Mariah Carey (album)
Template:About Template:Use mdy dates Template:Good article {{safesubst:#invoke:Unsubst-infobox||$params=italic_title,name,type,longtype,artist,cover,border,alt,caption,released,recorded,venue,studio,genre,length,language,label,director,producer,compiler,chronology,prev_title,prev_year,year,next_title,next_year,misc|$extra=italic_title,longtype,border,caption,language,director,compiler,chronology,year,misc|$aliases=italic title>italic_title,Italic title>italic_title,Name>name,Type>type,image>cover,Cover>cover,Border>border,Alt>alt,Caption>caption,Longtype>longtype,Artist>artist,Released>released,Recorded>recorded,Venue>venue,Studio>studio,Genre>genre,Length>length,Language>language,Label>label,Director>director,Producer>producer,Compiler>compiler,Chronology>chronology,Misc>misc|$flags=override|$B={{#ifeq:{{#invoke:Is infobox in lead|main|[Ii]nfobox [Aa]lbum}}|true|{{#if:Template:Has short description | |{{#if: June 12, 1990<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> | Template:Short description}}}}}}{{#invoke:Infobox|infobox}}Template:Template otherTemplate:Category handlerTemplate:Main other{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:Infobox album with unknown parameter "_VALUE_"|ignoreblank=y|italic_title |type |name |image |cover |border |alt |caption |longtype |artist |released |recorded |venue |studio |genre |length |language |label |director |producer |compiler |prev_title|prev_year|next_title|next_year|chronology|year|misc}}{{#if:{{#invoke:String|match|error_category=Music infoboxes with Module:String errors|A|1=Emotions1991studioMariah CareyMariah Carey - album.pngA curly-haired young brunette woman with black straps around her shoulders. The words "MARIAH CAREY" on the top of the image, upper-cased.Mariah CareyJune 12, 1990<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>December 1988 – May 1990* Skyline Recording Studios (New York, NY)<ref name="Album booklet"/>
- Cove City Sound Studios (Glen Cove, NY)<ref name="Album booklet"/>
- Power Station (New York, NY)<ref name="Album booklet"/>
- Tarpan Studios (San Rafael, CA)<ref name="Album booklet"/>
- The Plant Studios (Sausalito, CA)<ref name="Album booklet">Template:Cite AV media notes</ref>
- The Hit Factory (New York, NY)<ref name="Album booklet"/>
- Oakshire Recorders (Los Angeles, CA)<ref name="Album booklet"/>
- Shakedown Studios (New York, NY)<ref name="Album booklet"/>* Pop
- R&B<ref name="complex">Template:Cite magazine</ref>46:44Columbia* Walter Afanasieff
- Mariah Carey
- Rhett Lawrence
- Ben Margulies
- Ric Wake
- Narada Michael Waldenx|2=</?t[drh][ >]|nomatch=}}|Template:Main other}}Template:Main other}}
Mariah Carey is the debut studio album by American singer Mariah Carey, released on June 12, 1990, by Columbia Records. Its music incorporates a range of contemporary genres with a mix of slow ballads and up-tempo tracks. Originally, Carey wrote four songs with Ben Margulies, which solely constituted her demo tape. After Carey was signed to Columbia, all four songs, after being altered and partially re-recorded, made the final cut for the album. Aside from Margulies, Carey worked with a range of professional writers and producers, all of whom were hired by Columbia CEO, Tommy Mottola. Mariah Carey featured production and writing from Rhett Lawrence, Ric Wake and Narada Michael Walden, all of whom were top record producers at the time. Together with Carey, they conceived the album and reconstructed her original demo tape.
Mariah Carey generally received positive reviews, with critics praising Carey's vocal performance and technique, but were ambivalent towards the songwriting. It became a commercial success, topping the U.S. Billboard 200 album chart for 11 consecutive weeks. Mariah Carey was certified nine-times Platinum by the Recording Industry Association of America (RIAA), denoting shipments of nine million copies in the United States. The album experienced similar success in Canada, where it topped the charts and was certified seven times Platinum. Mariah Carey fared well in other worldwide territories, reaching the top ten in Australia, the Netherlands, New Zealand, Norway, Sweden and the United Kingdom. Worldwide, the album has sold more than 15 million copies.
Five singles were released from the album, four of which became number-one hits on the U.S. Billboard Hot 100. Her debut single, "Vision of Love" was chosen as the album's lead single, topping the charts in Canada, New Zealand and the United States. The song was critically lauded, and is regarded as one of the greatest debut singles by a female artist. With the following three singles, "Love Takes Time", "Someday" and "I Don't Wanna Cry" reaching number one in the U.S., Carey became the first artist since the Jackson 5 to have their first four singles top the charts in the United States.
Background
In 1988, a 19-year-old Carey moved out of her mother's house in Long Island, and into a small apartment in Manhattan.<ref name="nick">Template:Harvnb</ref> She had a demo tape consisting of four songs, which she had written during her high school years with Ben Margulies.<ref name="nick" /> As 1988 unfolded, Carey, still without a record deal, struggled to draw the attention of record executives in New York. While working several jobs, she continued writing and producing music with Margulies, making changes and additions to the demo.<ref name="nick2">Template:Harvnb</ref> After months of difficulty, Carey met with singer Brenda K. Starr, and soon began singing back-up for her.<ref name="nick2" /> Eventually, Starr began hearing what she described as "glimpses" of Carey's voice throughout sessions, and noticed her "gifted voice".<ref name="nick3">Template:Harvnb</ref> She realized Carey was capable of achieving success, but only needed help to break through into mainstream music.<ref name="nick3" /> Template:Quote box One night, Starr took Carey to a record industry gala, attempting to convince a record label executive to listen her demo.<ref name="nick4">Template:Harvnb</ref> Jerry L. Greenberg, president of Atlantic Records took notice of her.<ref name="nick4" /> As Carey handed him the record, Tommy Mottola quickly grabbed the tape, insisting that he would deal with "the project".<ref name="nick4" /> As Mottola got into his limousine later that evening, he played Carey's demo and quickly realized the talent that he had just discovered. He quickly returned to the event, but a discouraged Carey had already left.<ref name="nick4" /> Template:Quote box After a week of tracking her down through Starr's management, Mottola got in touch with Carey and brought her over to Columbia Records.<ref name="nick4" /> After meeting with Carey and her mother Patricia for the first time, Mottola said, "When I heard and saw Mariah, there was absolutely no doubt that she was in every way destined for super-stardom." After a few brief meetings, Carey was signed to Columbia in December 1988.<ref name="nick4" />
Mottola had assumed the top position at Sony, the parent label of Columbia, and began taking the company through various stages of change.<ref name="nick4" /> One he felt was very important for the label's success was to discover a young and very talented female vocalist, to rival Whitney Houston from Arista Records, or a pop star to match Madonna, who was signed to Sire Records at the time.<ref name="nick4" /> He felt that Carey represented both. Mottola's confidence in Carey led him to hire a range of talented and well-known musicians and songwriters to assist with Carey's demo, as well as to create new material. Among them were Ric Wake, Narada Michael Walden and Rhett Lawrence.<ref name="nick4" />
Recording and composition
Template:Listen Template:Quote box Carey and Ben Margulies began writing prior to Carey's signing, and had composed over fourteen songs; seven of which earned a place on the album.<ref name="nick" /> Originally, Carey and Margulies planned to produce the entire album as well, an idea her label did not permit.<ref name="nick" /> On the album, Carey worked with a range of producers and writers, including from Ben Margulies, Rhett Lawrence, Narada Michael Walden, Ric Wake and Walter Afanasieff; the latter would continue working extensively with Carey on future projects.<ref name="nick" /> As production for the album began, Carey worked with Walden in New York, where they produced "I Don't Wanna Cry". While he described Carey as "very shy", he noted how professional she was for someone her age.<ref name="nick6">Template:Harvnb</ref> Additionally, Carey wrote "There's Got to Be a Way" during her first recording session with Wake.<ref name="nick7">Template:Harvnb</ref> During the session, they wrote four songs, but they only produced the latter song for the album. After flying to New York and working with Carey, Walden was astonished by her voice.<ref name="nick7" /> Together, they collaborated on transforming many of the demo's songs into more commercial recordings, which took place in Tarpan Studios in San Rafael, California.<ref name="nick8">Template:Harvnb</ref> For her work with Lawrence, Carey traveled to New York once again. In the studio, she presented him with the demo of "Vision of Love" which she had written with Margulies years prior. Lawrence saw "potential" in the song, but he did not think much of it in its early stages.<ref name="nick8" /> He described the song's sound as having a "fifties sort of shuffle".<ref name="nick8" /> According to Lawrence, Carey needed a more contemporary sound, so they met in the studio alongside Margulies and producer Chris Toland. They added a new arrangement to the original chord progression, while Carey changed the song's melody and key. Afterwards, Margulies added few drum notes to the arrangement, including additional guitar and bass notes.<ref name="nick8" /> Template:Quote box Carey worked with Walden on several songs including "I Don't Wanna Cry".<ref name="nick8" /> Together, they decided to "slow down the tempo" and create a "crying type of ballad", one which according to him, featured a direct inspiration from gospel genres.<ref name="nick8" /> After they completed the song, Lawrence noted how much of a perfectionist Carey was. He said that after finishing the song, she returned to the studio the following week, all in order to correct "one line" that troubled her.<ref name="nick8" /> As one of the four original songs she gave to Mottola, "Someday" became Wake's favorite from the start, "I loved that song right from the beginning...Then Mariah called me one day and said 'I'd love to do it if you want to do it.' It was great, I'm glad she called me."<ref name="nick9">Template:Harvnb</ref> During its recording, Carey revealed how the song came into existence. She had been working on the demo with Margulies in his studio.<ref name="nick9" /> As he began playing different notes on the electric keyboard, Carey directed him on the chord changes, while providing the chorus, lyrics and melody.<ref name="nick9" /> In "All in Your Mind", Carey does a great vocal performance, doing staccatos up to F7.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> According to the artist, her voice "split" while doing those ornaments.<ref name="nick10">Template:Harvnb</ref> While she thought to remove it from the song's recording, Wake and Walden were very impressed by the vocal flips, claiming that it would fit in perfectly.<ref name="nick10" />
By May 1990, the debut album was being mastered when Carey wrote "Love Takes Time" with Ben Margulies. Margulies said, "It was sort of a gospelish thing ... and we recorded a very quick demo. It was just a piano vocal demo – I played live piano, and she sang it." Carey was on a mini-tour of ten states to promote "Vision of Love", playing acoustically with a piano player and three back-up singers. While on a company plane, she played the demo of "Love Takes Time" for Columbia Records president Don Ienner. "All the important guys were on the plane," Margulies said. "Tommy Mottola, Ienner, and Bobby Colomby." Carey was told the song was a "career-maker", and that it had to go on the first album. She protested – her album was already being mastered, and she intended this ballad for her next release.<ref name=mariahdaily/>
The demo was sent to producer Afanasieff. When Carey flew west to work with Narada Michael Walden on some tracks for her first album, Tommy Mottola and Don Ienner were impressed with Afanasieff's work and gave him an executive staff producer job with the label. "I guess to see if he made the right choice, (Tommy) called me up one day," remembers Afanasieff. "He said, 'We've got this Mariah Carey album done, but there's a song that she and Ben Margulies wrote that is phenomenal, and I want to try everything we can to put it on the album.' I said, 'What do you want me to do?' and he said, 'You only have a couple of days, but are you ready to cut it?' I couldn't believe the opportunity that it was. I'd never produced anything by myself up until that time."<ref name=mariahdaily/> The demo was very close to what Mottola wanted the finished product to be, according to Afanasieff. "We cut the song and the music and the basics in about a day – and the only reason is this deadline. It was do it or we were gonna miss out on the whole thing. We got the tape and recorded everything and we got on the plane and went to New York (and) did her vocals. She did all the backgrounds, practically sang all night...We came back to the studio that afternoon, and we had to fix one line very quickly, and then (engineer) Dana (Jon Chapelle) and I got back on the plane with the tape, went back to the studio in Sausalito, and mixed it. So it was a three-day process: a day and a half for music, kind of like a day for vocals, and a day for mixing."<ref name=mariahdaily/>
Afanasieff heard from Columbia executives as soon as they received the mix. They wanted Carey's vocal a little louder, so a remix was quickly completed. The producer asked if the song would still make the debut album, and was told, "We're going to do our best."<ref name=mariahdaily/>
On the first copies of the album that were printed, "Love Takes Time" was not listed on the cassette or compact disc liner notes, even though the song was on the cassette or CD itself. "(On) some of the original first copies of the record, they didn't have time to print the name of the song," Margulies laughs. "And so the song's on there, but it doesn't say that it's on there. It was a song that actually was strong enough to stop the pressing...I don't know if they had to throw away a few hundred copies."<ref name=mariahdaily>"Hero" inside story Template:Webarchive</ref>
Promotion
Aside from the heavy marketing and promotional campaign held by Sony Music, Carey performed on several television programs and award ceremonies, stateside and throughout Europe. Carey's first televised appearance was at The Arsenio Hall Show, where she sang "Vision of Love" for the first time, on June 1, 1990. Four days after the performance, she appeared at the 1990 NBA Playoffs where she sang "America the Beautiful".<ref name="nick11" /> Soon after, she performed "Vision of Love" back-to-back on both The Tonight Show and her second appearance at The Arsenio Hall Show.<ref name="nick11" /> In September 1990, Carey appeared on Good Morning America where she performed an a cappella version of "Vision of Love", alongside the Billy T. Scott Ensemble.<ref name="nick11" /> "Vision of Love" was performed on various other American television shows such as Saturday Night Live, Showtime at the Apollo, The Oprah Winfrey Show and the 1991 Grammy Awards, as well as European programs such as The Veronica Countdown (the Netherlands), Le monde est la vous (France), Kulan (Sweden) and Wogan (United Kingdom). Carey has performed "Vision of Love" on most of her tours, except her Angels Advocate Tour in 2010, where it was absent from the setlist.<ref name="nick11" />
Promotion for the album continued with Carey's follow-up singles. "Love Takes Time" was performed on The Arsenio Hall Show, Showtime at the Apollo and The Tonight Show Starring Johnny Carson, as well as Carey's debut showcase at The Tattoo Club. In Europe, "Love Takes Time" was also performed in Pop Formule (the Netherlands), Kulan (Sweden) and Des O'Connor Tonight (United Kingdom).<ref name="nick11" /> The third single from Mariah Carey, "Someday", was performed at the 1991 American Music Awards which helped it reach number one in the United States. Carey's fourth single "I Don't Wanna Cry", reached the top of the Hot 100 without any immediate promotion, as Carey had not performed the song until her Music Box Tour in 1993.<ref name="nick11" /> As promotion for Mariah Carey ended, Sony released a fifth single "There's Got to Be a Way", in the UK. Most of the album's singles were performed live throughout Carey's short Music Box Tour. Both "Vision of Love" and "I Don't Wanna Cry" were performed on Carey's Asian and European Daydream World Tour (1996).<ref name="nick11" />
Singles
"Vision of Love" was the first single released from the album and became one of the most popular and critically praised songs of Carey's career.<ref name="nick" /> Additionally, "Vision of Love" is credited with bringing the use of melisma to the 1990s and inspiring various future talents. "Vision of Love" was nominated for three 1991 Grammy Awards: Best Female Pop Vocal Performance (which it won), Record of the Year and Song of the Year. The song received the Soul Train Music Award for Best R&B/Soul Single, Female and a Songwriter Award at the BMI Pop Awards.<ref name=awardz>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In the United States, it peaked at number one on the Billboard Hot 100, during the week of August 2, 1990, staying atop the chart for four consecutive weeks.<ref name="bronson">Template:Harvnb</ref> "Vision of Love" reached number one in Canada and New Zealand as well, and appeared within the top ten in Australia, Ireland, the Netherlands and the United Kingdom. Aside from its chart success, the song was lauded by music critics. In a retrospective review on the album in 2005, Entertainment Weekly called the song "inspired" and complimented Carey's use of the whistle register in the song.<ref>Template:Cite magazine</ref> Additionally, Rolling Stone said that "the fluttering strings of notes that decorate songs like 'Vision of Love', inspired the entire American Idol vocal school, for better or worse, and virtually every other female R&B singer since the nineties."<ref name=RollingStone-Nov2008>Template:Cite magazine</ref> Bill Lamb from About.com said that "'Vision of Love' is one of the best songs of Mariah's recording career [...] It is simply one of the most stunning debut releases ever by a pop recording artist."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
"Love Takes Time" served as the album's second single, released on August 22, 1990.<ref>Template:Cite certification</ref> The song became Carey's second single to top the Billboard Hot 100.<ref name="Hot 100">Template:Cite magazine</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> While the song achieved strong success stateside, "Love Takes Time" peaked at number two in Canada, it barely charted inside the top ten in New Zealand and outside the top 20 in Germany, the Netherlands and the United Kingdom.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Someday" (the album's third single) followed a similar pattern as "Love Takes Time", reaching number one in the US and Canada.<ref name="Hot 100" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In Australia, it peaked outside the top 40, and hit number 38 in France and the UK.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "I Don't Wanna Cry", the album's fourth single, also topped the charts in the United States.<ref name="Hot 100" /> The song became Carey's fourth chart topper in the US, finishing number 25 on Billboard's year-end chart. Aside from peaking at number two in Canada, it charted at number 49 in Australia.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A fifth single, "There's Got to Be a Way", was released in Europe but only charted in the United Kingdom, where it peaked at number fifty-four.<ref name="nick11" />
Critical reception
Template:Music ratings Upon release of Mariah Carey, music critics universally praised Carey's vocal ability.<ref name=":0">Template:Cite news</ref><ref name=":1">Template:Cite news</ref> However, reviewers were more critical of the album's lyrics and production,<ref name=":1" /> reporting that her material lacked a distinct musical identity.<ref>Template:Cite magazine</ref>
In a contemporary review, Entertainment Weekly wrote that Carey possessed an "astonishing vocal range and high ideals", but criticized the album's lyrical content.<ref name="EWreviews" /> Robert Christgau was more critical in The Village Voice, unenthusiastically touching on the opera roots of Carey's mother while finding much of the material clueless about its love themes.<ref name="CG">Template:Cite news</ref> Jan DeKnock from the Chicago Tribune was more impressed by the album, finding it abundant with "sparkling tracks" that showcase Carey's songwriting and production talents, particularly "Vanishing".<ref name="CT">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Among the more mixed reviews, some critics found she was "all voice, no substance".<ref>Template:Cite news</ref>
Mariah Carey was nominated for the 1991 Grammy Award for Album of the Year, while "Vision of Love" received nominations in the categories of Song of the Year, Record of the Year and Best Female Pop Vocal Performance. Carey won for Best Female Pop Vocal Performance and also received the award for Best New Artist.<ref name="nick3" />
Retrospective
Template:Music ratings In The Rolling Stone Album Guide (2004), Arion Berger later wrote that "Carey debuted with an album of uplifting dance pop and R&B ballads, each song's composition co-credited to Carey and each providing an opportunity to unleash her wide vocal range."<ref name="Berger"/> Ashley S. Battel from AllMusic found the record "extremely impressive" and described the songs as "smooth-sounding ballads and uplifting dance/R&B cuts" on an album that served "as a springboard for future successes". "Carey establishes a strong standard of comparison for other breakthrough artists of this genre", Battel concluded.<ref name="allmusic">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Billboard's Trevor Anderson found the album more concerned with producing hits than "introducing the world to the woman behind the seismic scales and piercing high notes", it achieves the former "to a remarkable degree".<ref>Template:Cite magazine</ref>
Accolades
| Publication | Accolade | Rank | Template:Abbr | |
|---|---|---|---|---|
| Complex | The Best R&B Albums of '90s | check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }} | citation | CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }} |
Commercial performance
Mariah Carey entered the US Billboard 200 at number 80, and reached the top 20 in its fourth week. The album topped the chart in its 36th week, due to the success of "Someday" and then later Carey's exposure at the 33rd Annual Grammy Awards, and stayed there for 11 consecutive weeks; to date, it is the longest stay at number one in Carey's career.<ref name="nick11" /> It remained in the top 20 for 65 weeks and on the Billboard 200 for 113 weeks.<ref name="nick11">Template:Harvnb</ref> Mariah Carey was certified nine-times Platinum by the RIAA on December 15, 1999. The album has sold 4,885,000 copies in the United States, according to Nielsen SoundScan, which began counting sales after January 1, 1991.<ref>Template:Cite news</ref> It became the best-selling album of 1991 in the United States.<ref name="Billboard end of 1991">Template:Cite magazine</ref> In Canada, the album peaked at number one on the Canadian RPM Albums Chart during the week of April 20, 1991.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> To date, Mariah Carey is certified seven-times Platinum by the Canadian Recording Industry Association (CRIA), denoting shipments of 700,000 copies.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
During the week of September 15, 1990, Mariah Carey entered the UK Albums Chart at its peak of number six.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> After spending 40 weeks fluctuating in the chart, the album was certified Platinum by the British Phonographic Industry (BPI), denoting shipments of 300,000 copies.<ref name="BPI certification-database">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In Sweden, the album debuted at number 29 during the week of August 1, 1990, before peaking at number eight on its fourth week, spending 16 weeks on the charts, and eventually being certified Platinum in the country.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In the Netherlands, the album debuted at number 91 during the week of July 21, 1990, eventually peaking at number 6 on its tenth week, spending a total of 46 weeks on the charts and being certified Platinum. In Norway, the album debuted at number 19, and reached its peak at number four on its seventh week. Elsewhere in Europe, Mariah Carey reached the top-twenty in Switzerland; the top-thirty in Germany and Finland; and the top-forty in Hungary and Spain.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The album peaked at number six in Australia, where it went 5× Platinum and finished sixth on the ARIA Charts year-end top 50 albums chart of 1991.<ref name=ryan>Template:Cite book</ref><ref name="ariacerti">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In New Zealand, the album debuted at number 12 during the week of September 2, 1990, before peaking at number four two weeks later, spending a total of 57 weeks on the charts and being certified 4× Platinum in the country, where it finished 12th on the Recorded Music NZ year-end chart of 1991.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Worldwide sales of the album stand at 15 million copies.<ref name="wwsales">Template:Cite magazine</ref>
Legacy and influence
Since its release, Mariah Carey has been hailed as a pop and R&B classic, with Trevor Anderson of Billboard describing it as jumpstarting "one of the most successful stories in pop music history".<ref name="MCA1">Template:Cite magazine</ref> Anderson noted that the album propelled Carey to the forefront of a saturated female popstar market, which included Whitney Houston, Janet Jackson, and Madonna.<ref name="MCA1" />
The widespread influence of Carey's vocal delivery on the album, particularly "Vision of Love", has also been noted by critics. According to Chloe Sarmiento of Grammy.com, Carey's vocal performance on the album set a new high standard for artists across multiple genres in the music industry.<ref name=":0" /> Writing for Complex, Elena Bergeron described the record as "the album that launched a million runs", stating that it "gave an entire generation of would-be divas something to sing into their hairbrushes".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> R&B singer Beyoncé said that she began doing vocal "runs" after listening to "Vision of Love" for the first time, stating that it inspired her to follow a path into the music industry.<ref>Template:Cite news</ref> Pop singer Christina Aguilera has also stated how Carey's album had the biggest influence on her vocal stylings and delivery. According to the Pier Dominguez, author of Christina Aguilera: A Star is Made, Carey's carefully choreographed image of a grown woman struck a chord with Aguilera, whose influence also stemmed from the fact that both were of mixed heritage.<ref>Template:Cite book</ref>
Carey's two wins at the 33rd Annual Grammy Awards was also commented upon by critics, particularly in regards to the lip-syncing controversy surrounding Milli Vanilli the prior year. Speaking to the press after winning Best New Artist, Carey stated: "With all the controversy surrounding this award, I hope to bring it back to a real singer-songwriter category, where everyone else following me can be as proud as I am to receive this honor".<ref>Template:Citation</ref> The singer's performance of "Vision of Love" at the ceremony has consistently been ranked as one of the greatest award show performances of all time. Andrew Unterberger of Billboard described it as showcasing Carey "in full beast mode, tracing her unprecedented vocal runs with her hands and occasionally running out of room in the process; not excessively showy but unafraid of demonstrating".<ref name ="MCA2">Template:Cite magazine</ref> Unterberger further commented on Carey's exposure to the wider pop landscape following her debut at the award show, commenting on how "Mariah's self-titled debut LP shot to the top of the Billboard 200 and stayed there for 11 weeks" in the wake of her appearance.<ref name ="MCA2" />
The singer's outspokenness about her own multi-racial heritage at the time of her debut's release has also been commented upon by both music critics and sociologists alike. As noted by Professor Michael Eric Dyson in his book, Between God and Gangsta Rap: Bearing Witness to Black Culture, Carey's "refusal to bow to public pressure" surrounding the nature of her ethnicity exposed "the messy, sometimes arbitrary, politics of definition and categorisation" and "the racial contradictions at the centre of contemporary pop music" at the time.<ref>Template:Cite news</ref> Sika Dagbovie-Mullins of Florida Atlantic University further credited Carey for breaking down existent racial barriers between pop and R&B, hailing her being a "multiracial heroine" for generations of mixed-race singers and songwriters.<ref>Template:Cite book</ref>
Track listing
Credits adapted from the album's liner notes.<ref name="Album booklet"/> All tracks written by Mariah Carey and Ben Margulies, except where noted. Template:Track listing
Notes
- <templatestyles src="Citation/styles.css"/>^[a]{{#if:| }} signifies an additional producer
- The original pressings of Mariah Carey either do not list "Love Takes Time" on the back cover while it is included, mistakenly list it as included on the promotional messaging when it is not included, or do not include the song at all, with no mentioning of its exclusion. This is due to the track being considered for the album, with the mastering and finalization process beginning for the song, only after album pressings had started worldwide.<ref>{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Personnel
- Mariah Carey – vocals, background vocals, arranger, vocal arrangements
- Ben Margulies – drums, keyboards, programming, arranger
- Narada Michael Walden – drums, arranger, additional production, rhythm arrangement
- Ren Klyce – Linn drums, Fairlight programming
- Joe Franco – drums, percussion, drum programming
- Ric Wake – drum programming, additional arrangement
- Omar Hakim – drums
- Jimmy Rip – guitars
- Chris Camozzi – acoustic guitar, electric guitar
- David Williams – guitars
- Michael Landau – guitars
- Vernon Reid – guitars
- Nile Rodgers – guitars
- Rhett Lawrence – keyboards, recording, mixing, arranger
- Louis Biancaniello – keyboards, bass, programming, rhythm programming
- Richard Tee – piano
- Marcus Miller – Fretless bass
- Walter Afanasieff – synth horns, keyboards, synthesizers, synth bass, arranger
- Billy T. Scott – background vocals
- The Billy T. Scott Ensemble – background vocals
- Fonzie Thornton – background vocals
- Chris Toland – arranger, additional engineering
- Rich Tancredi – additional arrangement
- Patrick Dillett – engineer, recording, mixing
- Bob Cadway – engineer, recording, mixing
- Dana Jon Chappelle – engineer, mixing, additional engineering
- Manny LaCarrubba – additional engineering
- Larry Alexander – mixing
- Bob Ludwig – mastering, (at Masterdisk)
- Howie Weinburg – mastering (at Masterdisk)
- Tommy Mottola – executive producer
Charts
Template:Col-begin Template:Col-2
Weekly charts
| Chart (1990–1991) | Peak position | |
|---|---|---|
| Canadian Albums (The Record)<ref>Template:Cite magazine</ref> | 1 | |
| European Top 100 Albums (Music & Media)<ref>Template:Cite magazine</ref> | 12 | |
| Finnish Albums (Suomen virallinen lista)<ref>Template:Cite book</ref> | 13 | |
| Japanese Albums (Oricon)<ref name="jap">{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
13 |
| Spanish Albums (PROMUSICAE)<ref name="spain">Template:Cite book</ref> | 35 | |
| UK Albums (MRIB)<ref>Template:Cite magazine</ref> | 5 | |
| UK Dance Albums (Music Week)<ref>Template:Cite magazine</ref> | 2 | |
| US Top 200 Albums (Cash Box)<ref>Template:Cite magazine</ref> | 1 | |
| US R&B Albums (Cash Box)<ref>Template:Cite magazine</ref> | 2 |
| Chart (1994–1995) | Peak position |
|---|
| Chart (2010) | Peak position |
|---|
| Chart (2020–2022) | Peak position | |
|---|---|---|
| UK Albums Sales (OCC)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
44 |
Year-end charts
| Chart (1990) | Position | |
|---|---|---|
| Australian Albums (ARIA)<ref name=ryan /> | 53 | |
| Canada Top Albums/CDs (RPM)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
13 |
| Dutch Albums (MegaCharts)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
40 |
| European Top 100 Albums (Music & Media)<ref>Template:Cite magazine</ref> | 79 | |
| Japanese Albums (Oricon)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
87 |
| New Zealand (RMNZ)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
28 |
| Norwegian Summer Period Albums (VG-lista)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
5 |
| Swedish Albums (Sverigetopplistan)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
26 |
| US Billboard 200<ref name="bilb1">Template:Cite magazine</ref> | 32 | |
| US Top R&B/Hip-Hop Albums (Billboard)<ref name="bilb1" /> | 30 |
| Chart (1991) | Position | |
|---|---|---|
| Australian Albums (ARIA)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
6 |
| Canada Top Albums/CDs (RPM)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
4 |
| Dutch Albums (MegaCharts)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
88 |
| New Zealand (RMNZ)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
12 |
| US Billboard 200<ref name="bilb2">Template:Cite magazine</ref> | 1 | |
| US Top R&B/Hip-Hop Albums (Billboard)<ref name="bilb2" /> | 6 |
Decade-end charts
| Chart (1990–99) | Position |
|---|---|
| US Billboard 200<ref name="1990sbb">Template:Cite magazine</ref> | 27 |
All-time charts
| Chart | Position |
|---|---|
| US Billboard 200<ref>Template:Cite magazine</ref> | 50 |
| US Billboard 200 (Women)<ref>Template:Cite magazine</ref> | 18 |
Certifications
Template:Certification Table Top Template:Certification Table Entry Template:Certification Table Entry Template:Certification Table Entry Template:Certification Table Entry Template:Certification Table EntryTemplate:Certification Table Entry Template:Certification Table Entry Template:Certification Table Entry Template:Certification Table Entry Template:Certification Table Entry Template:Certification Table Summary Template:Certification Table Entry Template:Certification Table Bottom
See also
- List of number one albums of 1991 (U.S.)
- List of bestselling albums by women
- List of Billboard Year-End number-one albums and singles
References
Citations
Bibliography
- Template:Cite book
- Template:Cite book
- Template:Cite book
- Template:Cite book
- Template:Cite book
- Template:Cite book
- Template:Cite book
Template:Mariah Carey Template:Billboard Year-End number one albums 1990–2009 Template:Authority control