![mariah carey alter ego mariah carey alter ego](https://www.wikifame.org/thumber.php?src=/photos/fb/90.jpg)
Carey’s pretty and powerful voice takes on different shapes, tones, and volumes as she shines on the excellent track.
Mariah carey alter ego update#
Produced by Clark Kent, a hip-hop DJ, and producer, with Carey’s input, the song is a seamless update of dance-funk. Unlike the lead singles of previous Mariah Carey albums, “Loverboy” managed to garner the year-best sales with little promotion due to Carey’s personal issues. Released three months before the album’s release, the song was another massive hit for the singer, climbing all the way to number two on the Billboard charts. Carey’s tune lifts the wide bass and the revving guitars from the classic ’80s R&B tune.Īs the song struts on the Cameo sample, Carey builds on that hook with various layers of her vocals, stacked like Lincoln Logs – some are harmonies, some are sexy murmurs, and we also get some soulful shouting.
![mariah carey alter ego mariah carey alter ego](https://akns-images.eonline.com/eol_images/Entire_Site/201706/rs_600x600-170106115626-Mariah-Carey-Bryan-Tanaka.jpg)
For “Loverboy”, it’s the 1986 Cameo hit, “Candy”. The tune followed a pattern that Carey had established a few albums ago: putting together a midtempo dance song that played off a dominant sample. These troubles seemed to overshadow the record and its first single, the excellent “Loverboy”. Other instances of troubling appearances followed the TRL performance, and eventually, Carey was hospitalized. The recent fan effort to revisit Glitter’s reputation is well-deserved, as #JusticeforGlitter is one of the few pop social media trends that’s valid.ĭuring the months leading up to Glitter, Carey also experienced personal troubles, including some concerning behavior, including a rambling appearance on MTV’s Total Request Live, in which the diva came on the stage, passed out ice creams to the audience members, and then proceeded to perform an impromptu striptease.
![mariah carey alter ego mariah carey alter ego](https://media.glamourmagazine.co.uk/photos/6138aa0d6c53c747be7bd633/16:9/w_2560%2Cc_limit/sf.jpg)
But it’s a mistake to dismiss it as facile pop music – instead, it’s a smart record that looks to New York City club culture of the 1980s, the Minneapolis sound, as well as Black and queer pop art of the ’80s. Not only does the album’s film keep critics from taking it seriously, but dance-pop, particularly the mainstream-heavy kind of pop that Mariah Carey recorded, was never well-respected by critics. A pastiche of neon-spiked MTV disco and millennial urban-pop, Glitter is an important album that deserves to be ranked alongside other post-2000 classics like Radiohead’s Kid A, Amy Winehouse’s Back to Black, Eminem’s The Marshall Mathers LP, and Wilco’s Yankee Hotel Foxtrot. A smart, loving paean to 1980s dance-pop, post-disco, synthpop, and pop-funk, Glitter is a brilliant work of genius. That’s unfortunate because listening to the album 20 years later, it’s clear that Glitter is easily one of the greatest dance-pop albums of the past two decades. The stench of the film also extended to the soundtrack, and critical reaction to the record was mixed, at best. The terrible reception of the film and its commercial flop stretched to the album, too, which was then Carey’s lowest-selling album. The other reason Glitter didn’t do well was its release date: 11 September 2001. First, the film – released as Glitter – was met with unanimous critical scorn, with critics calling it one of the year’s worst films. The album was doomed to fail because of two reasons. Initially tagged as All That Glitters, Carey was reportedly going to put together a semi-autobiographical film and work on the soundtrack. The first project for Mariah Carey’s much-ballyhooed Virgin debut was anticipated with bated breath because it was going to coincide with her film debut, as well. Carey’s deal with Virgin Records was reminiscent of the enormous contract the label signed with Janet Jackson (who had two record-breaking signing deals with the label, including an $80 million contract in 1996) This was years before the internet and streaming gutted record sales. The signing came near the end of the giant record deal era, which peaked in the 1990s when artists like Prince, R.E.M., Michael Jackson, Madonna, and Barbra Streisand signed colossal record deals. This deal came after a decade of recording for Columbia Records, selling over 100 million albums and scoring over 20 top 10 hits. It was worth a reported $80 million for four albums. In the spring of 2001, Mariah Carey’s multi-album, multi-million-dollar record deal with Virgin Records was announced.