Nearly three decades into her record-shattering career, Mariah Carey knows a thing or two about endurance. It’s almost a full minute into “The Distance,” the latest track from her 15th album, Caution, before the elastic midtempo beat drops, by which point Mariah—ever the over-achiever—has already blown through a cheerleader chant, the first verse, and a pre-chorus.
Mariah Carey (#1–10 of 21)
On the slinky heels of last month’s buzz song “GTFO,” Mariah Carey has released “With You,” the lead single from her first album since 2014’s under-appreciated Me. I Am Mariah…The Elusive Chanteuse. Neither song sounds like a potential hit, but the former was at least a fresh direction for the singer, due in large part to a sleek sample of Porter Robinson’s EDM track “Goodbye to the World” and Mariah’s nonchalant performance and signature sense of camp. “With You,” on the other hand, doubles down on the formula established by Mariah’s 2005 comeback single “We Belong Together,” which she’s been trying to replicate in one form or another for over a decade.
At the time of its release, Mariah Carey’s sophomore effort, Emotions, was considered a commercial disappointment, failing to reach the top of the charts and selling just half of what the singer’s blockbuster self-titled debut did. In his review of the album, Rolling Stone’s Rob Tannenbaum deemed Mariah’s singing “far more impressive than expressive,” a criticism ostensibly borne out by the album’s titular lead single, on which she proclaims that she’s been “feeling emotions.” Not to put too blunt a point on it, she then tells us, rather than shows us: “I feel good, I feel nice!”
Next week, Mariah Carey will launch her Las Vegas residency at Caesars Palace, followed by the release of a new album, #1 to Infinity, a quasi-update of the chart-obsessed singer’s 1998 collection #1’s. The new compilation will include all 18 of Mariah’s #1 singles, plus a new song called “Infinity.” She recently returned to Sony Music, this time signing a deal with Epic Records, now headed by L.A. Reid, who, as head of Island Def Jam, helped Mariah stage a comeback with The Emancipation of Mimi in 2005. But it’s unlikely the pair will hit the top of the charts again, at least not with this track. All of Mimi’s tricks and ticks are present and accounted for: whistle notes, sudden shifts from chest to head voice, verses sung in double-time, and product placement that’s, to quote the lyrics, “corny like Fritos.” But while the pre-chorus is strong, the non-hook that follows amounts to nothing more than Mariah breathily cooing the single’s title, drawing it out into at least 20 inexplicable syllables. The string-and-brass-laden production is a welcome throwback to Mariah’s early ballads, but like on 2013’s “Almost Home,” its primary function seems to be to mask the singer’s ailing voice. The state of that famous instrument is most apparent near song’s end when she emphasizes the otherwise silent “a” in the nearly indecipherable word “dream” in order to more easily sing it. “Infinity” will likely be better remembered for its lyrical content, which seems to be aimed at ex-hubby Nick Cannon, whom Mariah divorced last year. “Why you tryin’ play like you’re so grown/Everything you own, boy, you still owe,” she quips, before literally getting the last (raspy) laugh.
As a thank you to her fans for patiently awaiting the release of Mariah Carey’s 14th studio album, Me. I Am Mariah… The Elusive Chanteuse, available May 27th, Def Jam Recordings is premiering a previously unreleased official remix of the album’s lead single, “#Beautiful,” exclusively on Slant. Last summer, the singer revealed that she’d recorded new vocals for “a hot new dance remix” of her 33rd Top 20 hit, freestyling over a spare beat in an effervescent manner we haven’t heard from her since “Emotions.” But while that version sadly remains locked in the vaults (sorry, lambs, we tried our best!), we’re trilled to present another new mix by Swedish duo Cazzette, a.k.a. Sebastian Furrer and Alexander Björklund. The track’s hard-hitting EDM hook is right on trend, but Cazzette allows the verses to breathe just enough to preserve the original song’s old-school loop as well as Mimi and Miguel’s breezy vocals. Listen below:
The latest single to be let go from Mariah Carey’s upcoming album, Me. I Am Mariah… The Elusive Chanteuse, the hip-hop banger “Thirsty” is a corrective of sorts to 2011’s similarly urban-leaning “Triumphant (Get ’Em).” Unlike that guest-littered track, though, the Hit-Boy-helmed “Thirsty” couldn’t be mistaken for anything other than a Mimi joint, with the singer and her usual ticks taking center stage as she takes aim at a starfucker (Atlanta rapper Rich Homie Quan is a veritable hype man). It’s probably the closest thing we’ll get to an uptempo single from Mariah these days (for that we’ll have to look to the club remixes), and the chorus, though in line with much of passes for pop music today, is a far cry from the infectious hooks of “Fantasy” or “Emotions,” consisting solely of “Uh, you’re thirs-tay” repeated over and over. The bridge, however, is a reminder of the pop gold Mimi can mine when she’s on top of her game. Listen to the song below:
Last month, Mariah Carey notched her 17th number one hit on Billboard’s Dance Club Songs chart with “You’re Mine (Eternal),” the most recent single from her 14th album album, Me. I Am Mariah… The Elusive Chanteuse, out May 27th. The Queen of the Remix’s latest chart feat puts her in fifth place among the artists with the most number ones on the dance tally (notably, the Top 11 record holders are all female, led by Madonna with a modest 43 chart-toppers). Mariah first reached the apex way back in 1991 with her third single, “Someday,” a track she, if hubby Nick Cannon is to be believed, doesn’t particularly care for anymore. But we do—at least house pioneer Shep Pettibone’s version of the song, which helped coronate the reluctant disco diva’s tenure on the dance chart. It’s one of 10 tracks that comprise our list of Mariah’s greatest remixes. Mimi is the quintessential crossover artist, with a catalogue of hits that bridges the gap between pop, R&B, hip-hop, and dance, and our list likewise spans both her urban and house remixes. Though the so-called elusive chanteuse has shied away from the latter genre in recent years, a quick look at her exhaustive canon and her insistence on recording new vocals for the majority of her remixes proves her commitment to not just the process, but the club audience who has supported her since that little new-jack single did the running man all the way to the throne.
- anytime you need a friend
- Da Brat
- david cole
- david morales
- genius of love
- ghost town djs
- i still believe
- jermaine dupri
- loose ends
- lord tariq
- Mariah Carey
- me. i am mariah... the elusive chaneuse
- memoirs of an imperfect angel
- missy elliott
- Music Box
- my all
- my boo
- Ol Dirty Bastard
- peter gunz
- puff daddy
- robert clivilles
- shep pettibone
Mariah Carey has let go yet another pre-release single (this is number four by our count) from her perpetually delayed 14th studio album, formerly titled The Art of Letting Go, just in time for Valentine’s Day. The aptly titled “You’re Mine (Eternal)” is, with the possible exception of 2011’s “Triumphant (Get ’Em),” the most derivative offering from the album to date. With a plodding beat and boilerplate lyrics (“I can’t seem to live without your love,” it starts), the midtempo ballad is another retread of “We Belong Together,” a disappointing move following the retro soul stylings of the hit “#Beautiful” and “The Art of Letting Go,” released last November. Mimi still appears to be in fine voice, at least in the studio, but that there’s not much else to be said about “You’re Mine,” produced by Rodney Jerkins, is a testament to its utter triviality.
Mariah Carey’s fourteenth studio album, The Art of Letting Go, has had an epic roll-out—and not in a good way. The then-untitled album’s first single, “Triumphant (Get ’Em),” was released way back in August of 2012 and landed with a thud, while “#Beautiful,” which dropped nine months later and was christened the project’s new lead single, failed to crack the Top 10. Known for her quick turn-around (she released seven albums in the ’90s alone), Mimi is apparently having trouble learning the new album’s titular skill, having pushed the release of The Art of Letting Go from last July to sometime next year. Perhaps motherhood has made the singer a little nervous about showing her latest baby to the world.
The Boy Scouts of America voted yesterday to lift its ban on gay youth.
In other news, this scout-leader mom is London’s hottest hero.
Pope Francis states that performing “good works” is not exclusive to people of faith.
The Coke ad that could destroy all other products, especially Coke.
Amanda Bynes threw a bong out a New York window and got arrested.
Palme d’Awful: The worst films for sale at Cannes, in pictures.