Alphabet Soup

We are once again in a Mariah moment.

With a promotional single released September 13, a lead single to be released on October 4, a new studio album – her 15^th – to be released before the end of the year, and a year full of photos in which she seems to be reverse aging, Mariah is once again redeeming some cultural capital, building off the triumph of her NYE 2017 performance.

Two singles released almost back to back in the fall is an almost unspeakable gift, akin to a new Jonathan Franzen 600+ page autumn blockbuster about to plunk into our laps. And so far, so good. “GTFO,” released on September 13 is a lowkey gem, produced by Hotline Bling alumni Paul “Nineteen85” Jefferies and retaining some of that hit’s “wistful tech” allure.

As I basked in GTFO for a few days, I started reflecting on M’s other alphabetically-named creation, “H.A.T.E.U.” from 2009’s Memoirs of an Imperfect Angel. I found this to be really enriching comparison as the emotionality of HATEU really brings out the quiet strength of GTFO. HATEU comes from a place of rawness, a place of asking questions you might not be able to handle answers to, a place of incomprehension.

No need to call my phone
'Cause I changed my number today
And matter of fact I think I'm moving away (away)
Sorry the frustration's got me feelin' a way
And I just keep having one last thing to say
And I just want to hold you, touch you, feel you
Be near you, I miss you baby baby baby (baby baby baby)
I'm tired of tryin' to fake through
But there's nothing I can do
Boy I can't wait to hate you

I mean, damn.

On the other hand, we turn to GTFO and find a soul sheerly exhausted by serial disappointment and fuckery. Past sadness, past anger, just DONE: get the fuck out.

How about you take your tings and be on your merry way?
Fly off with a wink, bye bye, baby
How about you scuseami, let me call your valet
You just take your tings and be on your merry way

Byeeeeeeee! #takeyourtings

GTFO is HATEU’s sequel, a wiser and wearier missive to the fuckboys of the world. If it’s any indication of the quality of this upcoming studio effort, I’m here for it. Stay tuned.

Dedicated, Part 3: Deploying Whistle Register

To wrap up my examination of "Dedicated," the best track from 2014's MIAMTEC, I would like to discuss "whistle register" (defined as a separate vocal register usually beginning at a C6 and extending to a D7, for those who understand this sort of thing). Even the most casual listener of Mims will be familiar with her frequent use of this neat vocal trick. I call it a trick because even though it's kind of her trademark, I've never felt that whistle register is the aspect of her vocals that sets her apart from so many others, but rather just icing on a damn good cake.

"Emotions," a song that haunts grocery store muzak to this day, is a textbook example of Mimi's typical use of whistle register. At this point in her career, her voice was so strong and fresh that she almost didn't know what to do with it. Everything came easy. Notes that sound ever-so-strained in 2015 came vigorously bursting forth in 1991, almost to the point where it seems like she's shout-singing her way through the track just because she can. The whistle surprises at 1:06, and then astounds at 3:48 onwards, where her complete control over it becomes apparent. Impressive? For sure. Particularly evocative? Not really. Here, it's just an accent rather than an integral part of the song.

I would argue that "Bliss" from 1999's Rainbow is a different story. Friends who have listened to me prattle on for ages about MC will know that I call this track a love letter to Minnie Riperton. From the birdsong in the background (a callback to the earth-shattering "Breakdown" of 1997) to the languid 70's slow jam feel, this is a 90s update of "Loving You." Here, the entire song is built around the whistle register, creating an ethereal, time-out-of-time feel. Amazingly, she even harmonizes with herself (check 2:53 and 3:30). The control and delicacy she is capable of within that range is just incredible here. Well done, Mimi.





Fast forward 10 years to Memoirs of an Imperfect Angel. Despite signs of vocal strain in other registers, the 90-second "Angel (The Prelude)" is some MC whistle register at its finest. Not only are the notes spot on, but the wistfulness, the sadness, the longing she is able to communicate -- without lyrics, even -- will make you sigh heavily and look out the window and have feelings.



All of which bring us to the track at hand, "Dedicated." Two reasons that I love the whistle on this track: it's understated (yet totally vital to the whole feel of the song), and again, it manages to evoke the nostalgia, the sense of something lost, that the whole song is based upon. Here the whistle register is Proust's madeleine. Check 3:30-end.



I hope you have enjoyed this tripartite exploration of this very special track!

this is dedicated to you, this is dedicated to you



Love You Like a Freeze Pop?

First of all I would like to apologize for my recent silence...I'm leaving my job and so have actually had stuff to do over the last couple of weeks that has precluded me from Mariah-ing. But today, I'm making the time.

Readers, recently rumors have surfaced that all might not be well with the union of Mimi and Nick. We all know that that the tabloids love nothing more than to prey on the slightest hint of things going awry, so who knows if there is a kernel of truth here or not. As one loyal lamb told me, "This either means I'm gonna cry for days...or she's going to have another Butterfly album and that means I'll cry for years." Truth.

So today let's revisit "The Impossible" from 2009's Memoirs of an Imperfect Angel, and think good thoughts. It's a sweet, smooth, mellow jam:

And now I love you like summertime, love you cherry wine

Love you like free money, like a preacher loves Sunday
Love you like a freeze pop, love you like a milkshake
Love you like a high school girl on a first date

Love you like shooting stars, love you like a muscle car
Love you like were destined
Love you like my lover and my best friend
Yeah, you did the impossible, yeah

...

And now I love you like sunsets, bubble baths on the jet

Love you like Kool Aid, Louis Millionaire shades
Love you like Sugar Daddies, love like a pimp caddy
Love like a holiday, Duncan Hines yellow cake

Love you like it's 5 am and I'm off work
Love you like Louboutin heels and a miniskirt
Love you like an Asscher-cut pink and white engagement ring
Love you like laying in the bed, bumping Jodeci

Guys, Someone Roofied R. Kelly

Who didn't love the opening track of Memoirs of an Imperfect Angel, "Betcha Gon' Know?" With a mesmerizing beat and minute-by-minute recap of Mims catching her lover in the act of cheating and then raining down upon him with a world of hurt ("Oprah Winfrey whole segment, for real, for real"), it was clearly her unique take on the utterly fantastic cultural phenomenon that is R. Kelly's Trapped in the Closet series (manifesto?).

So it made sense that Kells would be invited to collaborate with Mims on a remix, probably originally intended for the rumored MOAIA remix album that, disappointingly, never materialized in toto. Appearing as a bonus track on MIAMTEC, the track makes little sense towards the end of the album, but who cares? It's Kells. It's done quite nicely, with Kells playing the role of the cheating lover who now has a chance to tell his side of the story. And lo, what a tale he has to relate! Guys, someone roofied R. Kelly!

"Before we both get loud

Imma break it down

And let you know what happened for real

I was over her house

Me and her on the couch

And the whole plan was just to chill

And then it got hot

After taking some shots

The time must have slipped away

Because all I know

I woke hungover

And girl it was the very next day

With the sun in my face

I woke up in a rage

Screamed, "What have you done to me?"

And I'm telling you babe

I know it sounds crazy

She must have put something in my drink"

This from the man who once sang:

"Now the moral of the story is cuff your bitch

'cause hey I'm black, handsome, I sing plus I'm rich and (I'm a flirt)"