r/MariahCarey

Rochelle just posted this clip and tagged Mariah saying “see u soon.” She works with Kaytranada a lot. Wondering if they all collaborated for Glitter25. Something is up and I’m happy about it.

Nobody ever mentions it. Yet the end high note is one of the most beautiful one of her career and I love Trey's feature.

But do we know (hehe) why she randomly covered it for #1s ? ISB made sense but why this one ? Has she ever talked about it ?

Mariah Carey's Emotions turned 35 on August 13th 2026.

I’m gonna choose

Angel cry
Shake it off
You don’t know what to do
Can’t let go
Thank God I found you
Make it through the rain
Mine again
Outside
Yours
Heartbreaker (no jay z)

She’s the queen of 90s and all music

I love this creator, talks about strong women in pop culture. She’s doing an investigative series about about how tough Mariah is and how she fought against the forces that tried to bring her down. Such a great video and more to come!

I feel like Mariah would feel so seen if she saw this!

https://www.instagram.com/reel/DcL4X6bKaVd/?igsh=NTc4MTIwNjQ2YQ==&igsi=NTc4MTIwNjQ2YQ==

Hey Lambily!

I’ve been thinking a lot about Mariah’s debut era lately, and I have a huge "what if" scenario that I need to talk about.

Don't get me wrong, I know "I Don't Wanna Cry" was a massive success and a total staple of her early era. But looking back, I honestly feel like it should have been left as an album-only deep cut. Mariah herself has openly said she felt the song was a bit too safe and generic for adult contemporary radio anyway.

Instead, "Sent From Up Above" should have been the 4th and final U.S. single (with "There's Got to Be a Way" remaining album-only too).

Hear me out on why this would have been a historic smash:

The Ultimate Multi-Format Crossover: The track is the perfect fusion of Adult Contemporary pop, smooth R&B/New Jack Swing, and house/dance music. Older AC listeners wouldn't be alienated by that warm electric-sitar groove, but the younger club crowds would have eaten it up.

The AC Request-Line Effect: It’s arguably the catchiest track on the album. If radio stations had put this in rotation in late 1991, the Adult Contemporary audience would have been absolutely obsessed. People hearing that breezy, infectious hook on their morning commutes would have kept calling in to request it over and over, forcing program directors to keep it in heavy, permanent rotation.

The 12-Inch Remix Potential: Imagine the absolute juggernaut this would have been on the Billboard Dance charts. If Columbia had handed this to David Morales for a "Def Club Mix" or Frankie Knuckles for a classic soulful house flip, it would have been a legendary club anthem for the next decade.

Bringing House Back to Mainstream: By late 1991, underground house was just waiting to break wide open. With Mariah’s massive star power, pushing a vocal-house/R&B track like this to the top of the Hot 100 could have single-handedly brought authentic house music back to mainstream radio a year or two ahead of schedule.

What do you all think? Would "Sent From Up Above" have secured that 4th consecutive #1 spot, or did the label make the right call sticking to the powerhouse ballads? I just feel like there were too many ballads selected as singles. If I was managing Mariah it would have been Vision of Love, Someday (7 inch Straight Original that she preferred), then, Love Takes Time as the third, and lastly, Sent From Up Above

I am sick of people viewing Mariah as the weakest link of the vocal trinity. I instantly assume whoever says that just doesn’t comprehend the skill needed to perfectly execute a Mariah song. It REALLY pisses me off that people’s reference points for Mariah are her bad performances, that’s disgustingly unfair.

I’m speaking as a singer myself, funny story but I wanted to try Anytime You Need A Friend for karaoke but after the first chorus I shut it off because it was too hard 😭😭.

Mariah is not just whistle notes!! Even without her whistle notes she is still a member of the vocal trinity.

No shade I think the weakest link is Celine Dion, not even because of her vocals either. But in terms of artistry I think she is the one in the trinity who was the least versatile. Mariah and Whitney both evolved musically (especially Mariah), but I feel Celine was more stagnant. This is no hate to Celine at all, she is a phenomenal singer, we love everybody!

Hey Lambily! 🌈

I’ve been deep in my feelings thinking about the absolute corporate mess of 1999. In reality, Mariah was under immense pressure to rush-record Rainbow in just three months to finish her Sony contract, which left us with a legendary but structurally uneven album.

But what if we lived in a healthy, alternate universe where Tommy Mottola’s love for Mariah actually made him a supportive, protective executive ally instead of a controlling warden?

If they had a healthy creative partnership and mutual respect, here is exactly how Rainbow becomes a non-skip, pristine R&B-pop masterpiece that easily sweeps Album of the Year at the 1999/2000 Grammys:

💿 The Tracklist Adjustments:

❌ Drop "Did I Do That?": This abrasive, loud production felt like a panic move to capture 1999 rap trends and completely disrupted the album's flow.

✅ Add "There For Me": We replace it with this absolute vault masterpiece. It instantly gives the body of the album a warm, sweeping, and authentic R&B spine similar to Butterfly and Music Box.

✅ "Against All Odds" (Mariah Only Version): No Westlife feature. We keep it strictly as a solo track on the standard album to preserve its raw, powerhouse vocal prestige instead of making it feel like an international pop gimmick.

✅ The Dual "Thank God I Found You" Strategy:

The standard album features the Stargate Version as a main track—giving the album a bright, modern, and expensive mid-tempo R&B-pop bounce that would have completely ruled daytime radio.

We also include the "Make It Last" Remix, but as a Mariah and Joe-only version (no Nas verse). Stripping the rap clutter keeps it as a pure, late-night R&B bedroom slow jam that spotlights their gorgeous intertwining vocal harmonies.

✅ Unlocking "Rainbow's End": Because Mariah is given the time she needs, she officially completes "Rainbow's End" as a full, upbeat dance track extension right after the interlude.

🏆 The Single Rollout & The Finale:

Under this supportive timeline, her single campaigns would mirror the elite continuity of Daydream and Music Box, keeping her locked at #1 while building immense critical respect.

The masterstroke? "Rainbow's End" becomes the fifth and final single.

Instead of the era losing steam, launching this house/disco-infused anthem turns the end of the campaign into an absolute global celebration of survival and hope. Dropped right as Grammy ballots are mailed out, the sheer artistic cohesion forces the Recording Academy to give her the ultimate crown: Album of the Year.

What do you guys think?

Do you think swapping "Did I Do That?" for "There For Me" creates that perfect, non-skip effect? Would you have preferred the Stargate mix on the main tracklist? Let’s talk in the comments! 👑🎶✨

Definitive Rainbow Playlist Tracklist

"Heartbreaker" (feat. Jay-Z)

"Can't Take That Away (Mariah's Theme)"

"Bliss"

"How Much" (feat. Usher)

"After Tonight"

"X-Girlfriend"

"Heartbreaker (Remix)" (feat. Da Brat & Missy Elliott)

"Vulnerability (Interlude)"

"Against All Odds" (Mariah Only Version)

"Crybaby" (feat. Snoop Dogg)

"There For Me" (Perfected right here before Petals!)

"Petals"

"Rainbow (Interlude)"

"Rainbow's End" (The grand, triumphant dance finale)

"Thank God I Found You" (Stargate Version) (The breezy, mid-tempo daytime groove)

"Thank God I Found You" (Make It Last Remix - Mariah & Joe Only) (The late-night R&B bedroom slow jam)