Emotions (Mariah Carey Album) - Music and Lyrics

Music and Lyrics

Unlike Carey's debut album, which featured a more contemporary pop and R&B background, Emotions proved to be far different. It borrowed from several genres ranging from gospel, R&B, soul, pop and 1960s and 1970s influences. The album's lead single "Emotions" borrowed heavily from 1970s disco, and flaunted Carey's upper range and extensive use of the whistle register. The song's lyrics were described as "joyful" by author Chris Nickson, and told of a strong and deep emotion felt by the protagonist when with their lover. One of the album's more gospel infused songs, "And You Don't Remember", featured organ chord changes and held minimal production in order to give the vocals a more "raw and sixties feel." It and the former song were part of a trio of tracks from the album that were meant to pay homage to Motown ballads, with the inclusion of soft church choir vocals, and sole musical arrangement by Carey. Its lyrics reflected the song's raw chorus, telling of girl that is promised the world by her boyfriend, and quickly forget about her and moves to the next one. After the heartbreak, the protagonist asks him "Don't You Remember" all those things he had promised her, and the things they had spoken and dreamed about doing together. "Can't Let Go", the album's second single, is a slow ballad, featuring sad and yearning lyrical content. The song's introduction featured minor chord changes, and drew influence from fifties balladry. For the duration of the first half of the song, Carey sings in her lower and huskier registers, eventually leading to the belted crescendo and falsetto and whistle finish. Of the ten tracks on the album, Carey felt her most autobiographical lyrics were featured on "Make It Happen", which told of Carey's poor and difficult teen life prior to being signed by Columbia. It continues telling of the importance of faith and prayer to God. Nickson described its instrumentation as "restrained" and "very Motownish," as well as noting its soft gospel infusion. Critically, the most anticipated song on the album was Carey's collaboration with King. It was influenced by sixties and seventies gospel and other soulful genres. According to Nickson, the song's instrumentation and basis was crucial to Carey's performance throughout the song. Additionally, he described its content and instrumentation:

As a song full of gospel and soulful influences, it allowed Mariah to really tear loose and show what she could do – which in reality was far more than the vocal gymnastics that seemed to comprise her reputation so far. From a deep rumble to a high wail, she covered five octaves wonderfully, as the power of the tune built. The backing vocals – which once again had those churchy harmonies – filled out the spare melody, as did the stately horns, which entered towards the end. The song was truly a vocal showcase for Mariah.

The next song on the album's track list, "You're So Cold", was originally intended to be the lead single from Emotions, eventually being switched for the title track. The song's introduction features a piano and a capella vocal, working into its chorus. Chris Nickson wrote "The song sailed into the chorus, driven by the house-y piano work, the bubbly, snacking rhythm belying the angry lyrics, the upbeat tone of voice." As Nickson hinted at, its lyrics featured an angry message, calling out an unfaithful lover and asking how he could be "So Cold." "So Blessed" was a song Carey wrote with Afanasieff, infusing fifties style pop balladry into it. Carey's voice in the song is very restrained, as she stays within her lower registers throughout the duration of the track. "To Be Around You" was described by Nickson as "far more staccato." Its production and melody was intended to pay tribute to "Got to Be Real" by Cheryl Lynn, as well as featuring spoken voices towards the end of the song. Nickson described "Till the End of Time" as a "gentle, almost lullaby melody." It was a love ballad, preparing the listener for the song's final track, "The Wind". The latter song featured the album's strongest jazz influence, and sampled a piano melody from Russell Freeman during the 1950s. After Afanasieff presented Carey with the melody he had discovered, it inspired her to write the melody and lyrics, which told of a friend that perished in a drunk-driving accident. Musically, the album fulfilled its greatest challenge, according to critics. It had helped master Carey's usage and infusion of several genres which she had not tapped into during the recording of her debut.