Sharing is Carey-ing
Me and Mariah, go back like babies with pacifiers*
Original image: Screenshot from Mariah Carey Breaks Down 17 Looks From 1991 to Now | Edit: Artémis Psathas
With every iteration of my blogging efforts, since the beginning of my course as an internet meddler, came some sort of tribute to Mariah. I’m not sure if all that was written in my previous “tributes” falls under the traditional tribute canon, I’m not sure if everything in this one does either. Because, truth be told, we, Mariah’s biggest fans –or lambs if you like proper Mariah terminology– can also be her harshest and most honest critics.
Mariah Carey is the kind of celebrity, if she can only be referred to as a celebrity at this point in her career, who can trigger people either in the best, or in a not-so-best way. The reasons are not, nor should they be, the subject of this piece. Her work is, thankfully, not just her number one hits, nor the power-ballads everyone knows, loves or hates. It took me some time as a devoted Mariah fan to realize that there is not just one way to perceive Mariah Carey, or her work. There is so much more to her craft and an abundance of multifaceted cuts in her catalogue than just the mere hits.
After 30-something years in the industry there’s enough obscure tracks (some in the sense of non-prominent songs and others in the sense of bearing a certain darkness in their theme) that in a parallel universe, another version of Mariah Carey could sort of be celebrating a completely different career. In any case, I feel lucky to have been able to love all (most) aspects of Mariah throughout the years. Her intuitive skill and sophistication with which she works with and incorporates samples in her songs, her undoubted songwriting skills and her ability to edit her work, and that's aside her –obvious– vocal talent, make Mariah the artist she is.
Having said all of the above, I will further render my personal favorite version of Mariah Carey via an elaborate playlist of some of her most, in my opinion, timeless and, in their own ways, genuine tracks. Also, after having read her memoir The Meaning of Mariah Carey, a whole new layer of understanding and appreciation of her course, attributed to the shaping of the following list. The playlist is available at the end of this article.
Yours (Charmbracelet, 2003)
In the early 2000s, pleasantly bubbly, mid-tempo cuts seemed to be the next big thing. Yours, written by Mariah, Jimmy Jam, Terry Lewis and James “Big Jim” Wright is exactly that; a bubbly, mid-tempo track and a great one for that matter. Off her post-glittergate release, Charmbracelet, which despite the all-star cameos, fell through the cracks without receiving the attention it deserved. Yours is a perfect snapshot of how equally wholesome a Mariah “comeback” (not a huge fan of the term, tbh) would have been, had it happened in 2003 and not in 2005. Heavy rumors suggested that this was slated to have been a duet with, then, solo newcomer Justin Timberlake. His record label, however, was said to have pulled out of the collaboration fearing that whatever “glitter” was still stuck to Mariah would rub off on JT. Regardless, Yours is a great moment of growth for Mariah and while some would say it’s an uneventful one, it definitely stood as a mini overture for what would come in 2005 with The Emancipation of Mimi.
The Distance feat. Ty Dolla $ign (Caution, 2018)
In 2018 Mariah pulled a total “Mariah” and nonchalantly released Caution, after teasing the world with GTFO and the single With You. Ten tracks. That’s it. But it’s ten relaxed, mature and skillfully written tracks. The Distance is one of the most feel-good tracks of the album. Mariah’s laidback vocals over the crystal, crisp instrumentation of the track (produced by Carey and Skrillex, among others) and Ty Dolla $ign’s smooth verse, make for a sincerely delightful instance in this great point in her career.
X-Girlfriend (Rainbow, 1999)
It’s 1999 and Mariah is at the peak of her career, enjoying her creative freedom and organically delving deeper into her sound. In the decisively R&B cut, X-Girlfriend, written by Carey with Kandi Burruss (yes, the Real Housewives one) and Kevin Briggs, Mariah delivers a diss with class and wit. Fun times.
Thirsty (Me. I Am Mariah… The Elusive Chanteuse, 2014)
Listen, it could be said that Me. I Am Mariah… The Elusive Chanteuse is a few tracks too long for an album (and a few words too long for an album title; A polar opposite of 2018’s Caution in both ways) but I am not going to say that. It seems that Mariah was trying to recalibrate her sound with this record and there was some great exploration on here. Thirsty is one of the great moments of the album, despite the fact that it was poorly promoted. Thirsty has that “je ne sais quoi” and a chilled straightforwardness as a song to match that of Mariah’s performance.
Stay The Night (The Emancipation of Mimi, 2005)
Mariah makes that 2005 “comeback” sounding more Mariah than ever and then some. One of the best tracks off The Emancipation of Mimi, and possibly of her entire catalogue. The amalgamation of the freshness this “new” Mariah brought with sampled loops by Ramsey Lewis’ Betcha by Golly makes this an instant classic. Kanye West’s magic touch (from back in the day) of working wonders with samples and interpolations found its match in that of Mariah’s in this collaboration.
Lullaby (Charmbracelet, 2003)
Another mid-tempo gem of Charmbracelet, which got zero traction and exposure. It’s truly a shame this album got lost in obscurity after and because of the Glitter era, because some of Mariah’s most sincere songs, up to that point of her career, live on this album. Lullaby is a lyrical continuation to her single The Roof (see next track in the list) from 1997’s Butterfly and bears Mariah’s signature picture-painting narrative skills.
The Roof (Butterfly, 1997)
Butterfly was, and still is one of my favorite albums, ever. Aside from the obvious hits off this album, The Roof is probably the most mesmerizing cut. As per Mariah’s memoir, it was inspired by her brief encounter with Derek Jeter and was written during one of the most pivotal points of her career. The Roof, with a tinge of darkness and in all its masterfully crafted glory, oozes the kind of timid –almost forbidden– lust we’ve all felt for someone at some point. (All. Of. Us.) Whatever I try to write, though, does no justice to the song, nor its lyrics. Also, this song had one of Mariah’s most underrated videos.
Caution (Caution, 2018)
Mariah mentioned, both on an episode of Questlove’s podcast as well as in her memoir, that she wasn’t vocally ready to release Caution when she did. I’m sure there were other instances in her career that feel a tad less in-shape vocally (hello, Infinity), but this album was virtually immaculate as far as its production goes and also in terms of Mariah’s vocals. The homonymous song of the album conveys an overall ease, one that sort of describes the entirety of the album. It could be said that this “ease” is sort of Mariah’s evolution as an artist, where she simply does what she likes without any pressure of topping any charts. We love that Mariah.
H.A.T.E.U. (Memoirs of an imperfect Angel, 2009)
This was, confessedly, and I say this with love, a confusing period for me as a Mariah fan. Even though I appreciated the songwriting and there were some great songs on there, I wasn’t really sure what to make of the whole of this album. However, H.A.T.E.U is perhaps my favorite moment from this era. I mean… this woman went though stuff: “We went round for round 'til we knocked love out We were laying in the ring, not making a sound And if that's a metaphor of you and I Why is it so hard to say goodbye?” Too bad the video for this song cut half the song out and further added to my confusion.
After Tonight (Rainbow, 1999)
To be honest, I never was a fan of the “slow” ballads. I mean, why be sadder when you’re already sad? And in case you’re not sad, why go down that road? However, that does not mean that I can’t appreciate a good one and if someone’s going to write a good ballad, well, we’re at the right place. Co-written by Carey, Diane Warren and David Foster, After Tonigh is one of those ballads that take you places. Specifically, on a moonlit balcony of a villa in Capri; the girl is wearing a white silk gown, the guy is wearing a white shirt, they’re slow dancing… no? Just 17 year-old me then? OK.
Bringing on the Heartbreak (Charmbracelet, 2002)
One of the clauses Mariah wanted to have in her contract when she first started was that she would not have to sing other people’s material, in the sense that she would get to write the songs she would be singing. The covers she did choose to do though, she was super meticulous with. One of the best examples, in my opinion, is Bringing on the Heartbreak, originally written and performed by Def Leppard. At a time when Mariah had to sort of prove herself, (she didn’t have to, but) she totally did. She took this classic rock ballad and reinterpreted it as an gorgeous –handsome, if I may– pop-rock anthem.
For The Record (E=MC², 2008)
"It's one of those songs that the people who are really fans of mine, who know my music really well, are going to gravitate towards" Mariah mentioned in an MTV tour of the album. She was absolutely right. It was never released as a single, but a highlight of the album it definitely was. 2008 was a bit too early for Mariah, or anyone for that matter, to be revisiting the 90s, but here she is doing it. The song has both literal lyrical references to her previous work and nods to her earlier sound.
All In Your Mind (Mariah Carey, 1990)
When Mariah was celebrating MC30, her 30-year career anniversary, she revealed –more like teased– that there is an alternate version of this song, somewhere in the vaults and I think about that almost every day since. Now this was on her debut album and in all honesty, she didn’t have to go this hard from the get-go. All In Your Mind is totally and helplessly drenched in 80s-influenced 90s pop. The kind of pop you don’t really know what to do with, but it’s definitely a shining showcase of Mariah’s vocals. I mean, über-long belts and her signature whistle note, pizzicato-style and then some.
Almost Home (Music from the Motion Picture “Oz the Great and Powerful”, 2013)
Funny year that 2013: Mariah was a judge on American Idol –oh that odd odd stint– fans were thirsty for a new album and Mariah released, what seemed to be a last-minute collaboration, Almost Home which was, the main single off the soundtrack of Oz the Great and Powerful. I personally love the song, mostly for Mariah’s top-form vocals, and the genre-bending, electro-leaning sound that was almost never touched by her before. The deal was sealed with a David Lachapelle-directed video, even though Lachapelle went on a frenzy with the editing; and despite Mariah’s gorgeous, all black & white footage, the result felt more like a pastiche with the heavy presence of film snippets. Back to the actual song now, Mariah herself, expressed that it’s not one of her favorites, to put it nicely (not the first time she disses one of her own songs. Hello, Someday.) but, it’s nevertheless, a great track. Note: there’s an alternate version produced by Dapo Torimiro, out there that was never released, equally interesting, but begs a lot of questions. Why wasn’t this released? Does Mariah like this version better? What’s the truth? What are they keeping from us?
Can’t Let Go (Emotions, 1992)
Why this single never hit number one, I will never understand. Classic Carey-Afanssieff deal here. The lust is there, the pain is there, the matronly hair/makeup, clothing and jewelry are there in the video, what went wrong? Jokes aside, this is one of Mariah’s most atmospheric ballads, she is –clearly– showing off her vocals and songwriting skills here, with a side of sorrow –but not too much. Living for the 90s drama here.
Fly Away (Butterfly Reprise), (Butterfly, 1997)
At this point Mariah’s collaboration with David Morales has sort of matured and graduated from resung-vocal remixes to full re-explorations of songs. As a continuation from Daydream (the titular track from Mariah’s 1995 album) Fly Away further unfolds the parent song, Butterfly in this case, into a sleek house cut.
Side Effects (E=MC², 2008)
Have you ever wondered how a slightly aggressive Mariah would sound? Never leaving the premise of solid R&B, she spits out lyrics that pretty much sum up a big part of her autobiography. She names no names, but we all know to whom (Tommy Mottola) she’s referring to. Mariah’s E=MC² was a missed opportunity for many of the potential singles on it. This was one of them.
Giving Me Life feat. Slick Rick & Blood Orange (Caution, 2018)
I mean, Mariah Carey and Blood Orange (A.K.A. Devonté Hynes)? This is one of the “gem-est” gems of the album (and maybe not just this album). Not only this is an amazing song, the combination of people in this track and that encore/outro make it one epic record.
Daydeam Interlude (Fantasy Sweet Dub Mix) (Daydream, 1995)
I will say it again for the people in the back: The Mariah Carey and David Morales collaboration, for as long as it existed was probably one of the best ones between a singer/songwriter and a remixer/DJ that ever was. Daydream is essentially an edit of an extended remix to Fantasy, but just the exact right amount of an edit to take you on a journey you had no idea Mariah could take you on.
Mesmerized (2012) (The Rarities, 2020)
Not much information here. This is a gorgeous, absolutely feel-great song that didn’t make the cut to any album and was included in Mariah’s compilation of b-sides and unreleased tracks since the beginning of her career. Still, an indication that MC can be a chameleon if she wishes to.
All My Life (Glitter, 2001)
Glitter may have almost ended Mariah’s life, as she candidly mentioned before. It was released on September 11, 2001; perhaps the most unfortunate of days to release absolutely anything. In addition to the skepticism surrounding the homonymous film, it stood as an almost fatal blow to whatever Mariah was building, up to that moment. In 2018, 17 years after its release though, fans pushed for #justiceforGlitter which brought the album to the top of the iTunes charts and back into the Billboard charts. All My Life is one of the most flavorful and fun cuts off Glitter. Written by Mariah, her once staple collaborator, Walter Afanassieff and Rick James. (Yes, Rick James)
Sent From Up Above (Mariah Carey, 1990)
Mariah’s debut album is among the most iconic albums of the 90s (or of all times even). She burst into fame with Vision Of Love –a ballad– and then released an album that not only stood as a perfect, crystal-clear snapshot of what was current and hot at the time, but also posed as a trailblazer to what would follow. Not only in Mariah’s course, but in the music industry in general. Oh, and all that while barely 20 years old. Sent From Up Above, while also having a heavy 80s-influence, it’s a precursor to how elaborate Mariah could and would be with her songwriting and producing in the future.
Loverboy (Fireckracker - Original Version) [2001] (The Rarities, 2022)
Oh, the reason, I assume, Mariah doesn’t know her. I could try to tell the story here, but I won’t do it justice. It’s all detailed in Mariah’s memoir. Long story short: Mariah had secured the sample to Yellow Magic Orchestra’s Firecracker, and built this song around it, but right before it was released, a certain ex-husband, record label executive, pulled the sample and gave it to a certain Jennifer Lopez to be included on a certain hit, titled, ironically enough: I’m Real. LOL. This version of Loverboy is much more cohesive as an idea and does make much more sense than the one eventually released (which resorted to sampling Cameo’s Candy). Funnily enough, even though Loverboy didn’t make it to number one (because, Glitter), it was the top selling single that year.
Babydoll (Butterfly, 1997)
Mariah shows off her storytelling eloquence over gorgeous minimal beats before she shows off her vocal limberness as well. Bye! (Also I, as someone born in the 80s, live for the lyrics talking about opting not to turn off her cell phone at night, checking her machine before she goes to sleep. Those were the times.)
Alone In Love (Mariah Carey, 1990)
Come for the bittersweet ballad, stay for the 90s synths, drums and the vocal arrangements. Again, written and performed by a 19-year old Mariah, please.
So Lonely (One & Only Part II) feat. Twista (The Emancipation of Mimi - Repackage, 2006)
Mariah is clearly and forcefully back at this point in her career and you can tell by her nonchalant vocal dominance in this gold cut with Twista. I still don’t get why and how this was not released as an official single.
Prisoner (Mariah Carey, 1990)
Another sharp pop track from her debut album, obviously one of my very favorite albums. In Prisoner, Mariah sort of slipped-in her more (huge air quotes here) “urban flavor” with a little rap-oid verse, as a precursor to her more R&B future. A classic you probably never knew existed.
Say Somethin’ (David Morales Radio Edit) (The Emancipation of Mimi, 2005)
Mariah and David Morales reunited, probably for the last time they produced something so epic, on the promotion of Mariah’s Emancipation in 2005. Say Somethin’ was initially slated to be the first single off Emancipation, instead of It’s Like That. This remix (as well as the full 10-minute remix) showcased for one last time what a tour de force Mariah and Morales could be together: Re-sung vocals (although “sung” is an understatement here) and Morales’ arrangements blow this song to outer space and back! There’s just no other way to put this.
Till The End Of Time (Emotions, 1991)
Around this point of the playlist, we sort of shift gears to a more somber premise: Another, once staple, collaborator of Mariah’s, who helped sort of shape part of Mariah’s sound is Walter Afanasieff. In this, inescapably 90s cut, they tread on a similar path as Can’t Let Go from the same album. Again, come for the ballad, stay for the impeccable vocals, vocal arrangement and the drum climax.
Petals (Rainbow, 1999)
One of her autobiographical pieces and one of the songs she explains further in her book. Much like the next song in the list, Petals has a cinematic feel to it which also aligns with the eloquence of its lyrics.
Close My Eyes (Butterfly, 1997)
Back in 1997, 15-year old me listening to this song realized that there were layers and layers both in what Mariah Carey is, and also what she can do. Close My Eyes very vividly tells a story which later in her career she gradually lets unfold even wider.
Everything Fades Away (Music Box, 1993)
The European release, cassette of Music Box I had as a teenager included this track as a bonus track. A clear deviation from the lighter love-themed singles I was accustomed to as I was discovering Mariah, back then. Everything Fades Away is a clearly the best track off of Music Box with its fuller, more atmospheric sound and its darker lyrics.
Bonus: Can’t Take That Away (Mariah’s Theme) Morales Revival Triumphant Mix (Rainbow, 1999)
Although this song also falls in the autobiographical category as the previous ones, this ten-something-minute David Morales remix gives it a fluffiness lifting in from it’s heavy context and into a more positive place, gospel choir and all.
“me and Mariah, go back like babies with pacifiers” a now classic line from the Fantasy Remix with ODB
