to write her songs, like she did for her first album, but to also produce them. The result is Emotions.

We have compiled a list of the 25 most notable Emotions moments; 25 reasons (not in any particular order) why this underrated gem deserves all the praise and more on it’s 25th Anniversary. Enjoy, and please comment with your own!

1. The Album Cover

Okay. Fine. It’s Mariah posing dramatically, it’s not Michael Jackson’s Dangerous or anything… but look at the artwork for her debut. A close up of her (beautiful) face and that iconic hair. It doesn’t say much about the album. But, on Emotions, we see Mariah in a low cut dress (on the top and bottom; albeit, it’s also made dark enough so we can’t actually see anything), hair blowing in the wind, readying to toss her arms up in the air to exclaim about all the Emotions she’s feeling. It just looks carefree and is the perfect cover for the album. However, if Sony could dig out the full-color, less-darkened version of the photo we’d appreciate it dahhhlings.

2. The Soul

Mariah’s debut was varied in sounds, but ultimately it would be categorized as a pop effort. However, perhaps thanks to the success that yielded, Mariah took more creative liberty with Emotions and made an album that was much more true-to-heart for her. While it’s still “AC-friendly,” ballad-heavy, and hip-hop is nowhere to be found, Emotions makes up for that in its soulful qualities and R&B uptempos. The lead single is a clear homage to The Emotions’ “Best of My Love,” while the other two in the quartet, “To Be Around You” (also a 70s disco/R&B number) and “You’re So Cold” (a mix of a church bop and a pop song) would sound right at home at a 70s-inspired 90s house party. Rounding out the quartet is “Make It Happen,” a gospel-influenced inspirational jam. “If It’s Over” has one of Mariah’s most soulful vocal performances to date, and “Can’t Let Go” is the epitome of 90s quiet storm R&B balladry.

3. The Lyricism 

Like her debut before it and every album to follow, Mariah penned the lyrics of every song on Emotions. This time, however, the lyrics became a bit more personal in comparison to her debut. “Make It Happen” finds her recounting the struggles of her childhood and inspiring the listener to power through it all as she did. Meanwhile, the aforementioned “The Wind,” pre-dated “One Sweet Day” as her first song about the death of a beloved friend. The two songs opened the door to much more personal songs that came later in her catalogue. Aside from this, the lyrics on Emotions were a bit more mature than her debut and impeccable as ever. “If It’s Over,” for example, has some of the most gut-wrenching lyrics on the album.

4. The Jazz of “The Wind”

Before Lady Gaga thought she was le unique artiste by recording a Jazz album with Tony Bennett, Mariah Carey made her first foray into the Jazz club in 1991, with Emotions’ “The Wind.” (Unfortunately, it was also her last… until she duetted with Tony Bennett in 2011.) Regardless, “The Wind” is such a unique, shining moment in her catalogue. The song is built on top of a 1950s Jazz instrumental by Russell Freeman. Of course, Mariah penned her own lyrics and melody to go on top of it. It is a song about the death of a young friend, and Mariah’s vocals drip in jazzy sadness. She is almost unrecognizable, proving her skilled vocal versatility. Just try playing “The Wind” for someone who’s not a big Mariah fan – see if they recognize who’s singing. We’re still waiting for the day when Mariah will take “The Wind” to the stage. Until then, we revel in her Jazz freestyle moments.

5. The Fifth #1: “Emotions” 

“Emotions,” the lead single, became Mariah’s fifth #1 single, besting the Jackson 5’s record (4) to become the only artist to have their first 5 consecutive singles be #1 Hot 100 hits. An important achievement indeed, it set the stage for Mariah to become the Queen of #1s and the 90s in terms of singles. She would go on to have a #1 in every year of the decade.

6. The “Emotions” live intro

Speaking of “Emotions,” we must talk about the live intro. Beginning with The Elusive Chanteuse Tour in 2014, Mariah once again adds an epic, a cappella intro to “Emotions,” which she originally added to the song’s 12” club mix (a first attempt in a glorious list of re-sung Dance remixes). She performed a version of the song with this intro for the first time in 1992 for her MTV Unplugged special. Since then, the “Emotions” intro has become a staple in her setlists – from the All I Want For Christmas Is You Extravaganza, to her #1 to Infinity Las Vegas residency, this year’s Sweet Sweet Fantasy Tour, and even her set at the Essence Music Festival in July. The intro has found its place as a vocal showcase; a means for her to prove she’s still got it to her naysayers. Every intro is a glorious slay, and we praise the fact that she resurrected it. Talk about feeling emotions…

https://www.youtube.com/watch?v=G8a0bUJZTbE

7. Everything about “Emotions” 

Really, this song is one of her classics. Like fine wine, it has gotten better and more renowned with age. Some of it has to do with the epic way she resurrected it with the aforementioned intro. However, most of it is because it is a phenomenal song. Melodically, it is the perfect singalong. Lyrically, it is one of those ever-relatable songs that are just fun to sing. Vocally, it is carefree and a downright slay. If elation had a sound, it would be Mariah Carey’s vocals on “Emotions.” We should all strive to have, in our own lives, the amount of joy in Mariah’s vocals on “Emotions.” Oh, and then there’s those got damn high notes…

https://www.youtube.com/watch?v=jD1K439iZQ8

8. The High Notes

Undoubtedly, for most people, their first thought about Mariah Carey’s “Emotions” will be the inconceivably-high high notes at the end of its title track and lead single. Why are they so iconic? Because they are the highest notes Mariah has hit to date, and she was able to replicate them and even go higher live at the VMA Awards in 1991. The “Emotions” G7 is iconic. While we can’t go on record as saying it is the highest note hit by any singer (because, really, who knows that definitively?) …none of her peers can challenge her in that department.  Because, she not only hits the notes – she uses them in musically sensible ways. She can even sing actual words while hitting them. That’s why those high notes are so iconic. They cemented Mariah Carey as the indisputable Queen of the High Notes, the Songbird Supreme some would say. The use of her now-signature high notes became much more prominent on the Emotions album, and rightfully so. Emotions is also the only Mariah album to date where the whistle register is featured on every song. Check it!

9.“And You Don’t Remember” and its climax 

To be frank, “And You Don’t Remember” is, by comparison, a weaker moment on the album. One of her collaborations with Walter Afanasieff, it’s pretty straightforward and, aside from a slight gospel-tinge to it, otherwise unremarkable as a song. However, vocally… it’s not surprise that Mimi slayed. Just listen to the climax! The whole last minute of the song is an impeccable showcase of vocal slayage. Like, it’s not even fair. It’s just gorgeous.

10. The never-before-seen “And You Don’t Remember” video

Speaking of “And You Don’t Remember,” did you know that it was supposed to be a single and Mariah even recorded a video for it? It’s true! However, its release was cancelled due to the success of “I’ll Be There” from MTV Unplugged. The MC Archives alleges that these screenshots are from the rumored video, which was turned into an ad for the Sony “mini disc.” To be honest, it looks like a terrible 90s commercial, so we (and Mariah) should be glad it stayed regulated to such and isn’t an embarrassing addition to her VEVO page. (Lord knows “I Want to Know What Love Is” and “Auld Lang Syne” are enough).

11. The “Can’t Let Go” Intro

Go ahead and turn on “Can’t Let Go.” Did you ever notice that, aside from the oohs and ahhs and saying “can’t let go, ooh baby,” the song takes a full 76 seconds to actually start? She lets it rock with the gloriously 90s instrumental and gorgeous background vocals. Not many artists before Mariah placed so much value in their background vocals. Hell, few do to this day. Mariah, however, is committed. She even penned a distressed letter from her bathroom floor when there was something wrong with the backgrounds when she dropped “The Art of Letting Go” in 2013. It all stems back to songs like “Can’t Let Go,” where she put her foot into those backgrounds.

https://www.youtube.com/watch?v=mrH9W4YmTCE

12. The first #2: “Can’t Let Go”

Let’s talk more about “Can’t Let Go,” shall we? Yes; because it’s that damn good. It’s heartbreakingly good, actually. If you’ve ever been there, then you understand how damn good this song is. Like we said in #3, the lyricism on this album was just next level. That’s why, to this day, “Can’t Let Go” is a favorite of the lambs and Mariah’s alike. Unfortunately for us all, it peaked at #2 on the Hot 100 and thus is not “allowed” to be included in the #1 to Infinity setlist, but boy do we wish it could be. In fact, “Can’t Let Go” was the first of five Mariah songs to peak at #2 and be blocked from #1; though, fans agree, “Can’t Let Go” is the best and most criminal instance of them all. Everything about the song is flawless; the lyrics, the vocals, the instrumentation… it is 90s perfection. But who’s surprised, honestly?

13. “Make It Happen”

While it may have “only” peaked at #5 of the Hot 100, “Make It Happen” is still a very notable song in Mariah’s catalogue. Not only is it one of Mariah’s favorites, and the fans’, but it’s also the first explicitly personal song of her career, and her first gospel-inspired track. Both of these aspects would go onto become expected within Mariah’s albums… more often than not, her albums feature at least one very personal song and gospel song. “Make It Happen” was the first song to, well, make that happen. It’s also one of the most authentically inspirational tracks in her catalogue. Not only that, but clearly its appearance in her Jenny Craig campaign is iconic in its own right.

14. The “Don’t Ever Let Go” Legacy

There is, however, another important aspect of “Make It Happen” – its live performances. She began adding a new refrain to the song for the performances, “don’t let go, don’t ever ever let go” which has become a beloved moment for fans. In general, “Make It Happen” became a staple in her setlists over the years; it was a song that even in moments of vocal weakness, she was able to shine with. It became an anthem of sorts for her, after all she had been through, and by performing the song at high profile promotional events; such as during The Emancipation of Mimi events, she sort of vindicated the song and made it one of her classics despite not being a #1. The “don’t ever let go” mantra indeed has become quite symbolic.

15. Carole King and “If It’s Over”

Long before hit singer-songwriter Carole King had a Broadway musical about her career, Mariah Carey managed to be afforded the privilege of writing a song with her for her sophomore album. To put that into perspective for the young folks, it’d basically be the equivalent of if Mariah Carey wrote a song with Adele for her 2008 debut album. As expected, this pairing of female musical geniuses resulted in one of the best songs in Mariah’s catalogue. King had originally suggested that Mariah cover the Aretha Franklin classic she had written “(You Make Me Feel Like) A Natural Woman,” but she declined the offer and opted to write a new song with her instead. Musically, it recalls the greatness of “Natural Woman,” except it’s lyrically the total opposite. “If It’s Over” is a ballad of rejection that will make you want to hug her. “If it’s over, just let me go…” she sings desperately. It’s one of her most simple yet effective lyrics, delivered via one of her finest vocal moments.

16. “If It’s Over” Live at the Grammys and SNL

That fine vocal moment was only magnified by the flawless performances Mariah gave of the song at Saturday Night Live and the 1992 Grammy Awards. As if the album version did not harbor enough Earth-shattering soul, she went even further live. “It isn’t fair, it just isn’t right,” she sang… while she wasn’t talking about her vocals, she should’ve been. Just watch, honestly…

https://www.youtube.com/watch?v=amB3d2Id1QA

17. C&C Music Factory

Moving on from Ben Margulies and, well, everyone else she worked with for her debut except Walter Afanasieff, she enlisted David Cole and Robert Clivillés to co-write and co-produce the uptempos on Emotions, which included the title track, “Make It Happen,” “You’re So Cold” and “To Be Around You.” The collaboration was magical; each of these songs is a standout on Emotions and, while the latter two are severely underrated within her catalogue, the singles have become classics.  

18. The Shade of “You’re So Cold”

Now, everyone knows Mariah Carey is no stranger to a shady comment or even a shady song. Both have become commonplace in her world as of late, culminating into shady songs like “Obsessed” and “Thirsty.” In fact, we have a whole article about her shady songs. “You’re So Cold” falls under the category of her “early shade,” alongside “Someday,” “Prisoner” and “You Need Me” from her debut. People like to act like her shadiness is a new phenomenon, but really… it’s not. It was all just under the guise of a few cute bops back in the 90s. “You’re So Cold” is a scathing read of a “cold” lover, she is literally reading his soul. It is a priceless gem with flawfree vocals and a club ready beat. Actually, it was originally slated to be the lead single, until apparently somebody wised up to the fact that “Emotions” slays harder. Anyway, go press play and get your life.

19. The “You’re So Cold” Intro

And the intro once again deserves its own moment. It begins with some dramatic piano lines followed by Mariah singing “Lord, holy Lord” in her lowest of registers, eventually hitting her lowest recorded note of A2. Yes, Emotions is home to Mariah’s highest note and her lowest note! From there, she scales up the octaves to eventually serve us an effortless read in her high register… capping it off with a high note, and then drops back down again. Some of her peers might be able dip it low or drop it like it’s hot or whatever, but Mariah does that vocally.

20. “So Blessed” and That Bridge!

Yet another Afanasieff collaboration, “So Blessed” recalls the 50s sway of “Vision of Love,” and is tailor-made for AC radio (though, it was never sent). It’s a gorgeous, subdued song, for the most part…until the end. For the bridge, her blessings come to helm and she explodes vocally into a magnificent bridge filled with vocal acrobatics that’ll leave you breathless and feeling blessed in your own right. The clarity, power and effortless skill of her vocals is a trend on Emotions.

21. The Ultimate Bop: “To Be Around You”

Severely underrated, “To Be Around You” is one of the more fun songs in Mariah’s catalogue, and a nice pick me up within the album, after the slowness of “So Blessed.” The song pulls from 70s R&B and disco but finds its home in the realm of House and New Jack Swing moment that was all the rage in the early 90s. The runs on the chorus, the background vocalists, the energetic production, the cute lil’ breakdown toward the end, and Mariah’s final guttural ad-libs, all pack punch after punch for this ultimate, undeniable, underrated BOP.

22. The Atmospheric “’Til The End of Time”

Yet another song that places significant importance on its background vocals like “Can’t Let Go,” is “Til The End of Time.” This spiraling cascade of buttery vocals and fluttering lyrics rises in dramatics, passion and octaves over the course of its five-and-a-half-minutes. As she builds toward the climax, she grows in fervor; comparing the beginning to the end and you may think it is two different songs. Serving as the capstone of the album, before the Jazzy closer “The Wind,” it is gorgeous and glorious, with just the right amount of each element that makes Emotions a phenomenal album.  

23. Her Producer of the Year Nomination

At the 1992 Grammys, Mariah Carey became the second female – ever – to be nominated for the Producer of the Year, thanks to her stellar production work alongside Walter Afanasieff on Emotions (the first, coincidentally, was other EST. 1997 favorite Janet Jackson in 1990). Ironically, Afanasieff went on to be nominated for his work with her every year after that, but suspiciously, the Grammy committee neglected to nominate Mariah for the award ever again despite the fact that she co-produced all of their work together.

24. The Fact She Got Producer Credit

Mariah, on multiple occasions, has complained about the fact that she didn’t receive production credit her debut album, despite having been a producer. However, that changed with Emotions, and she received co-production credit for every track… thus, allowing for that nomination to even happen.

25. MTV Unplugged

Finally, one of the most significant moments of the Emotions era is the very thing that effectively ended it. Mariah’s 1992 MTV Unplugged special was intended to be a promotional tool for the Emotions album and its singles, but it ended up becoming an album and era of its own. The setlist included hits from her debut as well as the Emotions singles, but the game changer was the last minute addition of a cover. Mariah’s version of The Jackson 5’s “I’ll Be There” became an immediate hit following her special; radio requested a single edit of the song and thus prompted the label to release the song and the MTV Unplugged EP. While “I’ll Be There” brought Mariah her 6th #1 hit, it also ended promotion of her sophomore set in favor of the live album. Emotions is certified 4x Platinum, while Unplugged, too, is certified 4x Platinum, off the success of only one single. Combined the two releases nearly replicated the 9x Platinum certification of her debut. So, while some may write Emotions off as evidence of “the sophomore slump,” we must not forget that MTV Unplugged was merely an extension of that album. If such a similar event were to happen today, her label merely would’ve re-released the album itself with a bonus live disc, and the totals would have likely been combined.

The post 25 Reasons Why Mariah Carey’s Emotions Still Slays at 25 appeared first on THE 97.

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

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