The musical accompaniment, played all on keyboards (with the one and only Walter Afanasieff adding to Dave Hall's virtuosity) is well crafted, solid and thoughtful. It compliments Mariah nicely and adds just enough interest to carry the song and make it such a massive hit.
Mariah sings with consummate ease and is now famous for her introductory 'De, de, de, doo, de, de, de' before the lyrics start. She sounds soft and gentle and plenty of 'Oooh babys' give the song a lullaby feel. She also adds a smattering of her upper register which fits in as if it were the most natural thing in the world. All in all a perfect, classic piece of pop for your summer party.
Produced by: Mariah Carey, Dave Hall and Walter Afanasieff. 1993 Columbia.
It starts simply enough with synthesised piano and strings followed by a wind instrument and Mariah humming gently. Then the famous lyrics start and the story unfolds about how to look inside yourself for strength, support and guidance when the world about you puts you to the test and how there's a hero within you to save you.
The song builds nicely to a climax in the last choruses with Mariah singing as ably as ever and then finishes with a gorgeous decrescendo fading to a 'you' and then just strings at the very end.
All in all a marvellous effort and very spiritually uplifting.
Produced by: Walter Afanasieff and Mariah Carey. 1993 Columbia.
Mariah and Walter were certainly inspired when they composed this number. It's still pop but with a strong gospel flavour and every time the chorus comes around with the full vocals it really has a stunning effect. The percussion programming is beautifully complimentary with the volume levels really adding that extra muscle to make you confident enough to join in after a couple of listens. I have never heard it live but hopefully one day I will and even sing it. With a full chorus it would be truly amazing.
The lyrical content is just plain reassuring to say the least. The title is self-explanatory and the words ought to be circulated to every soldier, doctor, prisoner and long distance yachtsmen to name but a few! Perhaps this song explains why 'Music Box' sells so well.
Mariah really gives the vocals everything she's got and then some using 'grrr' tactics to emphasise her point! Near the end she uses her upper register on a 'yeah' and it reminds me of Paul McCartney!
It did fairly well in the charts but wasn't a number one, which is kind of sad because it's such a great song.
Produced by: Walter Afanasieff and Mariah Carey. 1993 Columbia.
Mariah sings very softly and gently at the start, as you would imagine, but builds to several crescendos in places. The words are very loving and kind without the blues we're used to which makes a refreshing change. Mark C. Rooney sings backing vocals at the very end.
Produced by: Walter Afanasieff and Mariah Carey. 1993 Columbia.
The words are about a couple who are happy in their relationship and probably have just got engaged.
Produced by: Robert Clivilles, David Cole and Mariah Carey. 1993 Columbia.
The lyrics are sad and emotional, but nicely written, about how Mariah's lover has disappeared and how she loved him and will always remember him.
Mariah sings in her normal competent way to produce another classy performance.
Produced by: Babyface, Daryl Simmons and Mariah Carey. 1993 Columbia.
There's not that much to say except I hope you enjoy it.
Produced by: Walter Afanasieff and Mariah Carey. 1993 Columbia.
It's pretty sad too, typical of R&B, with Mariah singing that she really misses her old flame and how she's all on her own.
The song also features nice backing vocals from her usual team of Melonie Daniels, Kelly Price and Shanrae Price with another able performance from keyboardist Walter Afanasieff. This is another perfect album track from Mariah.
Produced by: Walter Afanasieff and Mariah Carey. 1993 Columbia.
Mariah sings of how she has fallen in love with a friend she has known for some time and how her normal feelings have changed and she's not sure what to do or what her body is telling her.
Produced by: Robert Clivilles, David Cole and Mariah Carey. 1993 Columbia.
Walter Afanasieff is once again responsible for keyboards with simple but effective synthesised piano, percussion, guitar and string accompaniment.
Produced by: Walter Afanasieff and Mariah Carey. 1993 Columbia.
The track starts quietly with interesting keyboards, piano, fingerclicking and percussion (which reminds me of a door knocker). Then Mariah starts singing in a soft and moody way about how an old flame should forget about a past romance with her as she doesn't love him any more. There are some rather nice backing vocals in the chorus.
Towards the end the old flame starts singing about how he wants to keep the relationship going and asks not to be left in the cold. But Mariah insists there's no love left for him.
The whole song is moody and sad but quite pretty with some delicate touches.
Produced by:? 1993 Columbia.
The track bounces along to a somewhat funky bass, guitar, keyboards and percussion and is very easy on the ears. She sings (and does the backing vocals too) about living with her lover and how happy she feels when she is with him. It is one of Mariah's happiest songs and I just love to listen to her thoroughly enjoying herself in the studio! So much so that towards the end Mariah uses her upper register to great effect and ends up giggling at herself because she doesn't know what to do next! Terrific pop and one of her best songs.
Produced by: David Cole, Robert Clivilles, Mariah Carey. 1991 Columbia.
The song gets its early power from drum, guitar, and keyboards and then Mariah's lower register over that. Later in the choruses Mariah brings her more piercing middle register (with a scattering of upper too) to bear and gets that tremendous contrast in the vocals, almost like having three singers, which is her trademark.
She sings of a past love affair that has come to an end and she regrets having let her lover into her heart.
Produced by: Walter Afanasieff and Mariah Carey. 1991 Columbia.
Mariah starts the first verse in her middle register with a visual sighting of her lover with another woman which makes her feel sad, lonely and unloved. She can't seem to get him out of her mind as she still loves and dreams about him. It's so sad and at the end of the song I really feel like putting my arm around her and giving her a shoulder to cry on!
Then there's another scratch into the chorus with a very pretty sequencer running in the midground which blends beautifully with the rest of the music.
Then the song starts to settle into a more routine arrangement with Mariah in fine form with verses and choruses spread with nice crescendos and register changes and even some vocal layering with Mariah on backing vocals too.
All in all a totally unique song with many ideas which have never been repeated by her which is a shame because it is a magnificent achievement and an essential listen.
Produced by: Walter Afanasieff and Mariah Carey. 1991 Columbia.
This pop/gospel song has a bouncy feel with a very powerful bass line, tambourine, clapping and percussion providing the main rhythm and David Cole on keyboards adding solid accompaniment.
Mariah sings very confidently mainly using her middle register with a fair amount of reverb and 'grrr' to make the important points in her story.
All in all a very refreshing change from normal and it got to number five in the U.S.A.. It must be a great faith builder and help inspire many people to put their trust in God during difficult times.
Produced by: David Cole, Robert Clivilles, Mariah Carey. 1991 Columbia.
The song opens with classic blues percussion and Walter Afanasieff on keyboards. Singing cool backing vocals are Mariah, Trey Lorenz, Patrique McMillan and Cindy Mizelle. The song also features brass accompaniment towards the end with trumpet, saxophones and trombones giving it a professional sound.
The lyrics are about Mariah asking her lover to let her know how he feels and whether they should bring the relationship to an end because too much has changed.
The song is well worth listening to because of its novelty value and because it is blues. Mariah performs it really well live on her later 'MTV Live and Unplugged' E.P. so she must love it too.
Produced by: Walter Afanasieff and Mariah Carey. 1991 Columbia.
If that wasn't enough we are then treated to some really superb bass playing by Paul Pesco, with a nice solo spot to show us how! There are also some tubular 'doorbells' and cowbells which add greatly to the song.
Mariah sings as confidently and as effortlessly as ever with Jamillah Muhammad on backing vocals. The lyrics tell of a terrible lover who has a really warm kiss but deep down is really a cold, evil, person and Mariah does her best to keep to the Christian ethic of loving her enemy.
All in all a really great, unique album track with some memorable music.
Produced by: David Cole, Robert Clivilles, Mariah Carey. 1991 Columbia.
Mariah sings beautifully and the accompaniment is complimentary.
Produced by: Walter Afanasieff and Mariah Carey. 1991 Columbia.
The lyrics are very happy and describe how Mariah wants to be with her lover all the time.
The song ends unusually with party noises.
Produced by: David Cole, Robert Clivilles, Mariah Carey. 1991 Columbia.
It has an introduction which reminds me of 'Can't Let Go'; very dramatic and powerful with Mariah singing gently about how she loves her lover and when I first heard it, it reminded me of the band Genesis. The tune builds up slowly with Mariah singing gently and whistling wind in the background, and then in come keyboards and strings. Not until the first verse starts do drums begin and our heroes also throw in a scratch for good measure! Very good songwriting indeed and most pleasant to listen to.
The lyrics are probably some of her best too, they flow wonderfully, with not a sign of a cliche, and tell of her great love and her need for her lovers love and attention.
The third verse is a glorious crescendo that starts with phat drums coming out of the previous chorus and a beauuuutiful chord change with Mariah's amazing vocals complimenting Walter's backing with awesome feeling. The drama just builds and builds in the verses and never more so than in this one, just like climbing a mountain with the second chorus as the top.
The song slowly draws to a close after this but I don't think anyone wants it to; so they added a little flourish or two at the end to drag it out for as long as possible with Walter really showing his prowess on the electronic drums! The song slowly fades with a repeat of the introduction. Thoroughly gripping and compelling listening!
Produced by: Walter Afanasieff and Mariah Carey. 1991 Columbia.
One can almost hear the chink of glasses and cutlery in the background as her black evening gown shimmers in the follow-spot while she glides down the low stairs from the stage to join the diners for champagne and caviar! It is a brilliant tune because it is so totally different to the rest of the album.
Walter Afanasieff plays the Grand Piano, strings and vibes accompanied so ably by Steve Smith on drums and Vernon 'Ice' Black on guitars. There is some whistling wind in the background and all in all it is a pretty laid back song.
Produced by: Walter Afanasieff and Mariah Carey. 1991 Columbia.