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'Glitter' album reviewed
I fell in love with Mariah when I read the sleevenotes on her 'Butterfly' album. She gave credit to God for everything which means she is a Christian sister to me. She gives credit to God on all her albums and I love them all. She has to perform and conduct her affairs with God in mind and I love and respect her for hat. She has a perfect figure and God uses it to great advantage to get His message across to her audiences.
She showed a truly professional approach when she performed while sick on her last tour so as not to disappoint her fans. She is a brilliant performer and has a terrific vocal range which she is not at all afraid of using to great effect. She adds tremendous texture and variation to her vocals in an effort to move away from the 'semi-electronic' sound of other not so skilled singers.
She is a complete maestro of modern studio techniques as far as track building goes. She effortlessly records layer upon layer of vocals and backing vocals which blend so well one has to compare them to sacred masses in their beauty which indeed have the same divine inspiration as their source.
Her 'Butterfly' and 'Rainbow' albums show great maturity and professionalism in approach to her genres where the concept of guest vocalist has been used to enhance her performances both musically and spiritually.
POP CHARTS OF THE WORLD.
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The main part of the song follows and we are treated to an almost funky bass rhythm, rim-shot and snapping fingers which should alert anyone that the world's best diva has something to sing about.
Everyone involved with the song from Mariah to the engineers did a magnificent job on the sound. You could define it as type A Mariah Carey - crisp clear pronunciation, beautiful breathing, tonal variation and multi octave range making her so interesting to listen to; and what a powerful voice - her lungs must be the finest ever and her whole chest amplifies the notes to give such a rich sound no words can really do it justice except the lyrics.
Not too soft and sensual not too sparse. She describes how God has guided her through her life even though at times it was hard and how she trusts and prays to Him. In return for her acknowledgement He has sent her a vision of love which she can cling to and cherish.
Towards the end of the song Mariah overdubs some backing vocals (including her phenomenally high voice) which are just a foretaste of another of her awesome talents - to blend in layer upon layer of her voice to produce such exotic and worthwhile productions that one has to listen to over and over to do them justice. (She develops this talent through her career to reach a peak with 'Breakdown' from her 'Butterfly' album).
All in all a most impressive start to an amazing recording career - how could she possibly do better?
Produced by: Rhett Lawrence. 1999 Columbia.
The chorus is interesting in that she sings of trying to find a way to connect each other - maybe she was referring to the World Wide Web connections which went through a tremendous upsurge in the 90's. It would appear that the Web, for all its misgivings, has indeed made the world a better place and should continue to do so. Or maybe she was simply suggesting that people should carry on making love and not war.
Musically the song is a first class piece of pop with able performances by all concerned. Mariah hits some lovely high notes, Vernon 'Ice' Black plays nice guitar and there are some great backing vocals by Mariah, Billy T. Scott, Jamiliah Muhammed and the Billy T. Scott Ensemble.
Produced by: Ric Wake and Narada Michael Walden. 1990 Columbia.
I love the introduction and the verses for their quietness with luscious chord changes and beautifully timed acoustic guitar by Chris Camozzi. Also the originality of those percussive woodblocks creates a lovely mood. Distinctively, Mariah changes pitch and power in the choruses and verses. It is these features coupled with her register variation which gives the song its identity. In the verses she uses her classy, gorgeous, chesty, resonant, rich, lower register and then changes to her powerful trebly more feminine mid range in the chorus. It really is R&B singing at its very best with a superbly rehearsed and polished performance of perfect pronunciation.
So having described the music what of the words? These are so sad. They tell of an unhappy couple sitting in silence feeling empty. Mariah sings it isn't right for a relationship to continue if it produces only pain. She feels she must end it as she doesn't wanna cry. Although there is apparently nothing the couple can do to repair their romance it doesn't actually state that it ends. Maybe the marriage guidance people come to the rescue at the last moment. Maybe their friends arrive and talk them into staying together. Maybe they just see the light at the eleventh hour and kiss and make up. Let's hope so because such a beautiful melody surely deserves a happier ending to the story but then again this is R&B! All in all this is a classic 'must listen to' track which deserves its place in pop history.
Produced by: Narada Michael Walden. 1990 Columbia.
The bass line kicks off with an oompah sort of bubbly, funky sound courtesy of Bob Cadway and then classic Motown bells from the keyboard joins in. This sets the scene and then Mariah starts singing.
The story is about relationships coming to an end as told from the 'dumped' side so to speak. About how short-sighted the decision was to end the relationship and how it will be regretted. With one of her best ever lines about 'the grass being greener' she sings of how her partner will never be satisfied again. I can't help but side with her and hate the other party! And then that ginormous chorus of all choruses starts - one that will shake the very roots of rhythm and blues to the furthest corners of Christendom for ever.
Starting with her middle register we get two 'somedays' separated by a glorious 'oo', and then she changes down to her lower register for the second line; then back up for the third; then back down for the last line. The overall effect is dramatic to say the least and coupled with the actual lyric is meant as a sharp ticking off to her ex-partner that relationships with her should last forever and that he has done something very foolish. I love the shape of the chorus melody on paper and the rise and fall of the notes may have inspired 'The Roof' on her later Butterfly album.
The last two verses carry on this theme that her partner has made a serious error of judgement and she warns him not too expect any shoulder to cry on in the future. Filling the high frequency part of the musical spectrum are some nice keyboard strings which add an orchestral feel.
Bob Cadway plays a superb electric-guitar solo after the third verse and gets a rich and balanced sound which I'll remember forever. I wonder if he enjoys telling his children about that one!
Mariah finishes up with a final 'someday' changing registers dramatically between syllables. Another unforgettable finish to a glorious piece of pop music. One of the finest written, up there with 'She Loves You', 'Heartbreak Hotel', 'Rock Around The Clock', 'Your Song', 'Living Doll', 'Angels' and the rest.
Produced by Ric Wake. 1990 Columbia.
Unsurprisingly, she gives a perfectly polished performance showing how she can effortlessly sustain notes and hit perfect pitch and also choose any note from about seven octaves! Interestingly, she still uses the 'grrr' sound as emphasis in some of her pronunciation even on this more classical number. (This is evident in other songs on this album e.g. 'I Don't Wanna Cry', 'There's Got To Be A Way'). This gives her lyrics a lot more power in the right places although some might find it annoying.
Produced by: Mariah Carey. 1990 Columbia.
She sings some really lovely long notes with beautiful legato slides showing she's well in control of her voice and on top form. One 'mind' at the end of the chorus takes off like a 3 stage rocket going into orbit! Towards the end she uses her upper register quite sparingly but to good effect.
Produced by: Ben Margulies and Ric Wake. 1990 Columbia.
She sings, thankfully, of a blossoming romance and everything is going well! Classy and exceedingly entertaining.
Produced by: Rhett Lawrence. 1990 Columbia.
Musically, it's reminiscent of 'Someday' in that it has the same Motown bells in the background. The drums are basic, loud and dramatic and add greatly to the feel of the song.
Towards the end of the song there is a beautiful, long 'love' followed by a bridge with a lovely drum roll into a rap which is songwriting at its best. And then comes that gorgeous, sooooooo sexy voice of hers again. Towards the end of it she positively shouts 'no' in a most emphatic way and she leaves him standing with a final 'see ya'. Probably a slap on the cheek too, by the sound of it! Stirring vocals indeed and an out and out all time classic.
Produced by: Ric Wake. 1990 Columbia.
As with many of Mariah's songs they are very simple in their basic construction letting her brilliant singing ability carry the song. No more so than this one with just a few notes on the keyboards from the one and only Walter Afanasieff and then just a few basic drum beats. Mariah doesn't really use anything but her middle register but it does sound very pretty in this song. She sings of how a love affair has come to an end and she is starting to hurt from lack of love. She can't stop crying she misses him so much and she appeals to the Lord to help her in her sorrow.
Produced by: Walter Afanasieff. 1990 Columbia.
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