Emotions (Mariah Carey Album) - Recording


Mariah Carey had originally been recorded in Margulies' father's basement, with old and minimal equipment. After being signed to Columbia, the songs that would be used for the album were re-mastered and re-recorded in professional studios. However, due to Sony's involvement in the project, they did not allow Carey to produce most of the album, hoping the aid of several famed record producers would be able to ensure Carey's already deemed "exquisite" songs would become popular. After the album's success however, Carey was allowed more freedom on Emotions than on her debut. Since she no longer had a working or personal relationship with Margulies, she chose to work with mostly different musicians than those of her previous effort, with the exception of Walter Afanasieff, the only hold over from Mariah Carey. Even though he had only co-written "Love Takes Time", and had only produced part of the album, Carey felt a strong working chemistry with him, soon developing a unique form of songwriting alongside him. Aside from Afanasieff, Carey worked with Robert Clivillés and David Cole from the dance-music influenced production duo, C+C Music Factory. Working with the duo was originally Mottola's suggestion, but after meeting the pair, Carey agreed and wrote four songs together with them.

Additionally, aside from the three men, Carey worked with Carole King, a female singer-songwriter who had been predominantly popular in the 1970s. However, unlike with C+C Music Factory, King approached Carey, hoping to work with her after hearing her perform live on The Arsenio Hall Show. During a conversation with Carey, King suggested that she cover "(You Make Me Feel Like) A Natural Woman", a song she had written with Gerry Goffin for Aretha Franklin. After giving it some thought, Carey declined the offer, feeling uncomfortable about recording a song she felt one of her musical influences performed so perfectly. Still determined on working with Carey, King flew to New York for one day, to try to create a ballad of some sort. The two ladies sat together by a piano over the course of the day, and by nightfall, had written and arranged a song titled "If It's Over". After working with Carey, King said in an interview "I love her voice. She's very expressive. She gives a lot of meaning to what she sings." After recording "If It's Over", Carey expressed the musical connection she shared with Afanasieff, as well as the creative format in which she wrote and produced her music when with him, or working with C+C Music Factory. When working with Afanasieff, the duo would sit by a piano, and lead each other vocally and musically, until they would reach the right note and arrangement. During an interview in 1992, Afanasieff described how Carey would stand next to him, and begin singing different notes and tunes she was thinking of, while he would follow her with the piano. In doing so, he would help lead her to the right note and vice versa. Carey described their working relationship as "very unique," and felt it to be very similar to the form in which she had worked with Margulies. While similar, Carey's creative process with Cole and Clivillés proved different; they would bring her several different tapes and tunes, of which she would choose from. Afterwards, they would work on building the already created melody, and have Carey add and build onto it, as well as writing the lyrics and key.

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

Other articles related to "recording":

Nagra - Other Equipment
... and continues to produce high-quality recorders for electronic news gathering, radio, and music recording ... are state-of-the-art digital recorders recording to compact flash PC cards ... hand-held broadcast recorder with extremely high quality microphone preamplifiers which offers recording quality up to 24bit / 96k but on removable SD ...
You Win Again (song) - Recording
... Maurice Gibb explained "You Win Again" in a May 2001 interview with Mojo magazine "When we get together and write it's not like three individuals it's like one person in the room, Usually we have a book of titles and we just pick one ... I loved 'You Win Again' as a title, but we had no idea how it might turn out as a song ...
Fear Factory - History - Concrete (1991)
... being unhappy with the terms of their recording contract, the material was not released at the time ... Meanwhile, Ross Robinson obtained the rights to the recording, which he used to promote himself, subsequently finding enormous success during the nu metal explosion of the mid-late 1990s when he ... The recording itself was eventually given an official release through Roadrunner Records in 2002 under the title Concrete during the band’s interim ...
Dredg - History - Chuckles and Mr. Squeezy (2010–present)
... Dredg had suggested on their Twitter account that they began recording their fifth album on June 23, 2010. 17, 2010, Dredg announced via their official website that they have begun the process of recording a new album ... We will be writing and recording it in San Francisco for the next month and a half and are hoping for an early 2011 release ...
Quantos Possunt Ad Satanitatem Trahunt - History - Recording
... In August 2008, it was announced that a pre-recording for QPAST was made with guitars, bass and drums ... Shortly thereafter, recording of QPAST began with Tomas Asklund recording drum tracks in Monolith Studio ... period Infernus also recorded the guitars, "manually recording six basic guitars" ...

Famous quotes containing the word recording:

    Self-expression is not enough; experiment is not enough; the recording of special moments or cases is not enough. All of the arts have broken faith or lost connection with their origin and function. They have ceased to be concerned with the legitimate and permanent material of art.
    Jane Heap (c. 1880–1964)

    I didn’t have to think up so much as a comma or a semicolon; it was all given, straight from the celestial recording room. Weary, I would beg for a break, an intermission, time enough, let’s say, to go to the toilet or take a breath of fresh air on the balcony. Nothing doing!
    Henry Miller (1891–1980)

    Too many photographers try too hard. They try to lift photography into the realm of Art, because they have an inferiority complex about their Craft. You and I would see more interesting photography if they would stop worrying, and instead, apply horse-sense to the problem of recording the look and feel of their own era.
    Jessie Tarbox Beals (1870–1942)