Emotions (Mariah Carey Album) - Music and Lyrics

Music and Lyrics

Unlike Carey's debut album, which featured a more contemporary pop and R&B background, Emotions proved to be far different. It borrowed from several genres ranging from gospel, R&B, soul, pop and 1960s and 1970s influences. The album's lead single "Emotions" borrowed heavily from 1970s disco, and flaunted Carey's upper range and extensive use of the whistle register. The song's lyrics were described as "joyful" by author Chris Nickson, and told of a strong and deep emotion felt by the protagonist when with their lover. One of the album's more gospel infused songs, "And You Don't Remember", featured organ chord changes and held minimal production in order to give the vocals a more "raw and sixties feel." It and the former song were part of a trio of tracks from the album that were meant to pay homage to Motown ballads, with the inclusion of soft church choir vocals, and sole musical arrangement by Carey. Its lyrics reflected the song's raw chorus, telling of girl that is promised the world by her boyfriend, and quickly forget about her and moves to the next one. After the heartbreak, the protagonist asks him "Don't You Remember" all those things he had promised her, and the things they had spoken and dreamed about doing together. "Can't Let Go", the album's second single, is a slow ballad, featuring sad and yearning lyrical content. The song's introduction featured minor chord changes, and drew influence from fifties balladry. For the duration of the first half of the song, Carey sings in her lower and huskier registers, eventually leading to the belted crescendo and falsetto and whistle finish. Of the ten tracks on the album, Carey felt her most autobiographical lyrics were featured on "Make It Happen", which told of Carey's poor and difficult teen life prior to being signed by Columbia. It continues telling of the importance of faith and prayer to God. Nickson described its instrumentation as "restrained" and "very Motownish," as well as noting its soft gospel infusion. Critically, the most anticipated song on the album was Carey's collaboration with King. It was influenced by sixties and seventies gospel and other soulful genres. According to Nickson, the song's instrumentation and basis was crucial to Carey's performance throughout the song. Additionally, he described its content and instrumentation:

As a song full of gospel and soulful influences, it allowed Mariah to really tear loose and show what she could do – which in reality was far more than the vocal gymnastics that seemed to comprise her reputation so far. From a deep rumble to a high wail, she covered five octaves wonderfully, as the power of the tune built. The backing vocals – which once again had those churchy harmonies – filled out the spare melody, as did the stately horns, which entered towards the end. The song was truly a vocal showcase for Mariah.

The next song on the album's track list, "You're So Cold", was originally intended to be the lead single from Emotions, eventually being switched for the title track. The song's introduction features a piano and a capella vocal, working into its chorus. Chris Nickson wrote "The song sailed into the chorus, driven by the house-y piano work, the bubbly, snacking rhythm belying the angry lyrics, the upbeat tone of voice." As Nickson hinted at, its lyrics featured an angry message, calling out an unfaithful lover and asking how he could be "So Cold." "So Blessed" was a song Carey wrote with Afanasieff, infusing fifties style pop balladry into it. Carey's voice in the song is very restrained, as she stays within her lower registers throughout the duration of the track. "To Be Around You" was described by Nickson as "far more staccato." Its production and melody was intended to pay tribute to "Got to Be Real" by Cheryl Lynn, as well as featuring spoken voices towards the end of the song. Nickson described "Till the End of Time" as a "gentle, almost lullaby melody." It was a love ballad, preparing the listener for the song's final track, "The Wind". The latter song featured the album's strongest jazz influence, and sampled a piano melody from Russell Freeman during the 1950s. After Afanasieff presented Carey with the melody he had discovered, it inspired her to write the melody and lyrics, which told of a friend that perished in a drunk-driving accident. Musically, the album fulfilled its greatest challenge, according to critics. It had helped master Carey's usage and infusion of several genres which she had not tapped into during the recording of her debut.

Read more about this topic:  Emotions (Mariah Carey Album)

Other articles related to "music and lyrics, lyrics, music, music and":

Saga Africa - Background, Writing, Music and Lyrics
... Yannick Noah composed the lyrics himself, a mixture of French and Cameroonian expressions, while the rest of the album Black What is mainly in English ... The lyrics include a tribute to the footballers of the Cameroon national football team named Les Lions Indomptables, especially Roger Milla, François Omam-Biyik and Thomas Nkono, whose ... The music uses a sample of a Snap!'s song, "Mary Had a Little Boy" ...
London Calling (album) - Music and Lyrics
... According to music critic Mark Kidel, London Calling is the first post-punk double album and exhibits a broader range of musical styles than The Clash's previous albums ... said that the album appropriates the "punk aesthetic into rock roll mythology and roots music", and incorporates a wider range of styles such as punk, reggae, rockabilly, ska, New Orleans R B, pop ... Strummer's lyrics also discuss the problems of rising unemployment, racial conflict and drug use in Britain ...
Lacrymosa (song) - Composition, Music and Lyrics
... According to the sheet music published by Alfred Publishing on musicnotes.com, "Lacrymosa" is an alternative metal, gothic rock and post-grunge song set in a common time and ... trademark Evanescence sound - Lee's celestial voice, and adds her brooding lyrics 'I can't change who I am, not this time, I won't lie to keep you ...
Music Therapy
... Music therapy is an interpersonal process in which the therapist uses music and all of its facets—physical, emotional, mental, social, aesthetic, and spiritual—to help clients to improve or maintain their ... In some instances, the client's needs are addressed directly through music in others they are addressed through the relationships that develop between the client and therapist ... Music therapy is used with individuals of all ages and with a variety of conditions, including psychiatric disorders, medical problems, physical ...
Music And Lyrics - DVD Release
... Bonus features include deleted scenes, a gag reel, Note for Note The Making of Music and Lyrics, and the music video PoP! Goes My Heart ...

Famous quotes containing the words music and, lyrics and/or music:

    And in the next instant, immediately behind them, Victor saw his former wife.
    At once he lowered his gaze, automatically tapping his cigarette to dislodge the ash that had not yet had time to form. From somewhere low down his heart rose like a fist to deliver an uppercut, drew back, struck again, then went into a fast disorderly throb, contradicting the music and drowning it.
    Vladimir Nabokov (1899–1977)

    Chad and I always look for deeper meanings; we can analyze Beastie Boys lyrics for hours.
    Amy Stewart (b. 1975)

    During the cattle drives, Texas cowboy music came into national significance. Its practical purpose is well known—it was used primarily to keep the herds quiet at night, for often a ballad sung loudly and continuously enough might prevent a stampede. However, the cowboy also sang because he liked to sing.... In this music of the range and trail is “the grayness of the prairies, the mournful minor note of a Texas norther, and a rhythm that fits the gait of the cowboy’s pony.”
    —Administration in the State of Texa, U.S. public relief program (1935-1943)