Monday, July 21, 2014

Mariah's official site revamped with a message to the lambily!

"Hi lambs, welcome to the brand new Stay tuned as we continue adding more sections and pow moments to the site. We're also gonna be coming up with some festive contests for the lambily!

Lastly, I just wanted to thank everyone for always supporting me. You know Me. I Am Mariah... It's only the beginning! The elusive Chanteuse dahhlings!

I can't wait to see you when I hit the road, starting very soon and I'm very excited about it! Love ya much, bye bye!" --Mariah


Monday, July 7, 2014

Blazin' hot new MC Remix... Coming soon!

A very talented DJ friend of mine will be working on a Mariah project for me. I am very excited to have MC "Move the Crowd" again!!! I am not sure yet what will be done with the remix but it will be Fiah!

 Keep those donations to the blog coming! They really do help.

Thursday, July 3, 2014

Mariah Carey’s “You Don’t Know What To Do” Is Shaping Up To Be A Hit (On Urban Radio)

The state of Mariah Carey‘s Me. I Am Mariah… The Elusive Chanteuse campaign is a hotly-debated
topic on social media. The album is exceptional, so why isn’t it slaying? That’s a question for another time but the warm reception “You Don’t Know What To Do” is having at urban radio is the first sign that things just might be turning around.

Mimi’s infectious Wale-assisted disco anthem is the third-most added song to urban radio this week, behind T.I. and Iggy Azalea‘s “No Mediocre” and Mike WiLL Made-It‘s “Buy The World”. A solid radio hit is just what this era needs, so hopefully it will continue to get strong airplay. (An epic video would also help). Listen to the future hit — fingers crossed! — after the jump.

Can “You Don’t Know What To Do” save Me. I Am Mariah… The Elusive Chanteuse? Have your say in the comments below.

(Source: Idolator)

Wednesday, June 25, 2014

The Wisdom of Mariah

Is she a ditzy diva or a savvy chanteuse? Although she's one of the most successful pop singers in history,
she continue to elude us.
I’d like to say a word on Mariah’s behalf: Mariah makes me laugh. She makes herself laugh, too—breathy chuckles that ripple through our conversation, as if she is leery of taking herself too seriously. She says she will sometimes wake up like that in the middle of the night—laughing. That, of course, is part of the image that Mariah Carey cultivates. It’s part of the charm, too.

“Darling, I’m eternally 12-years-old,” she purrs when the subject of her age is broached, a familiar line, and all part of the act. “I’m going to give her to you,” she says, clicking her fingers with a flourish. “Ready?” And she slides into a 12-year-old girly voice—“Hi”—all fluttering eyelids and adolescent bashfulness.

Carey loves this kind of pantomime. Her first, and most enduring influence was Marilyn Monroe, and you don’t need to spend long in her company to see that the identification runs deep. When I note the dazzling butterfly ring on her finger, she extends her hand theatrically, like a caricature of Monroe’s Lorelei Lee in Gentlemen Prefer Blondes. “This is Van Cleef and it’s missing a diamond, and it is shocking,” she says, faux dramatically, before riffing, “shock and awe, shock and awe—I’m very upset now, Aaron, I gotta tell you.” She pretends to fling her ring across the room, before anticipating how this might read in print: “’It’s missing a diamond,’ She tosses it on a couch.” Another bubble of laughter. “There, I did it, so now you can say I did it.”

Carey traces her obsession with Marilyn Monroe back to her childhood, when she received a copy of Norman Mailer’s hefty biography of the actress as a Christmas gift. “I couldn’t have been more than 10,” she says. “I was a reader as a child, believe it or not.”

“Why should I not believe it?”

“It doesn’t go with the ditzy image, I guess. I have too many highlights!” She breaks into laughter, and I ask if that image—of the ditz—frustrates her. “No,” she replies. “I flirt with it, and I play with it. If it pisses people off, whatever.”

“Marilyn Monroe was pretty smart,” I point out.

“Marilyn was reading Nietzsche on the set of Something’s Got to Give," she responds. "Marilyn Monroe Productions was the first female-owned production company in Hollywood. She paved the way for women in Hollywood, and every single woman owes something to her for that, whether they agree with her image or not.”

It’s tempting to hazard that some of Carey’s struggles, in her personal life and within the entertainment industry, parallel her idol. With both women their public persona served as a disguise for a much more thorough grasp of their circumstances than either is given credit far. Like Monroe, Carey has also experienced the ways in which the entertainment industry tries to control women. In 2005 she told Allure magazine that during her marriage to Tommy Mottola, the chairman of Sony Music, she “ longed for someone to come kidnap me… I used to fantasize about that. A lot. I'd have my pocketbook with me at all times in case I had to make an escape.” It was Mottola, also, who engineered Carey’s most saccharine songs, resisting her efforts to explore other avenues in hip-hop and R&B. She was the biggest selling artist of the '90s, but rarely on her own terms. When she did get her way—such as inviting Ol’ Dirty Bastard from the Wu-Tang Clang to rhyme over her 1995 hit “Fantasy,” the results were inspired, but it wasn’t until her post-divorce 1997 album, Butterfly, that fans got to hear Carey as Carey yearned to be heard.

The toll of all those years must have been immense. The first Mariah Carey album was released in 1990, spawning four number one singles in the U.S. She has been a hit-making machine ever since, dropping albums approximately every 18 months, and generally burnishing her reputation as the most successful woman in pop of all time. That well-worn line about being eternally 12-years-old is no mere vanity. It’s her pressure valve.

“As a kid I literally made this pact,” she says, recalling an incident from her tough-as-nails childhood on Long Island. “There had been some sort of argument with my mom and the man she was dating at the time, and somehow I became a part of it—I was around 8 or 9 years old, and I said, ‘I’m never going to forget how it feels to be a kid, and you can’t be seen or heard.’ It’s as though your opinion doesn’t mean anything, or your feelings are not real.”

It was also as a kid that Carey found her voice. “I started singing when I started talking,” she says. “My mother was doing Rigoletto—she’s from the Midwest, but she got a scholarship to Juliard and came to New York, this young girl with the high shorts on, meets my father who she thought was Yul Bryner, driving around in a Porsche—there weren’t many bald black men driving around in a Porsche and he was fly.” The marriage lasted just three years, and Carey spent her childhood dealing with the dichotomies of her mixed-race background, neither white enough, nor black enough, to fully belong anywhere. “Being biracial is so much a part of who I am that it’s almost, ‘let it go already,’ ” she says. “But it’s intrinsic to me, but I think a lot of my fans relate to me because they felt different.”

There is also the small matter of being a mother herself, now, to fraternal twins Morocco and Monroe (from her second marriage, in 2008, to the multi-hyphenate Nick Cannon whose Wikipedia entry lists him as actor, comedian, rapper, entrepreneur, record producer, radio and television personality). “Pulling them away from me is so hard,” Carey says. “It’s unconditional love, and I never, ever thought I was going to have kids—ever.” Why did she think she would never have kids? “I remember as a child saying I’m never going to get married; I’m never going to have kids.” She pauses. “Here’s the thing: would I have been better off if my parents stayed married? No way. They were miserable together, but the grass is always greener. I feel I had a great childhood in some ways—and that’s an amazing thing to be able to say—but I also feel I didn’t because I was the caretaker and I still am, like it started long before I had any financing.”

Her explanation for wanting to purchase Marilyn Monroe’s baby grand piano at auction in 1999 is instructive. “It was her only piece of the childhood she’d never had,” she says. “It was very important for her to find something to cling to.”

One reason Carey has developed such a strong and rewarding friendship with the director Lee Daniels, who cast her in Precious, is that both can connect over their hardscrabble childhoods; both, also, grew up feeling like outsiders. “He brings out the schoolgirl in me,” Carey laughs. “You can’t lose the inner child, but everybody does.”

Carey’s schoolgirl plays better with some audiences than with others. At the OUT100 Awards in New York last November, she generated rousing cheers and whoops from several thousand gay men assembled to see her present an award to Daniels. “I’m a straight girl—I don’t really know why they asked me to be here, but my boobs have been out for years,” she joked, channeling a drag queen shtick as she flapped a lacy black fan against her face. By contrast, she shudders at the memory of an appearance with Daniels at the Palm Springs International Film Festival in 2010.

“We didn’t really know what we were walking into, but it was a pretty conservative crowd,” she recalls, name-checking Sean Penn, Sidney Poitier, and Clint Eastwood, among the attendees. “Lee calls me Kitten, and I call him Cotton, it was just a private joke, on stage, on champagne, and nobody got it but us, and the world was like, WTH, WTF, we don’t understand.” That appearance is one of several that are routinely aggregated in online symposia assessing Carey’s state of mind.

The most notorious remains an unscheduled appearance on the VH1 show, Total Request Live, in July 2001, when Carey surprised the host, Carson Daley, by pushing an ice cream cart on to the set, before whipping off her T-shirt to reveal snug hot pants and a body-hugging top underneath. That incident, in which she told the live audience, “I just want one day off when I can go swimming and eat ice cream and look at rainbows,” was widely viewed as a nadir in Carey’s career, and came shortly before the release, on September 11, 2001, of Glitter—the soundtrack to her semi-autobiographical movie. The extensive panning that both movie and album received knocked her career for six and lead to the annulment of her $100 million, five-album contract with Virgin Records.

Even now with Carey’s career back on the rails—her best-selling 2005 album, The Emancipation of Mimi, easily saw off the spectre of Glitter—the web is a viper’s nest of snarky asides about Carey’s less-scripted moments. In 2008, the woman’s interest site Jezebel—usually a citadel of indignation at the ritual humiliations that women undergo—resurrected that TRL clip with the headline, “Remember when Mariah Carey Went Crazy.” But for those less wrapped up in her baby doll image, that appearance made Carey likable, real, and true. Who doesn’t sometimes feel it’s all too much? Who does not, in their heart of hearts, pine to spend a day swimming and eating ice cream? How much more preferable that sounds to being ground down by the mill of expectation.

Sitting in the hotel suite, with its tasteful arrangement of white roses, and the fancy Diptyque candle, and the glasses of Prosecco, it’s hard to tell whether Carey is on or off-script this particular evening. She talks in a gush, changing direction mid-sentence, forcing me to keep up with the zigzags in her conversation. One minute she is talking about her nodules (“That’s how I hit those notes because I’ve learned to manipulate them somehow); the next she is tugging at the back of her dress. “The zippers to these dresses,” she says, all good-natured exasperation and curves and smiles. “They make them and they break; it doesn’t matter how much you pay for it, they frickin’ break. There was a seamstress there, but she had gone; they had to call her back—Natalia from Italia. So, it took a minute to get our tiny tailor and everybody to come back, and here we are, Aaron—I apologize, truly.”

It takes a moment to realize this wardrobe malfunction is Carey’s explanation for her three-hour delay, a familiar drill to those who’ve interviewed her before. Some 14 of us were lined up to chat to her that night, a veritable conveyor belt of platitudes and sound bites, predicated on the imminent release of her 14th album, formerly known as The Art of Letting Go, and later to be titled Me. I Am Mariah... The Elusive Chanteuse. We’d each been promised an exclusive playback, prior to meeting Carey, but a long-running series of delays and false dawns meant there was still no album to play. Instead, we listen to three songs, all previously issued: “#Beautiful,” a duet with Miguel, “The Art of Letting Go,” and “You’re Mine (Eternal)”, released on Valentine’s Day. None of these have yet succeeded in setting the charts alight, and the album’s birthing problems gave rise to rumors of deeper, underlying issues. Carey’s post-Mottola career has been distinguished by big hits and modest hits, but lately it’s the column of modest hits that gets longer. Carey’s last album, Memoirs of an Imperfect Angel, sold just over 2 million worldwide, compared to 12 million for The Emancipation of Mimi, which earned eight Grammy nominations (and three wins).

Carey insists she just wants to get the album right. “I want the album to be heard and felt [as] an experience,” she says. “I don’t want to just be, like, ‘Here’s another iTunes moment,’ and this and that. Back then I allowed people to—how do I say it?—dictate policy to me, meaning if I didn’t like something they didn’t care. I listened to people—I was, like, ‘Fine, cool, do whatever.’ So now I’m just being adamant.”

But does Carey feel at all anxious that, at 44, she may soon have to reckon with the challenge of pop culture’s fixation with youth, a whole lot harder for women than for men. When I point out that she’s been a pop star for 25 years (her first number one singles in the U.S. was 1990’s "Vision of Love") Carey goes into full-on Eartha Kitt mode. “First of all, don’t round up,” she admonishes. “If you’re going to round, round down!” There is that laugh again. She continues: “I don’t count years, but I definitely rebuke them—I have anniversaries, not birthdays, because I celebrate life, darling.” As if realizing this is almost too much a caricature of a diva, she adds, “Please put an LOL next to this, because people are going to be, like, WTF?”

Of course, there is no written rule that a musician must find a way to keep putting out platinum-selling albums. Carey’s musical hero, Aretha Franklin, hasn’t had a major album since 1985’s Who’s Zoomin Who?, released when Franklin was 43, and her last commercially significant single was a 1987 duet with George Michael, “I Knew You Were Waiting.” Carey, who describes her first meeting with Franklin like meeting the Queen, says she already received the ultimate accolade last Christmas when she got to sing with Franklin at the tree-lighting ceremony at the White House. “Of course, me—like an idiot—stands there and sings, with no umbrella, in the rain, my hair was destroyed, after I went through so much trouble in my white ensemble, and Aretha, she had her umbrella, she had everything, it was magical, and she walked by my trailer singing, (Carey’s massive hit) ‘All I want for Christmas is you.’ ”

Carey begins to laugh. She is still laughing as a publicist ushers me out of the room to make way for the next writer. It’s a genuine laugh, and long after I leave the hotel, I can hear it, tinkling in my ears.

(Source: Out Magazine)

Monday, June 9, 2014

Mariah Carey launches “Butterfly” beverage

Mariah Carey is getting in the beverage business. Following the No. 3 debut of her album, the Elusive
Chanteuse held a press conference at the St. Regis in New York on Monday to announce the launch of her Go N’Syde bottle Butterfly. With the company’s founder Kevin Liles by her side, Mariah sipped from a champagne glass.

The drink, which comes in a pretty pink bottle, is described as “a melodic beverage inspired by the magic of Mariah Carey.”

By holding a smartphone up to the bottle, fans will be able to access an entertainment network curated by Mariah.

Butterfly will be available in Walgreens nationwide and at all Manhattan Duane Reade locations.

To view pictures from the launch event, please click here!

(Source: Rap Up)

Friday, June 6, 2014

NBC gets sour note as World Music Awards miss air date

The World Music Awards is turning into a disaster of global proportions. Confidenti@l has learned that the multimillion-dollar broadcast - already delayed a week because of a series of screw ups blamed on
"technical difficulties" - will likely never see the light of day.

The flashy ceremony, which includes performances by Miley Cyrus and Mariah Carey, was taped May 27 in Monte Carlo, Monaco, and scheduled to be broadcast on NBC the following day. But host Sharon Stone dropped out at the 11th hour over a payment problem and was hurriedly replaced by Pamela Anderson and "Talk Dirty" singer Jason Derulo.

After the last-minute fill-ins were found, the show ended up running so late that there wasn't enough time to do the cuts and editing for broadcast. It failed to make the two-hour 8 p.m. slot reserved by NBC. According to a source, the network - which scrambled at the last minute to fill the airtime with a repeat of "Last Comic Standing" - was promised an edited version by late last week, but is still waiting for the final cut.

Now we're told NBC execs are livid over the mess and planning to pull the plug altogether. "NBC has said that they're cutting their losses and dropping the broadcast," says an insider. "It's already caused too many problems and too much embarrassment. They've lost their patience with the whole thing. The 'WMA' team are desperately doing everything they can to convince NBC execs to air it, but the chances are looking bleak," the insider said. "They're hoping they can come up with a version that's so great, NBC can't refuse it." A second insider said it would be unfair of NBC to bury the production. "It would be really terrible to let down all the artists and the record labels and managers who sent them to Monaco on the understanding that the show would air in prime time on NBC," said the source.

In addition to running the awards, the "WMA" organization does charity work. According to its website, it has built 23 hospitals, schools and orphanages around the world. For now, fans of musicians who were at the show - which salutes artists from all over the world - can see who won on Twitter, which live-tweeted the event.

The awards were founded in 1989 and have doled out prizes to Michael Jackson and Bon Jovi, among others. The show went on hiatus in 2010; this year was supposed to bring its return to TV. A rep for NBC did not return a request for comment.

(Source: New York Daily News)

Wednesday, June 4, 2014

'Elusive' Sales for Mariah Carey's New Album

Mariah Carey collects her 17th top 10 album on the Billboard 200 chart as Me. I Am Mariah... The Elusive
Chanteuse enters at No. 3 with 58,000 sold in the week ending June 1 (according to Nielsen SoundScan). Her last non-holiday studio effort, 2009's Memoirs of an Imperfect Angel, also debuted at No. 3, but with 168,000.

The debut of "Elusive is Carey's smallest opening for a non-holiday studio effort since SoundScan started tracking sales in 1991. Her previous low came when 1991's Emotions launched at No. 4 with 156,000. Carey has tallied six No. 1 albums between 1991 and 2008.

Chanteuse was released on May 27 by Def Jam Records -- nearly five years after her last non-holiday studio album, 2009's Memoirs of An Imperfect Angel. Notably, this is her longest gap between studio projects.

Chanteuse was tentatively earmarked for a release in March 2013, but was then pushed to July 23, then to May 6, 2014 and finally May 27. The promotion for the new set arguably started in August 2012 with the release of the single "Triumphant (Get 'Em)," a song which does not appear on Chanteuse. The new album's most recently charting single on the Billboard Hot 100 was "You're Mine (Eternal)," which spent one week on the list, peaking at No. 88 (on the March 1-dated chart).

The set previously logged a No. 15 hit with "#Beautiful," featuring Miguel," in June 2013. Comparably, the Memoirs album launched with the No. 7-peaking single "Obsessed." (Carey holds the mark for the most Hot 100 No. 1s, 18, among soloists. Among all acts, only the Beatles, with 20, have more.)

Between "Triumphant" and "You're Mine (Eternal)," Carey released a few other singles with varying results.

In early 2013, she bowed the track "Almost Home" from the film "Oz the Great and Powerful." It reached No. 20 on the Adult Contemporary airplay chart, and does not appear on The Elusive Chanteuse. After that, "#Beautiful" became a significant hit, reaching No. 15 on the Hot 100 and No. 3 on Hot R&B/Hip-Hop Songs. Then, in November of last year, Carey issued the song "The Art of Letting Go," which missed the Hot 100, but did reach No. 46 on the Hot R&B/Hip-Hop Songs chart.

(Source: Billboard)

Mariah Carey's "Me. I Am Mariah... The Elusive Chanteuse" is #1 on Soundscan R&B Albums

ME. I AM MARIAH... THE ELUSIVE CHANTEUSE, released May 27th on Def Jam Recordings, the brand new album by multi-platinum global super­star Mariah Carey, is greeted with critically overwhelming raves across the board, and soars to #1 on the iTunes pop chart in 33 countries including the U.S. The new album also debuted at #1 on the Soundscan R&B Albums chart, which marks her 15th Top 5 album.

In support of the album, Mariah sat down with NBC's Matt Lauer for a one-time only exclusive rare and

personal prime time interview in her home last week which won the network and demographic timeslot. "Mariah Carey: At Home In Concert With Matt Lauer" aired release week (Saturday May 31st). As a compassionate philanthropist, Mariah was honored last week and received the Hero Award from The Fresh Air Fund for her work as founder of Camp Mariah, a retreat for inner city children to explore career development. The benefit raised over $1.5 million dollars for The Fresh Air Fund.

As executive producer of ME. I AM MARIAH… THE ELUSIVE CHANTEUSE, nearly every track on the album (with the exception of a cover of George Michael's #1 classic "One More Try" and the uplifting, inspirational, and emotionally charged album closer, her tribute to the late Reverend James Cleveland, "Heavenly (No Ways Tired/Can't Give Up Now)" was written and produced by Mariah. Two different exclusive album configurations with distinctive artwork are available, the Standard Edition (15 tracks) and the Deluxe Edition (18 tracks). This marks Mariah's first new album release since her worldwide best-selling Memoirs Of An Imperfect Angel in 2009.

Steve Bartels, CEO of Def Jam Recordings, says "It is wonderful to see Mariah, the iconic artist, stay true to herself and deliver a carefully crafted body of work that will once again showcase her mass appeal across an enduring legion of worldwide fans."

Mariah Carey is the best-selling female artist of all time with more than 200 million albums sold to date and 18 Billboard Hot 100 #1 singles (17 self-penned), more than any solo artist in history. Mariah is a singer/songwriter/producer recognized with multiple Grammy Awards, 21 American Music Awards, Billboard's "Artist of the Decade" Award, the World Music Award for "World's Best Selling Female Artist of the Millennium," and BMI's "Icon Award" for her outstanding achievements in songwriting, to name a few – with her distinct five-octave vocal range, prolific songwriting, and producing talent,Mariah is truly the template of the modern pop performance. Mariah Carey's ongoing impact transcends the music industry to leave an indelible imprint upon the world at large. Mariah Carey made her entree into the world of independent film with her breakthrough performance for her role in WiseGirls staring alongside academy award winner Mira Sorvino and Melora Walters. In 2009, she was recognized with the Breakthrough Performance Award at the Palm Spring International Film Festival for her critically acclaimed role in Lee Daniel's "Precious" and most recently appeared in his latest stellar ensemble in "The Butler" (2013). A Congressional Award recipient, Mariah has generously donated her time and energy to a range of philanthropic causes near to her heart including Save the Music, the Make-A-Wish Foundation, World Hunger Relief, and the Elton John AIDS Foundation, among many others. A tremendous supporter of children's charities, both domestic and international, Mariah founded Camp Mariah in partnership with the Fresh Air Fund, a retreat for inner city children to explore career development.

(Source: Def Jam Recordings)

LambzRus alternate cover artwork for Me I Am Mariah...

Sunday, June 1, 2014

Mariah Carey plans to release “You Don’t Know What to Do” as next single!

After releasing three singles that have not generated much success, having released an excellent new
promotional song ‘Thirsty‘ with a high potential as an official single, but ultimately discarded, after the confirmation by Mike Will Made-It that ‘Faded‘ is the next single via his twitter account.

The pop diva continues promoting her fourteenth studio album ‘Me. I Am Mariah… The Elusive Chanteuse‘, released on May 27, 2014 via Def Jam. Now, she’s planning to release the fan-Favorited track “You Don’t Know What to Do” as the next official single and it’s confirmed by Jermaine Dupri.

The song was exclusively premiered live on TODAY Show on May 16th and it was instantly one of the most eagerly awaited to hear the studio version included on the album. It was a wise decision editing as a single, because the production has a high potential to get a good spot in the Billboard Hot 100.
“You Don’t Know What to Do” was written by Carey, with the collaboration of Jermaine Dupri, Bryan-Michael Cox, Olubowale Akintimehin, Patrick Adams and Terri Gonzalez. It was produced by Carey, Dupri and Cox. It has the guest vocals of American rapper Wale.

The song is expected to impact American pop radio in June, and it has two versions with and without rap. And apparently ‘Faded‘, will be an official single too, but planned for later.

(Source: LambzRus)

DOWNLOAD: Mariah Carey - 3 songs (Live on Today 2014-05-16) 1080i HDTV




DOWNLOAD: Mariah Carey: At Home in Concert With Matt Lauer 1080i HDTV


Friday, May 30, 2014

Mariah Carey Heading for No. 3 on Billboard 200 Albums Chart

Diva Mariah Carey is heading for her 17th top 10 album on the Billboard 200 chart -- but the No. 1 slot will likely elude the singer.

Carey's new effort, "Me. I Am Mariah… The Elusive Chanteuse," could sell around 55,000 to 60,000 copies in the week ending June 1 (according to industry forecasters), for a possible start at No. 3. That would mark Carey's lowest sales debut for a non-holiday studio album since Nielsen SoundScan began tracking sales in 1991. Her previous low came when 1991's "Emotions" launched at No. 4 with 156,000, according to SoundScan. (Carey has tallied six No. 1 albums, between 1991 and 2008.)

"Chanteuse" was released on May 27 by Def Jam Records -- nearly five years after her last non-holiday studio album, 2009's "Memoirs of An Imperfect Angel." (This is her longest gap between studio projects.)

"Chanteuse" was tentatively earmarked for a release in March of 2013, but was then pushed to July 23, then to May 6, 2014, and finally May 27. The promotion for the new set arguably started in August of 2012 with the release of the single "Triumphant (Get 'Em)," a song which does not appear on "Chanteuse."

The new album's most recent charting single, "You're Mine (Eternal)," spent one week on the Billboard Hot 100, peaking at No. 88 on the March 1-dated chart. The set previously logged a No. 15 hit with "#Beautiful," featuring Miguel," in June 2013. Comparably, the "Memoirs" album launched with the No. 7-peaking single "Obsessed." (Carey holds the mark for the most Hot 100 No. 1s, 18, among soloists. Among all acts, only the Beatles, with 20, have more.)

Carey will likely be blocked from the No. 1 slot on next week's Billboard 200 chart by two holdover titles in their second week: Coldplay's "Ghost Stories" and Brantley Gilbert's "Just As I Am."

"Ghost Stories" blasted in at No. 1 with the year's biggest debut -- 383,000 sold in the week ending May 25, while Gilbert started at No. 2 with 211,000. The two albums might sell, respectively, 80,000 and 65,000 in their second weeks.

After Carey, look for Austin Mahone to arrive with the second-highest debut, as his first album, "The Secret," could start at No. 5 with around 40,000 to 45,000. (Right above him could be the resilient "Frozen" soundtrack, which could finish the week at No. 4.)

The third (and possibly final) debut in next week's top 10 might come from Crowder's "Neon Steeple," which could sell around 20,000 to 25,000. The album is the first solo release from David Crowder, who had previously fronted the David Crowder Band. That group notched 10 entries on the Billboard 200 between 2003 and 2013, going as high as No. 2 in 2012 with "Give Us Rest."

On SoundScan's Building chart (below), Coldplay and Carey are Nos. 1 and 2, respectively. The Building tally is a precursor to the final Billboard 200 ranking -- reflecting the first four days (Monday through Thursday) of SoundScan's tracking week as reported by six major merchants.

As for the rest of the top 10 on the Building Chart: Mahone's "The Secret" is No. 3, followed by Gilbert at No. 4 and the "Frozen" soundtrack at No. 5. The "Now 50" compilation is No. 6, with Michael Jackson's "Xscape" at No. 7. The Black Keys' former No. 1 "Turn Blue" is No. 8, while Cher Lloyd's "Sorry I'm Late" and Royksopp and Robyn's "Do It Again" is No. 10. (The latter two titles might not sell enough to finish within the top 10 of the official Billboard 200 chart.)

Rank / LW
BB 200          Artist                        Title
1 1          Coldplay                         "Ghost Stories"
2 NEW  Mariah Carey                 "Me. I Am Mariah… The Elusive Chanteuse"
3 NEW  Austin Mahone         "The Secret"
4 2          Brantley Gilbert         "Just As I Am"
5 4          Soundtrack                 "Frozen"
6 6          Various Artists                 "Now 50"
7 3          Michael Jackson         "Xscape"
8 5          The Black Keys         "Turn Blue"
9 NEW Cher Lloyd                 "Sorry I'm Late"
10 NEW Royksopp and Robyn "Do It Again"
The Building Chart reflects the first four days (Monday through Thursday) of SoundScan's tracking week (which ends Sunday) as reported by six major merchants: iTunes, Trans World Entertainment, Best Buy, Starbucks, Target and Anderson Merchandisers. Billboard estimates that they make up about 85% of all U.S. album sales.

(Source: Billboard)

Mariah Carey Gets Toasted by Her Fresh Air Camp Graduates on 20th Anniversary

Mariah Carey got home from Monaco and the World Music Awards just in time yesterday. Last night at
Chelsea Piers Mariah was toasted by the Fresh Air Fund for 20 years of her Camp Mariah in upstate New York. It was a poignant event as Carey, who arrived in a black Rolls Royce, arrived with "The Butler" director Lee Daniels and record producer Jermaine Dupri and many of the gang from DefJam Records including president Steve Bartels.

Inside the packed dining hall, Carey was toasted by emcee Al Roker, followed by a few graduates of her Camp Mariah. Believe it or not, Mariah started the camp two decades ago and has never let go of it whether in good times or bad. Now a former camper is the leader of the camp, and he spoke beautifully introducing Mariah. Carey sat at the center front table dressed in a powder blue gown designed by Donatella Versace. She blushed as one by these high school kids paid homage to her.

At one point, Roker made a joke purposely confusing Dupri for P Diddy. That got some chuckles. But Dupri is having the last laugh. The album he's made with Carey has gotten more good reviews than any of her previous ones in two decades.

In a crush of fans and former campers, Mariah and I did have a chance to talk. I told her I was impressed with all the detail in her new album. She told me: "That's why it took so long. Now you can see." I told her I particularly liked the track "Thirsty." She said: "I wrote that so long ago. I don’t know what Nick [husband Nick Cannon] was talking about the other day. That song is not about him."

Mariah fans can see more of her and the making of her album tomorrow night on NBC at 8pm. Matt Lauer hosts a special taped at Mariah and Nick's home in Bel-Air, California.

Meantime, sales of "Me. I am Mariah" are just fine, says Bartels, who will launch the first official single, "You Don’t Know What to Do," featuring rapper Wale, very shortly. I love this track, although fans are divided about which single should come first. There are too many to choose from!

(Source: ShowBiz411)


NEW YORK – May 29, 2014 – In an NBC primetime special with Matt Lauer, global superstar Mariah
Carey does something she has never done before. For the first time, Carey performs in a one-of-a-kind special concert from the house she shares with husband Nick Cannon in Bel-Air, overlooking the Hollywood Hills. Carey sat down with Matt Lauer in a personal interview and opens up about her childhood, her family life, and her critically-acclaimed, autobiographical new album, Me. I Am Mariah... The Elusive Chanteuse, which has received reviews that surpass her biggest selling albums. The album was released on May 27, 2014.

NBC takes you on a musical journey with Mariah, highlighting tracks from the new record and going inside the global icon's home, showing glimpses of her life with exclusive home video with her friends and family, including twins Moroccan and Monroe. The concert includes special performances by artists Fabolous and Wale.

NBC's primetime special, "Mariah Carey: At Home In Concert With Matt Lauer" airs Saturday, May 31 at 8pm/7c.

Matt Lauer: Where are you in life now, Mariah? Where are you? I mean -- you know, describe the place you inhabit right now emotionally.

Mariah Carey: Look, I've always been a pretty vulnerable person. But I built up -- I have learned how to build up a wall. So when I have to, I can put up that wall, and leave it there, and walk in the other direction. And that's what I have to do sometimes with people in my life when they just don't get it, that I'm a person like them.

NBC's "Mariah Carey: At Home In Concert With Matt Lauer"

"Mariah Carey: At Home In Concert With Matt Lauer" is an NBC News production. David Corvo is senior executive producer, Aretha Marshall is executive producer, and Tim Uehlinger and Marianne Haggerty are producers of the primetime special.

Mariah Carey

Mariah Carey is the best-selling female artist of all time with more than 200 million albums sold to date and 18 Billboard Hot 100 #1 singles (17 self-penned), more than any solo artist in history. With her distinct five-octave vocal range, prolific songwriting, and producing talent, Mariah has defined the modern pop performance. As a singer/songwriter/producer, she has been recognized with multiple Grammy Awards, 21 American Music Awards, Billboard's "Artist of the Decade" Award, the World Music Award for "World's Best Selling Female Artist of the Millennium," and BMI's "Icon Award" for her outstanding achievements in songwriting, to name a few. Mariah Carey's ongoing impact transcends the music industry to leave an indelible imprint upon the world at large. She has made substantial marks in film with critically acclaimed roles in Lee Daniel's Precious (2009) and The Butler (2013). A Congressional Award recipient, Mariah has generously donated her time and energy to a range of philanthropic causes near to her heart including Save the Music, the Make-A-Wish Foundation, World Hunger Relief, and the Elton John AIDS Foundation, among many others. A tremendous supporter of children’s charities, both domestic and international, Mariah founded Camp Mariah in partnership with the Fresh Air Fund, a retreat for inner city children to explore career development. Mariah has just released her critically-acclaimed new album, Me. I Am Mariah... The Elusive Chanteuse, on May 27th, 2014 (Def Jam Recordings).

(Source: NBC)

Tuesday, May 27, 2014

Mariah's 'Chanteuse' could get a boost from good reviews

When you've scored 18 No. 1 singles on Billboard's Hot 100 — more than any solo artist, and any act in
history aside from The Beatles — and you miss the chart's upper reaches with the tracks leading up to a new album, eyebrows get raised.

Thus when Mariah Carey's "You're Mine (Eternal)" peaked at No. 88 in early March, there was some clucking about prospects for Me. I Am Mariah ... The Elusive Chanteuse her first album in five years. Two previous songs, "#Beautiful" featuring Miguel (which topped out at No. 15) and the deluxe edition's "The Art of Letting Go" (which didn't crack the charts), had also underperformed. Delays that pushed Chanteuse's release date to Tuesday did nothing to quell the speculation.

But when Chanteuse was unveiled in a stream on iTunes Radio last week, it was greeted with some of the most affirming notices of Carey's 25-year career. Jim Farber gave it four out of five stars in the New York Daily News, noting that the album "returns her to the type of grand balladry, and formal melodies, that first made her a star."

Us Weekly entertainment director Ian Drew (who was an intern at Carey's Sony imprint Crave Records back in the late '90s) agrees that Chanteuse marks a return to form. While the album "doesn't have the gargantuan hooks" that distinguished Carey's blockbuster hits, it reinforces her reputation "as a singer's singer, in a time where a lot of pop stars don't actually sing," says Drew, who will give it​ a positive review this week.

He characterizes the songs as "real R&B," in contrast to the "R&B mixed with EDM" that dominates the charts now. Carey's longtime collaborator Jermaine Dupri, who served as a co-songwriter/producer on Chanteuse, suggests that was the idea, citing Letting Go as an example.
"That was a tone-setter," says Dupri of the track. "We wanted to give fans a glimpse of what the album is about. Her voice is directly in your face, more than it's been in a long time. It's not a super-uptempo dance record. She's not doing what everyone else is doing — she's doing what made you fall in love with her in the first place."

"Thirsty," dangled two weeks ago as a focus track (an official new single has yet to be chosen), is a bit more groove-driven. But Keith Caulfield, associate director of charts/sales at Billboard, says Chanteuse's ultimate success may depend less on chart numbers than on Carey "getting creative with promotion. She's always a hoot on TV (her NBC special is scheduled to air Saturday), and that's a good way to let people know the album's out."

​Caulfield predicts that Carey "will have a decent first week," though he adds she's "not a lock" for No. 1: Chanteuse is out a week after Coldplay's new Ghost Stories album, "which is going to be huge." But he advises that no one count Carey out: She "went through an incredible down period," he notes, during the critical and commercial failure of 2001's Glitter.
"Then she came back with We Belong Together" in 2005, Caulfield points out — "probably the biggest hit of her career."

(Source: USAToday)

Friday, May 23, 2014

Mariah Carey, 'Me. I Am Mariah... The Elusive Chanteuse': Billboard Track-by-Track Review

In the nearly five years since Mariah Carey's last proper studio album, the singer has given birth to twins,
served a stint on "American Idol," and reaffirmed her acting skills with a couple of films thankfully not called "Glitter II." She's also logged a ton of studio hours, and this, her 14th full-length, arrives after some three years of recording, numerous delays and at least one unintentionally hilarious discarded title, "The Art of Letting Go."

Because Mariah can always be counted on for crazy brilliance or just plain craziness, anticipation has been mounting for months, and that wacky title — lifted from a self-portrait the singer painted when she was three years old — has only added to the buzz. What does this 40-something mega-rich mommy with the seemingly perfect life have to say for herself?

The usual, more or less. Musically, it’s her typical mix of pop-classicist balladry and hip-hop-tinged summer jamming, and if Carey doesn’t exactly go strutting into new territory, it’s because she knows most people like her right where she is.

Read on to get our initial track-by-track take on this welcome comeback from one of music’s most talented eccentrics.

"Cry": Easing into her comeback, Mariah opens with a big ol' piano ballad. She wants to hold her lover until they both start bawling, and while that's hardly the sentiment you want to hear at the start of an album—particularly one released on the eve of beach season—it's probably the record's heaviest moment.

"Faded": Listen closely, and there are lots of Mariahs on this track. Some do percussive "oh" and "eh" scatting, while at least one goes into that super high glass-shatter register that Carey has been wowing the world with since her very first single. Can any of them solve the romantic quandary driving the lyrics? Probably not, but at least Mike Will Made It gives the chorus of Careys a cool beat to sing over.

"Dedicated": This is straight-up nostalgia – as Mariah and guest Nas discuss in the intro and amid references to Heavy D, Slick Rick, the Wu-Tang Clan, and Run-D.M.C., the singer looks back on both the records and the romances that have shaped her life. While much of the world is stuck back in the '90s, she and Nas are chilling in '88 and having a ball.

"#Beautiful": Mariah's always had a thing for the bad boys, and here, Miguel stars as the red-light-running biker dude who gets her motor going. They both tell each other that beauty is the thing driving their infatuation, and thanks to a retro-futuristic soul backing, the superficiality comes off as kind of sexy. It's like a modern "Stand by Me," only these two can't stand still.

"Thirsty": Backed by Hit-Boy's sparse, spacey hip-hop beat, Mariah dresses down a celeb-whore paramour who only wants to piggyback on her fame. After four songs about love, heartbreak and nostalgia, it's nice to here our girl get a little feisty.

"Make It Look Good": Sometimes, you know you're getting played, but you decide to just go with it. That's what Mimi does here, and as she lets loose over what sounds like a skipping '80s-era Stevie Wonder record, it's clear she's willing to let this no-good lip-licking Romeo take her for the proverbial ride. Her laugh at the end shows how silly it's meant to be.

"You're Mine (Eternal)": With its simple piano lick, longing lyrics and skittering, minimal beat, the disc's third single harks back to "We Belong Together." Once again, Mariah admits she's powerless in the face of love. There's some of her mega-high-pitched singing toward the end of the track, but this one works because of a simple hook and sentiment. No gymnastics required.

"You Don't Know What to Do": The album's first real chance to dance finds Carey and Wale in the disco, bumping butts like it's 1977. The string sounds are right out of Chic's "Good Times," and the only thing missing is a Nile Rodgers cameo. (Yeah, the guy's busy these days, but she had three years to book it.)

"Supernatural": So begins the recording careers of "Dembabies," aka Mariah and husband Nick Cannon's fraternal twins, Monroe and Moroccan. "Got me lost in the clouds," she sings. "Slowly, keep me here always / You're the only thing that's true." The kiddies bring plenty of A-1 giggle game, making this sappy cut feel pretty damn cute.

"Meteorite": Having professed her love for the twins, Carey hires a sitter and heads back to the club. This time, it's Q-Tip providing the disco beat, and as Mariah gets down, she offers up some commentary on celebrity culture, comparing a female star — perhaps herself — to the titular bit of flaming space rock. If she's talking about crashing and burning, she makes it sound pretty hot.

"Camouflage": For all her vocal skill, Mariah can't sell every earnest piano ballad, and this one simply falls flat. The lyrics are stock and the melody doesn't stick, and if anything, it's a breather between the preceding smooth groover and the absolute banger waiting on deck.

"Money": Every R&B album needs a "money don't mean nothing" jam, and here, Mariah and Fabolous get anti-materialistic over a thumping Hit-Boy beat. How strong is this love Mariah and Fab are singing about? It evidently trumps "holidays" and "hollandaise," and that's saying something, 'cause eggs Benny is mad delicious.

"One More Try": On her last album, Mariah covered Foreigner. She shows much better '80s taste with this update of George Michael's "One More Try." The production borders on schmaltzy, but at least this Long Island girl didn't go the Journey route or—worse yet—show some tri-state love with a Bon Jovi remake.

"Heavenly (No Ways Tired / Can't Give Up Now)": With a full choir on board, Mariah gets behind the wheel of a gospel tour bus and floors it toward salvation. It's even schmaltzier than the George Michael cover, but hey, middle school glee clubs need songs to sing at graduation, so this thing serves at least one purpose.


Tuesday, May 20, 2014

More reviews for Me I Am Mariah... The Elusive Chanteuse!

Mariah Sings To Her Strengths in Chanteuse

Album Review: Me. I Am Mariah

Mariah Carey: ‘Me. I am Mariah... The Elusive Chanteuse’: Album review

It took her five years, but Mariah has learned from mistakes of 2009’s ‘Memoir of an Imperfect Angel.’

Mariah got the memo.
For her first pop album in five years — housed under the diva-like title "Me. I Am Mariah....The Elusive
Chanteuse" — the star needed to heed the warning of her disastrous last work. And she has.
That disc, 2009's "Memoir of an Imperfect Angel," became the worst selling, and most creatively dire, recording of Carey's nearly quarter-century career. It also set off the longest stretch since she scored a slam-dunk smash single, dating back to 2008's "Touch My Body."
Carey's new music was long-delayed. In between, she put out an indifferent Christmas album and started fresh recordings, only to abandon them. The star also had personal challenges, like a pregnancy (with twins) she has described as "really difficult." Worse, she had to co-judge "American Idol" with Nicki Minaj
While the new "Chanteuse" has a formal release date of next Tuesday (May 27th), iTunes started streaming it early this morning.
The music reacts to Carey's fallow years in most every way it should. It returns her to the type of grand balladry, and formal melodies, that first made her a star. It's her most melodic, least-trendy album in memory - both moves that greatly flatter her.
Though the disc contains cameos from rappers like Nas and Wale, it has far fewer hip-hop inflections than the faux-hip "Memoir" disc. Instead it stresses songs like the opening weeper "Cry," an inspired throw-back to initial hits like "Vision of Love." Accompanied primarily by piano, Carey unfurls the full range of her instrument, something she had too often scaled back of late to suit songs over-indebted to their beats. The result lets her lean into the song's drama, which she engages completely.
That's not to say that Carey has abandoned more up-beat material. "Meteorite," which starts out quoting Andy Warhol's "15 minutes of fame" line, shoots us back to the days of Studio 54, with a spiraling, string-drenched disco beat. The pre-release single "#Beautiful," with guest star Miguel, has a classic R&B melody, boosted by a looming backbeat.
Whether in more elegant ballads, or most assertive R&B songs, the new tunes give Carey more to play with than usual. It's as if she'd been listening to Beyonce's albums, gaining tips for how to bridge trendy music with the classic type. Even a hip-hop influenced ditty like "Thirsty" has a broad tune.
As on many discs, Carey sticks in a famous cover. They're often corny ones (see: her run at Foreigner's "I Wanna Know what Love Is" last time). But here she makes a smarter choice - George Michael's "One More Try." Backed by a gospel organ and choir, Carey dances over the notes, wringing every ripple out of the tune. She even tailors her worst tics - those endless melismas - using them to mine emotion rather than to falsely impress.
Contrary to its title, the new album may be Carey's least elusive work. Rarely has she made her talent more clear.


“Me. I Am Mariah…The Elusive Chanteuse” Lyrics!

Mandy is hard at work getting all the lyrics up for the lambily! 
While you are listening stop by her site and read along!

The Elusive Chanteuse delivers a masterpiece

The Elusive Chanteuse delivers a masterpiece.  From start to finish Mariah quenches her lambs thirst for an epic body of work. This is the best record I have heard in years, not only by MC but from any artist. Flawless diva! I wanted to pick stand out tracks to highlight, however there is no way at this moment in time to narrow down. They are all great.  I will say that George Michael cover of “One More Try” will be getting heavy rotation!

Cry. | Mariah Carey, James Wright
Faded | Mariah Carey, Mike Williams, Denisia Andrews
Dedicated (feat. Nas) | Mariah Carey, Chauncey Hollis, James Fauntleroy, Nasir Jones, Dennis Coles, Robert Diggs, Gary Grice, Lamont Hawkins, Jason Hunter, Russell Jones, Clifford Smith, Corey Woods
#Beautiful (feat. Miguel) | Mariah Carey, Miguel Pimentel, Nathan Perez, Brook Davis, Mac Robinson, Brian Keith Warfield
Thirsty | Mariah Carey, Chauncey Hollis, Denisia Andrews, Maryann Tatum
Make It Look Good | Mariah Carey, Jermaine Dupri, Bryan-Michael Cox, Allan Felder, Walter “Bunny” Sigler
You’re Mine (Eternal) | Mariah Carey, Rodney Jerkins
You Don’t Know What to Do (feat. Wale) | Mariah Carey, Jermaine Dupri, Bryan-Michael Cox, Olubowale Akintimehin, Patrick Adams, Terri Gonzalez
Supernatural | Mariah Carey, Jermaine Dupri, Bryan-Michael Cox
Meteorite | Mariah Carey, Kamaal Fareed, Allan Felder, Norman Harris, Ron Tyson
Camouflage | Mariah Carey, James Wright
Money ($ * / …) [feat. Fabolous] | Mariah Carey, Chauncey Hollis, John Jackson, Dan Satch, Edwin Birdsong
One More Try | George Michael
Heavenly (No Ways Tired/Can’t Give Up Now) | Mariah Carey, Curtis Burrell, George Clinton, Jr.

Deluxe Edition
It’s a Wrap (feat. Mary J. Blige) | Mariah Carey, Barry White
Betcha Gon’ Know (feat. R. Kelly) | Mariah Carey, James Wright, Terius Nash, Christopher Stewart, Robert Kelly
The Art of Letting Go | Mariah Carey, Rodney Jerkins
Me. I Am Mariah…The Elusive Chanteuse | Mariah Carey

Target / Japanese Edition
America the Beautiful | Katharine Lee Bates, Samuel A. Ward


(Source: LambzRus)