Me in the club walking by 16 year old who can’t handle their WKD 💕 @mariahcarey #gtfo
and i always will. you're a legend and your music has literally saved me from death. you're such a gift to this world. thank you for sharing your music with us. ily. 🦋
WTF waking up and there is snow out side , I’m ok with that . Then I need to clean the car from snow , I’m ok with that . Then I need to share the roads with idiots that when they see snow they forgot how to drive , I’m ok with that . Then I open the radio and I hear Maria Carey song “ all I want for Christmas “ , not ok with that fuck you its fucking September all I want for Christmas is your big ass gone from this world
Ok fam so this is lil b. Lil b had a dog knock a light on her when she was about 2-3 days old. I pulled the seedling out of the dirt then replanted it much deeper due to the broken little stem. Then a few days had passed and i was suppose to go to lake george camping for the weekend."what a perfect spot to bring lil b for some rnr.
Of course i brought lil b camping. Right on the water it was beautiful. So now here we are back in vermont few weeks later and b has come around! That's a 32oz bottle for a size comparison. The strain you ask, why bubba trouble of course. Dont worry I have 7 strains starting up so there will be diversity to come. You go lil b.
#greenmountaingrowfam #growautoflowers #greenmountainstate #Vermont #lakegeorge #canabis #canabiscommunity #420 #mariahcarey #lilb #lil #vacation
Mariah Carey - Rainbow (1999)
Single: Heartbreaker, Heartbreaker Remix, Can't Take That Away, Crybaby, Against All Odds, Thank God I Found You.
Best track: After Tonight, How Much, Thank God I Found You.1
Buat fans Mariah atau penikmat R&B mungkin akan menilai album ini bagus. Tapi beda lagi untuk yg awam.
Adalah track pembuka sekaligus lead single. Menduduki no 1 Billboard Hot 100. Lagu ini sih cukup danceable Dan easy listening. Tapi nggak cukup menshowcase vokal Mariah. Lagu ini kebanyakan whisper. Gue juga merasa reff kurang nendang walaupun bisa jadi earworm. Tapi whistle di akhir Lagu plus klimaks Lagu ini sih very incredible and acrobatic! Rap Jay-Z bikin Lagu ini smakin terdengar jelas klo Lagu ini khusus buat Playboy!
2. Can't Take That Away
Lagu ini contrast bgt sama Lagu sebelumnya. Lebih ke arah old school ballad ala Motown. Lagu ini keren dan cukup sulit. Menunjukkan lebarnya range Vocal Mariah, plus resonansi dan mellisma yang.... Weww Tak usah ditanya ya. Dan pesan di lagu ini sangat motivatif.
Lagu ini jauh lebih sulit Karena hampir seluruh lagu isinya Whistle note. A song that proving who Mariah is. Whistle nya, Riff runs nya, harmoninya yang berlapis-lapis plus klimaks di akhir. Lagunya cewek banget, vibes bubblegum R&B kental sekali.
4. How Much (feat. Usher)
Asli ini lagu keren banget Dan lebih cocok jadi lead single buat gue. Kenapa? Danceable Dan aesthetic! Dimulai nada rendah di awal Lagu, sampai di akhir Naik ke klimaks. Lagu ini menyuguhkan sisi Urban R&B Mariah yg blm bnyak diketahui orang. Plus duet dg Usher bikin lagu ini Makin seksi.
5. After Tonight
Sama seperti My All, lagu ini terinfluence oleh lagu-lagu Latin. Lagu ini keren banget dan berpotensi buat jadi single. Bagian klimaks adalah yg paling gue suka walau agak mess.
Lagu ini kentara banget vibes Urban R&B nya. Dan cukup jadi earworm. Cuman Sayang durasinya terlalu panjang dan jatuhnya jadi bosan Kalo denger lagu ini. Tapi Bagian bridge keren banget lho. Trs lirik lagu ini juga Aesthetic.
Lanjut di komen ya 😀😊
I'm so ready😍🔥 today's the day MC will be performing @iheartfestival
| Check my last post to see how you can watch‼️
Follow me @mariahelite
Few people/things have had the impact Mariah Carey's Butterfly album has had on my life. I look back at the boy who gleefully bought this album without knowing how important it would be to his adolescence. I've never been the most open person, but during that time I kept everything inside (doubts, insecurities, fears). In my teens, my differences made me feel isolated, as there was no one whom could understand me. I've always longed for the feeling that someone would "get" me, and accept me. I heard the song "Outside," and I was immediately left in tears (the song still makes me cry without fail). Carey had written the song about not fitting in, but in her case it was due to her multi-racial background. Every word had rung true to me. It was the first time I'd felt like someone understood what I had been feeling for the longest time. The album was filled with other songs such as "Breakdown," "Close My Eyes," and "Fly Away," which spoke deeply to me. The title track spoke about letting something/someone go. As someone who came from a rather dysfunctional upbringing, letting go has always been challenging for me. I listened to "Butterfly" repeatedly in 2017, as two amazing friends were leaving for a new city. The song gave me strength, and at times was just the soundtrack to my tears as the date approached. Thank you Mariah Carey for being brave enough to bare your soul with us. You'll never know how important this album was/is to my life. You gave me a best friend when I needed it most. You gave me a record that I will love until my last breath. Thank you, @mariahcarey
While the album's cover depicts a utopian vision as we are embraced by not one, but three Mariahs, Memoirs of an Imperfect Angel is one of her most divisive efforts. Carey working with just a single production team (something quite rare for an artist of her stature) gives the record stylistic cohesion, a unified message, and can be a tad too predictable.
Her voice, with its many peaks and valleys, has always been her calling card. But Memoirs of an Imperfect Angel,’ her 12th album, presents her as more of an emotive vocalist and not just a singer with an impressive range. Make that Mariah Carey, song stylist.
Memoirs is a throwback to the simmering R&B of her earlier work, particularly 1997’s Butterfly. Always fond of the big ballads, Carey elevates the sensual slow jam to an art form here.
The album is vintage Mariah. It reminds you that the current crop of superstars can’t beat Carey at her own game.
Carey aggressively pursued hip-hop collaborations in the late ’90s, but here she’s essentially solo and in the capable hands of writers-producers The-Dream and Tricky Stewart. To their credit, The-Dream and Stewart keep the songs mostly uncluttered, and many of them trail off into languid fade-outs, suggesting Carey is certainly not in a hurry.
Starting with “Betcha Gon’ Know (the Prologue)’’ - “Welcome to a day of my life,’’ she begins - Carey introduces the album on a song cycle about love’s pitfalls. When she breaks from the album’s mid-tempos, Carey steps out with sass, especially on the first single, “Obsessed." She cops some welcome attitude on “Up Out My Face,’’ issuing a kiss-off: “I thought we had something special/ That we had something good/ But I should’ve had another mechanic under my hood.’’
Those tracks are left turns on a record that’s otherwise in love with the richness of Carey’s voice. She’s downright delectable on “The Impossible’’ and “Candy Bling,’’ both couched in lush harmonies with Carey breathlessly gliding over the notes.
Memoirs finds Carey in her comfort zone. The effort is an embrace of the R&B of years gone by, and while the production can at times comes off generic, it proves a bold step for the Songbird.
Endearingly ditzy high-camp abounds on E=MC2. The very first notes of the album find Carey swooping around her famed whistle register, revelling in how high her voice can go, before metamorphosing into a synth whistle riff. Over the course of the album, Carey compares herself to ice cream, the lottery, a chandelier, Biggie and 2Pac, weed and her favourite jeans. On the disco bounce of "OOC," she breaks into Italian, Spanish and French in the space of one verse for no discernible reason other than that she can (surely the very essence of divadom). Brilliantly, the music more than matches Carey's flights of fancy. E=MC2 finds Carey continuing down the hip-hop-inflected path she has pursued for the past decade - but in that time, hip-hop has come back to meet her. "I'm That Chick" hitches itself to R&B's current vogue for 4/4 beats, but takes more cues from disco than any other exponent of the trend: it could almost be a track from Carey's own early days.
Carey's gift, though, is not just that she manages to balance embracing her silliest excesses with sincere displays of emotion, but that the two are inextricably linked. Her trademark high notes, for instance: the album opens with Carey parodying them, but when she rolls them out at the climax of the stunning closer "I Wish You Well," backed only by gospel choir and solo piano, their emotional impact is undeniable. Kissing off an ex-lover has never sounded so divinely ordained.
Carey is on fine vocal form throughout E=MC2, whether belting out massive ballads ("Thanx 4 Nothin'") or layering her voice into a swooning bank of a hundred Mariahs ("I'll Be Lovin' U Long Time"). There are perhaps fewer vocal splashes than in her early days, and more nuanced brushstrokes, but that's not a bad thing, and the magnificent "Side Effects" finds Carey at the height of her powers. Over synths as slow as molasses, she intones some of the darkest lyrics of her career, a meditation on the long-term effects of an abusive relationship.
When she sings, "Them other regularities, they can't compare with MC," it's hard not to agree.
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 debut did. In his review, 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!”
Critics like Tannenbaum routinely griped about Mariah’s reliance on vocal acrobatics, which, they claimed, kept audiences at a remove from her actual songs. Like that of Whitney Houston, to whom she was often compared, Mariah’s voice was indeed almost supernatural, a thing to marvel at from a distance. But the assertion that her music lacked expression, even at this early date in her career, is one that the songs themselves simply don’t bear out. The deliriously joyous “Emotions,” however broad its lyrics may seem, all but mandates a performance of the magnitude that Mariah delivers: Her object of desire has her feeling “intoxicated, flying high,” and though hers might be a literal vocal interpretation, it’s certainly an expressive one.
Soul is a quality that’s impossible to quantify; either someone has it or they don’t. Mariah’s critics claimed it was an essential ingredient that her songs lacked. Her mixed racial heritage was treated as a selling point, but her music was carefully calibrated for both pop and R&B audiences. Songs like “And You Don’t Remember” draw on gospel and Motown, but render those influences in the most palatable way possible. On the other hand, “If It’s Over,” a collaboration with Carole King, doesn’t water down its R&B bona fides with synthesized strings and bass, instead bolstering Mariah’s vocals with brass, Hammond organ, gospel harmonies—an unbridled throwback to the pop-soul hits of the ’60s and ’70s.
On Emotions, at least musically, she managed to strike a balance of soul and pop that’s not just technically impressive, but filled with undeniable, honest-to-god feeling.