Over a decade before current effort ‘You’re Mine (Eternal)’ blasted on to airwaves, Mariah Carey released one of her most underrated singles. This week’s From The Vault is 2001’s ‘Loverboy’.
Taken from the ill-fated and criminally overlooked ‘Glitter’, the easy-breezy track served as the launching single of the album, Mimi’s first release under her new and (then)record-breaking contract with Virgin Records.
Helmed by Carey alongside producer Clark Kent and built around a sample of wedding-anthem ‘Candy’ by Cameo – who’s lead singer is featured on one of the two versions that were released – ‘Boy’ was a US #2 hit for the diva. Unfortunately, it never matched this success overseas, making it one of the singer’s lowest charting singles abroad. Since then, a number her releases have had a similar fate. But we digress.
Sidenote: this very song is considered the reason behind the alleged feud between Mariah and Jennifer Lopez. Lambily, see you in the comments section to explain why.
The ‘Loverboy’ videos, directed by “the” David Lachapelle displayed a blonder Mariah than the world was used to, with shorter shorts and a now-infamous double-handkerchief bra.
Of course, in an era of visuals such ‘Blurred Lines’,’ Pour It Up’, ‘Partition’, and much of Mimi’s 00’s output, the clip’s raunch seems tame. Yet, at the time it caused quite a stir for being too racy with critics blasting Carey for trying too hard to compete with younger starlets such as Britney Spears, Christina Aguilera… and Jennifer Lopez.
Thankfully, gone are the days where the ‘Never Too Far’ songstress was an outright laughing stock. Indeed through stellar music, performances, and carefully constructed reminders of past achievements, Ms. Carey-Cannon is widely regarded as one of the most gifted talents of all-time.
Do we think she overdoes her “sexy” these days to conceal/compensate for shortcomings elsewhere? Perhaps. What is certain, though, is that if she’s able to keep the hits a’coming, her adamance to share her “particulars” wouldn’t bother us.
Peep the video for the ‘Loverboy’ remix – featuring Cameo, Da Brat, and Ludacris – below…
From The Vault this week salutes one of the biggest Hip-Hop/R&B tracks of all time: it’s ‘Hey Lover’ by LL Cool J & Boyz II Men.
Based on a sample of ‘The Lady In My Life’ by the King Of Pop Michael Jackson, ‘Lover’ was the first single to be lifted from LL’s sixth album, 1995’s ‘Mr Smith’ and was helmed by Trackmasters. 90’s fantastic four Boyz II Men were brought in to bring that certain R&B sweetener to the romantic Hip-Hop serenade.
A critical success, it was a chart homerun as well peaking at #3 on both the Hot 100 and Hot Hip-Hop/R&B charts and topped the now-defunct Hot Rap Singles tally. In the UK it was a Top 20 smash, where it reached the 17th position of the UK Official Singles Chart.
To cap it off, the classic won a Grammy for Best Rap Solo Performance, LL’s second in that category.
Hype Williams was enlisted (again!) to direct the song’s accompanying video which stands as Mr Todd Smith’s most celebrated visual offering.
Collaborations like this always leave us wondering what would be their modern-day equivalents. Granted the talent is more sparse in this day and age, we feel no time is better than the present for the next iconic Rap-Sung collaboration to manifest. While we have our wishlist, we’d like to know yours:
Which pairing could deliver the best Hip-Hop/R&B track of the decade?
Over the years, the United Kingdom has been a resourceful land for fresh and authentic talent. Today, From The Vault pays homage to an artist that helped bridge the gap between the UK and the rest of the world. George Michael‘s ‘Freedom! 90′ is this week’s pick.
The third single from 1990’s ‘Listen Without Prejudice Vol I’, the Gospel-infused ‘Freedom’ – which was produced and arranged by Michael himself – is an introspective track that sees the crooner look back at his time in former band Wham! and the blessings and curses it had brought him. He also longs to become the man he never allowed himself to be. Seemingly just another pamphlet against authority and the darker side of fame, a closer look at the clever songwriting also reveals a song about the artist coming to terms with his sexuality.
‘Freedom’ was a huge hit for the ‘Jesus To A Child’ vocalist, peaking at #8 in the US and #1 in Canada. It only reached the 28th position of the Official Charts on home-soil but still is considered alongside ‘Faith’ and ‘Careless Whisper’ a George Michael signature track in the UK, evidenced by the musician performing it at the London Olympics 2012 closing ceremony.
Perhaps what cemented this as a Pop-Culture moment lies in its uber slick visual. Instead of appearing in the video – in a bid to distance his image from his music – Michael turned to director David Fincher and 90’s larger-than-life supermodels Naomi Campbell, Linda Evangelista, Christy Turlington and of course Cindy Crawford to take the musical piece to the next dimension resulting in an editorial, moody-yet-funky 6-minutes-and-30-second-long masterpiece. Staying true to the lyrics, the video aims at destroying the caricatural image George cultivated during the ultra-succesful ‘Faith’ era. Explosive!
With record labels routinely trying to launch the next Mariah, Usher, and Beyonce to varying level of success, we feel they should go on a hunt for an heir to the mighty George. For that particular brand of honest and Soulful Pop would be refreshing and could definitely be a chart fixture in a post-EDM-crazed world.
Anyhow, ladies and gentlemen, here’s to George Michael at his best.
This week’s From The Vault spotlights yet another magnificent track, courtesy of the King Of Pop himself: it’s Michael Jackson‘s ‘Stranger In Moscow’.
‘Moscow’ was the last of five singles to be released from Mike’s 1995 ‘HIStory’ album. A qualitative classic, the Jackson produced cut remains a fan favorite thanks largely to its honesty and vulnerability. Written at the height of MJ’s 93 legal drama – first as a poem then developed into a full fledged-song – ‘Moscow’ deals with isolation and solitude. The slow pace and minor-key arrangements convey that very sentiment of sadness and loneliness.
While remaining rather composed throughout the bulk of the track, the bridge sees the vocalist burst out in anger, releasing his frustration about being mistreated and misunderstood.
In the US – where Jackson’s profile wasn’t at its best following much publicized controversy – the gem only peaked in the lower tier of the Hot 100, precisely at #91, but fared much better in Europe where it ascended to #4 in the UK, #1 in Spain, and #18 in France. In Australia the song reached the 14th position of the charts and peaked at #6 in New Zealand.
The black and white Nick Brandt-directed video mirrors the track’s theme and depicts sombre-looking characters including Jackson wandering the streets while the other passersby run counter in slow-motion – which is symbolism for the song’s lyrical narrative, as is the rain at the end of the video. Impressive CGI was used as often was the case with the visual artist’s biggest videos.
When it comes to fusing music and video together, it – quite literally – doesn’t get any better than Michael Jackson. Hopefully today’s talent follow in his footsteps and internalize the importance of delivering sounds and visuals that so envelope pushing that once opened they inspire generations to come. The likes of Beyonce and Lady GaGa are – at least – trying, but the industry would benefit from more.
There’s only one King Of Pop, that much is a given. Yet, the new generation would benefit from seeing his achievements and innovations as a challenge, rather than resting on their laurels. Momentary popularity is fleeting, greatness is ever-lasting.
Our first From The Vault of 2014 comes courtesy of Brandy and Kanye West and their R&B groove ‘Talk About Our Love’.
Rolled out as the lead single from B-Rocka’s fourth effort ‘Afrodisiac’ which came out in Summer 04 after the singer took some time out to focus on motherhood, ‘Love’ was produced by West and was also written by him alongside Harold Lilly. Like most of Yeezy’s’ work at the time, the track was built around a Funk sample, in this case ‘Gilly Hines’ by Mandrill and featured Israeli violinist Miri Ben-Ari.
The song deals with a relationship marred by rumors, gossip and “he said, she said”.
Released to critical acclaim, the song was only a moderate hit for the Vocal Bible in the US, peaking at #36 on the Billboard Hot 100, #16 on the Hip-Hop/R&B charts; but it fared a lot better in the UK with its #6 peak position on the Official Singles Charts
Dave Meyers handled the visualization of the song, delivering a stunning clip which sees the protagonists drifting apart since they are never able to catch a moment alone because their house is constantly crowded. The use of intricate choreography was also a pleasant touch and one indicative of B growing the length and breadth of her skill-set.
With Bran hard at work on a new project, our thoughts are running wild just imagining what she will come up with this go around. We’re worried though, because Ms. Norwood always delivers a chapter and verse in musical brilliance.
As always, Brandy, we’re rooting for you!