News en vrac - Mariah News

Arkenstone a écrit:

^ OMG, c'est vrai, ça ?   
Entre ton post et la vidéo postée par Sweetie, je suis mort.

Mais plus sérieusement, si elle compte sortir un nouvel album, qu'elle continue à bosser avec de nouvelles personnes comme elle l'a fait sur Elusive. Meteorite, YDKWTD ou Beautiful ne sont pas le genre de titres que l'on entend souvent dans la discographie donc qu'elle continue d'explorer, découvrir de nouveaux genres. 
Je l'ai déjà dit, mais j'aimerais bien qu'elle bosse avec The Weeknd, je trouve que son style musical irait à ravir avec la voix de Mimi (surtout des titres comme The Hills) et pourquoi pas, Max Martin ? Et je vais me faire fusiller par les fans mais je veux que Katy Perry ou Taylor Swift lui écrivent des titres. Histoire qu'elle ait un tube quoi... 
Cela dit, je ne suis pas pressé de la voir sortir un nouvel opus, elle a une discographie si large et variée que ça me suffit amplement pour l'instant. D'ailleurs, en ce moment, j'écoute beaucoup Charmbracelet et Emancipation.

Angelfire' Mariah Carey feat Madonna???

Citation :

Queen of No. 1 singles proved she’s also the queen of angles in the most iconic mid-blink Instagram in front of a humidifier EVER:

ShakaSuperstar Posts: 9395Joined: Tue Feb 04, 2014Location: Argentina

Citation :

by Chris Azzopardi 7:00 AM PDT, September 01, 2016 wrote:Part I of Jennifer Lopez, Cory Rooney, Ja Rule and Ashanti trying desperately to rewrite the shady and illegal history of: I'm Real

Jennifer Lopez’s 'I'm Real' 15 Years Later: How the Rule-Breaking Duet With Ja Rule Prevented a Sophomore Slump

Following Jennifer Lopez's foray into music with On the 6 in 1999, her second (and most successful) album, J.Lo, nearly suffered the ill-fated sophomore slump. 

The actress-turned-singer was at the height of her career, coming off the box-office smash The Wedding Planner, opposite Matthew McConaughey, and a hilarious turn as a Saturday Night Live host. At the same time, J.Lo’s first single, “Love Don’t Cost a Thing,” topped the charts, peaking at No. 3 on the Billboard Hot 100 and No. 1 on the Mainstream Top 40.

While the album entered the Billboard 200 chart at No. 1 the same week that The Wedding Planner topped the box office, finding a follow-up single to “Love Don’t Cost a Thing” proved to be a challenge. When club-tailored "Play" failed to land with listeners, Lopez's then-label, Sony's Epic Records, turned to "I'm Real," a shimmering dance-pop jam and one of the seven tracks Lopez co-wrote for the album.

The vision: to flip the track into a hip-hop duet featuring zeitgeist rapper Ja Rule, which would influence future rap-pop collaborations, lay the foundation for Lopez's R&B-influenced musical career and shake up Billboard's chart rules. 

“I feel really proud of the album,” Lopez told ET in January 2001, ahead of J.Lo’s release. “The music kind of took on a life of its own. It’s just something I’m very pleased with.”

“There’s one called ‘I’m Real’ that is particularly one of my favorites,” she added. 

Now, on its 15th anniversary, the key players behind "I'm Real (Murder Remix)" open up for the first time to ET about Lopez's journey to artistic authenticity and the song that helped get her there.

Lopez (as told to ET in 2001): It took us three months [to finish the album], which is kind of quick. 

Cory Rooney, producer: It all started with the statement, "I'm Real," which meant so much to Jennifer Lopez. [Producer] Troy Oliver came up with an idea and there was another guy, L.E.S. [producer Leshan Lewis], who suggested using this little loop from Yellow Magic Orchestra's “Firecracker.” Ironically, we found out Mariah Carey used the same loop [for her song "Loverboy"]. Then, Jennifer walked into the studio and she heard the track playing, and we were just about to switch to another song and she goes, "Wow, I love that. Make me a quick CD of the track and let me go sit in the lounge and listen to it while you work on this other thing you're gonna work on." About 45 minutes later she called me into the room. She said, "Listen, I think I wrote the song. I never wrote a song by myself, before so don't laugh." 

Lopez: It was the first time I ever wrote a melody. I just love the hook of the song. I wrote it, so it’s kind of personal. When you write something, you’re just a little more connected to it.

Rooney: It was perfect. We cut it that day. Then she called Sean "Puffy" Combs. She made him stop what he was doing because she was so tickled about the song and how good it had come out. She said, "I need Puffy to do one part," and that's the part in the song where he goes, "She's a bad, bad bitch." She wrote that and she had him stop what he was doing, leave his studio, come across town and just go in the vocal booth and say that one part. Then she said, "OK, now you can leave."

Lopez: I feel like I have grown. Not only musically was there growth -- or vocally -- but also personally. Emotionally, spiritually as a person, I’ve grown. It is reflected in the album, and it’s something that I hope at the end of the day just people enjoy. They dance to it and enjoy it.

Ja Rule: Me and [producer Irv Gotti] got a call from [then-Sony Music head] Tommy Mottola. I’d just did "If We" for Mariah and he liked it. He wanted me to do something for his new artist, Jennifer Lopez. 

Rooney: A lot of urban radio stations really felt like J. Lo had not delivered a song that really catered to their urban audience. They also felt that J. Lo had not supported them enough. So we had a problem. If you want to be No. 1 in the country, you really have to corner the market; you have to lock up urban and pop radio. I said to Tommy Mottola, "Here's an old trick that I learned from Puffy: We’ve gotta remix the record." Urban radio couldn't say, "Screw J. Lo," if they wanted to because [the song] features the hottest thing on radio, which was Ja Rule. 

Ja Rule: [Mottola] wanted me to remix a record she called "I'm Real." We got the record, I listened to it and it was a dance-pop record. I was thrown, like, "I don't do dance music, so what do you want me to do to this?" [Laughs.] So, me and Gotti took the track and I listened to a little bit of it and said, "OK, I don't need to hear that, scratch that, 'cause we're gonna do our own thing.” We used the old Mary Jane Girls' [1983 song "All Night Long"] and I wrote this record in, like, 15 minutes. 

Rooney: Ja Rule showed up to the studio and I said, "Man, Ja, what we need -- eight bars won't work, 16 bars won't work,” because what's gonna happen is the other stations that don't even play rap will then at that point not play a J. Lo record. So, I said, "This has to be a feature between you and Jennifer. This is like Donny Hathaway and Roberta Flack, back and forth." He laughed at me. He said, "You want me to sing? I said, "Ja, every record you've released in your career you sang on -- what are you talking about? Every record you're singing the hook." So he kicked it around and all of a sudden it just snapped. He got into the vocal booth and he started with "What's my motherf**king name?"

Ja Rule: I wanted to intro myself, because to me those intros were always such big records back then. Snoop's "What's my mother**king name? Snoop Doggy, do-owww-ohhhh-oggg!" Eminem had "My name is what?" Jay Z too. It was an ode to all of those "What's my names?" For me, it was like, what would be a bigger launching pad? They all just said it themselves, but I actually had the liberty of writing it in for J. Lo to say "R-U-L-E," which to me was like the stamp of solidification -- that I had arrived as well. 

Ashanti: I remember being in the studio and being pissed because I was doing all this work and it wasn't for me! [Laughs] But it was good. I was young and it was a good learning experience and great exposure. I demoed the record [J.Lo], so I sang the whole entire record and then they took most of my lead vocals out and she re-cut her part and they left my backgrounds on. It was just a nice group effort. 

Ja Rule: I really think that this was the first time that a hip-hop artist wrote an R&B-pop record that went No. 1. I think I'm the first hip-hop artist to ever do such a thing; it created the style of the [rap-sung] duet because our record didn't feel like Ja's being featured on a J. Lo record or J. Lo's being featured on a hip-hop record. It felt like ‘this is their record.’ [A rep for Billboard told ET, "We can’t confirm Ja Rule’s comment, but we aren’t going to argue with him either."]

Elvis Duran, national radio host: This was the beginning of a new cycle of collaborations. When true artists find themselves in a slump, there’s nothing more invigorating than collaborating with another artist. When they can turn off their egos and let another performer add to the mix, electric things can happen. It can create the energy they need to catapult back to the top. 

Rooney: J. Lo's album was tanking on the charts. I don't know what time I left the studio that night, but I called Tommy at maybe 2 in the morning and I said, "We did it. We saved this project.”

DandelionManager Posts: 1271Joined: Sat Dec 06, 2014Location: Hanchi, Taiwan

Citation :

Just got home after a long night at the studio!!!!! New music coming soon yayyyyyy