On The Road Again: Mariah Carey "Rainbow (USA, Columbia Records, 495065 2)"

sábado, 3 de mayo de 2025

Mariah Carey "Rainbow (USA, Columbia Records, 495065 2)"

Rainbow is the seventh studio album by American R&B singer Mariah Carey, released on November 2, 1999 in the United States, by Columbia Records. The album followed her previous album, Butterfly (1997), in which she adopted a new image and fully transitioned into the urban contemporary market. Rainbow contains a mix of hip hop-influenced R&B tracks, as well as a variety of ballads. Carey produced the album mainly with Jimmy Jam & Terry Lewis, who replaced Walter Afanasieff, the main balladeer Carey worked with throughout the 1990s. As a result of her divorce from Sony Music CEO Tommy Mottola, Carey had more control over the musical style of this album, so she collaborated with several hip-hop artists such as Jay-Z, Snoop Dogg, Master P and Mystikal as well as female rappers Da Brat and Missy Elliott. Other collaborations include Joe, Usher and boyband 98 Degrees.

On Carey's previous album, Butterfly, she began incorporating several other genres, including R&B and hip hop, into her musical repertoire. In order to further push her musical horizons, Carey featured Jay-Z on the album's lead single, the first time in her career that another artist was featured on one of her lead singles. Carey wrote ballads that were closer to R&B than pop for this album, and worked with Snoop Dogg and Usher on songs such as "Crybaby" and "How Much", respectively, both of which featured strong R&B beats and grooves. Several of the ballads that Carey wrote during this period, including "Thank God I Found You" (written with Terry Lewis) and "After Tonight" (written with Diane Warren), mirrored sentiments she experienced in her personal life.

The album spawned five singles, two of which became number-one hits on the US Billboard Hot 100, making Rainbow her seventh-consecutive studio album to produce one or more number-one hits. The album's lead single, "Heartbreaker", became Carey's fourteenth number-one hit on the Billboard Hot 100 and topped the record charts in Canada and New Zealand. "Thank God I Found You", featuring Joe and 98 Degrees, also topped the Billboard Hot 100, but achieved moderate international chart success. The next two singles, "Can't Take That Away (Mariah's Theme) and "Crybaby" featuring Snoop Dogg, were released as a double A-side. The songs were at the center of a public feud in between Carey and Sony Music due to the label's alleged weak promotion of the singles. Carey's cover of Phil Collins' "Against All Odds (Take a Look at Me Now)" with Westlife peaked at number one in Ireland, Scotland and the UK Singles Chart.

Rainbow was well received by music critics, who generally praised Carey's embrace of R&B and hip hop in her music. The album debuted at number two on the US Billboard 200, with first week sales of 323,000. It was her first non-holiday studio album since 1991's Emotions to not reach number one. However, within a month, Rainbow was certified triple-Platinum by the Recording Industry Association of America (RIAA), denoting shipments of three million copies within the United States. Internationally, the album peaked at number one in France and Greece, and charted within the top-five positions in Australia, Austria, Belgium, the Netherlands, Germany, Japan and Switzerland. Globally, Rainbow has sold an estimated eight million copies.

Since her debut in 1990, Carey's career was heavily calculated and controlled by her husband and Sony Music CEO, Tommy Mottola. For years, Carey's albums had consisted of slow and meaningful ballads, devoid of any guest appearances or hip hop-influenced melodies. In January 1995, as she recorded Daydream, Carey began taking more control over her musical style and genre influences. She enlisted the production skills and rap styles of Ol' Dirty Bastard, who was featured on the remix of her song "Fantasy." While Mottola was hesitant at first, Carey's persistence paid off when the song became an international chart topper, with critics calling the collaboration one of the pioneering songs of pop and R&B musical collaborations.

During the recording and production of Carey's Butterfly in 1997, she and Mottola separated, giving Carey an extended amount of control over the unfinished album. Following their separation, Carey began working with younger hip hop and R&B producers and songwriters, aside from her usual work with balladeers Walter Afanasieff and Kenneth Edmonds. While the album incorporated several different genres and components that were not present in Carey's previous releases, Butterfly also included a balance of her classic ballads and newer R&B-infused jams. While Sony accepted Carey's new collaborations with writers and producers such as P. Diddy and Bone Thugs-n-Harmony, they continued to focus their promotion on the ballads. After "Honey," the debut single from Butterfly, was released in August 1997, Sony halted the release of the succeeding R&B-influenced jams, and released the ballad "My All" as the second worldwide single. Rainbow followed in its predecessors' footsteps, featuring even more hip hop and R&B.

During the spring of 1999, Carey began working on the final album of her record contract with Sony, her ex-husband's label. Carey's lover at the time, Luis Miguel, was in the midst of a European tour. In order to spend more time with him, she opted to record the album on the secluded island of Capri, Italy, figuring the seclusion would also help her complete the album sooner. During this time, Carey's strained relationship with Sony affected her work with writing partner Afanasieff, who had worked extensively with Carey throughout the first half of her career. Aside from their growing creative differences, Mottola had given Afanasieff more opportunities to work with other artists. She felt Mottola was trying to separate her from Afanasieff, in hopes of keeping their relationship permanently strained. Due to the pressure and the awkward relationship Carey had now developed with Sony, she completed the album in a period of three months in the summer of 1999, quicker than any of her other albums. In an interview with Blitz TV, Carey spoke of her decision to record the album in Capri:

I love New York. But if I'm there, I want to go out, friends come to the studio, the phone rings constantly. But in Capri, I am in a remote place, and there is no one I can run into. I felt that in Capri I would be able to effectively finish the album on a shorter schedule. And I did. I made it in three months, I was like 'Get me off this label!' I couldn't take it. The situation there [Sony] was becoming increasingly difficult.

Like her previous releases, Carey co-wrote and co-produced the album's material, working with several hip hop and R&B producers such as Jay-Z, Jimmy Jam and Terry Lewis, Usher, Snoop Dogg, Missy Elliott, Jermaine Dupri, and Bryan-Michael Cox. For the album's debut single release, Carey collaborated with Jay-Z and DJ Clue. During the spring of 1999, Carey began working with Clue on several hooks and melodies for the lead single. After a few hours, they decided to include a hip hop star on the track, which eventually led to Jay-Z. Carey's longtime friend and back-up vocalist Trey Lorenz, who was featured on her remake of the Jackson 5 song "I'll Be There," added "some soft male [back-up] vocals." Carey worked with Lewis and Jam on the ballad "Thank God I Found You." She had already been in the studio with the duo several times when she contacted them to meet her at the studio, where she told them that she had come up with the title, hook, and melody. Usually, when Carey was writing the songs for Rainbow, James "Big Jim" Wright would play the organ or piano and assist Carey to find the "right melody." However, since Wright was not present, Lewis played the organ while Carey directed him with her lower registers, providing the chord progression. They composed the song and recorded Carey's vocals. Knowing she wanted to introduce a male vocalist on the track, Lewis brought R&B singer Joe and pop group 98 Degrees into the studio. After a few hours, the group and Joe had recorded all their vocals and the song was complete. In an interview with Bronson, Lewis discussed the night Carey wrote "Thank God I Found You:"

It all happened that night. She told us the title of the song, the concept and sang us the melody. We usually have Big Jim Wright sit in on those kind of sessions to work out the chords. he wasn't there so I had to work on the chord myself. So I was playing and there was a part where I said 'Man, what chord am I supposed to do here?' and Mariah has such a good ear that she sang me the chord.

While the album was immersed further into mainstream R&B territory, Carey included some of her classic ballads and tender love songs on the album, working with writers and producers such as David Foster and Diane Warren. The idea to work with Warren was suggested by Foster, who thought that the two would be able to "hammer out one hell of a ballad" together. The two wrote and produced the song titled "After Tonight." Carey felt the song was a perfect metaphor for her relationship with Miguel, describing their romance in Capri. While the song was deemed a success by both parties, they described their working relationship with mixed feelings. According to Foster, who was involved in the writing session, Carey and Warren would not always agree on the lyrics and melodious structure of the song. He described it as a "give and take relationship"; Warren would offer lyrics and Carey would not like them; she wanted something more intricate and detailed. Carey would produce a hook or lyrics that Warren did not feel were a perfect fit. In the end, Foster felt that they worked "well together." After recording the song, Carey invited Miguel to record the song with her as a duet. However, after recording his verses several times, Foster and Carey realized that the song would not turn out the way they planned. Foster said the song's key was "too high for him"; the voices did not harmonize well. Carey did not have time to re-record her vocals in a lower key to accommodate Miguel's verses. Miguel, furious over the failed collaboration, later sent a cut-up tape of the demo to Foster. Carey and Warren also wrote "Can't Take That Away (Mariah's Theme)," one of the other ballads featured on Rainbow.

As with Butterfly two years earlier, Rainbow became the center of conflict between Carey and her label. After her divorce from Mottola, Carey's working relationship with the label deteriorated. She intended for "Can't Take That Away (Mariah's Theme)" to be the third single from Rainbow, as it held very personal lyrical content. However, Sony made it clear that they intended the third single should be a more upbeat and urban track. The difference in opinion led to a very public feud, as Carey began posting messages on her webpage in early and mid-2000, telling fans inside information on the dispute, as well as instructing them to request "Can't Take That Away (Mariah's Theme)" on radio stations. One of the messages Carey left on her page read:

Basically, a lot of you know the political situation in my professional career is not positive. It's been really, really hard. I don't even know if this message is going to get to you because I don't know if they want you to hear this. I'm getting a lot of negative feedback from certain corporate people. But I am not willing to give up.

Carey's actions were given mixed reception, with critics and executives commending her bold actions regarding a song she felt needed to be heard, while others criticized her for publicizing the dispute further. Soon after, Sony stripped Carey's webpage of messages and began negotiations. Fearing to lose their label's highest seller and the best-selling artist of the decade, Sony chose to release the song. Carey, initially content with the agreement, soon found out that the song had only been given a very limited and low-promotion release, which meant the song failed to chart on the official US chart, and made international charting extremely difficult and unlikely.

Track listing