Mariah's dazzling glitter
The overstated 80's may have made a major return on the world's fashion ramps, but there was no indication whatsoever that 80's disco music was back with a bang. Too bad nobody remembered to tell Mariah that during the production of her latest album, Glitter. Her new album is loaded to the brim with giddy, flashy 80's club jams. Predictably, the album was did not exactly garner a spot among the multiple-music-award-stealing phenomenal successes of last year, perhaps scoring a few hits among reminiscing former 80's club-hoppers and die-hard Mariah Carey aficionados. A number of factors, in fact, contributed towards the hapless destiny and untimely demise of the ill-fated Glitter, the first of these being the calamitous release date of 11th September, 2001. Apart from this, Glitter was also tagged as the soundtrack to Mariah's disastrous big screen debut, which slumped appallingly at cinema theatres. Virgin records then terminated their four-album $81.6 million contract, leaving her an atonement of $ 28 million. Following this distressing series of events, and particularly taking into consideration the fact that her entire career had previously revolved on success after success, Mariah was comprehensibly devastated, and her resulting breakdown received more unnecessarily adverse publicity than was acceptable.
Glitter is initiated by the single Loverboy (Remix), which also features rap artists Ludacris, Da Brat and Shawna. A fizzy, sugar-coated number that screams "Bubblegum", this song is constructed about an unusual electrically synthesised beat, an animated slap bass line and Mariah's marvellously supple, airy vocals. An overdose of rap breaks that were far too long-winded somewhat detracted from this track's appeal, though. Mariah next eases into one of her signature megawatt ballads, on the syrupy Lead The Way. Mariah's voice, propped by gentle piano and muted percussion, effortlessly performs a variety of her usual vocal gymnastics, toying with the notes at the upper edge of her five-octave voice, and maintaining enduring sustenance on notes that the rest of the world's superlative vocalists struggle simply to strike. If We, which also showcases Nate Dogg and Ja Rule, is markedly reminiscent of a Jennifer Lopez R&B-rap fusion track (such as I'm Real for instance). This blithe hip-hop number actually served no purpose apart from taking up airplay time from Mariah's voice. The remake of Cherelle's Didn't Mean To Turn You On kicks off with a surge of digital tom toms before a medley of rave bass, blaring punchy brass and blasting snares. This dubious instrumentation is accompanied by a tune that is most likely to have you go green in the face as you lash out at the "skip track" button. Further synth-bass, rap, and listless vocalisation are exhibited on Don't Stop (Funkin' 4 Jamaica), where Mariah pairs up with Mystikal. A listener may only catch Mariah at the chorus, and the electric piano hiatus here is apparently the sole barely tolerable section of the song.
The instrumental arrangement and lyrical concept on the cover edition of Rick James' All My Life is considerably similar to that on Britney Spears' Neptunes-helmed track, Boys, which comes off her current album Britney, although Britney's number provides a far more entertaining listen than All My Life. This 80's format funk-R&B piece is saturated with electric piano and resonant bass. Reflections (Care Enough) is another piano-oriented ballad with an understated percussive rhythm, but this particular effort turned out as a somewhat indifferent and passive attempt, the composition of which is barely worth a comparison to her previous ballads. Didn't Mean To Turn You On, which was originally performed by Indeep, features Fabolous, Busta Rhymes and DJ Clue. This trashy-pop 80's discotheque ditty, loaded with bass and bolstered by funk guitars, also features unexpected rap breaks from the guest artists. Want You, a duet Mariah performs with Eric Benet, starts off in a style very similar to the track Fourth Of July off Mariah Carey's 1997 release, Butterfly, before raving synth-bass and scarcely perceptible steel guitar trickle in. Although less than remarkably striking, the vague bossa nova feel on this piece helps alleviate the dissonant commotion of the preceding 80's numbers. Never Too Far indubitably claims the status as the finest ballad on the compilation.
Mariah presents a stunningly glorious performance on this enchantingly charming piece, with its moving, emotional theme, subtle orchestration and lilting, passionate vocalisation. Twister somehow reminds the listener of the track Petals, which is from Mariah's 2000 compilation, Rainbow, with its scanty instrumentation which consists predominantly of piano and bass. This one competes with Loverboy for the position of the album's second-best number. The original version of the contagious, cheery and sparkling Loverboy infuses just the correct amount of rap, and appears more radio-friendly than the remix, although the bridge section is just a tad out of sync. As a whole, Glitter comprise an assorted selection of hip-hop, 80's dance-pop and the foreseen trademark ballads; despite the musical flexibility here, the mutating genres clash blatantly, emanating confusing, alternating vibes. Mariah's foremost attraction, though, has to be her voice, which just barely manages to pull through these generally less-than-mediocre tracks. (The Independent) Many thanks to Mariah World.
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