Posts tagged ‘The Beatles’

September 18, 2014

Mariah Carey Penyanyi Paling Konsisten di Dunia

Mariah Carey The Ultimate Pop StarDetik

Mungkin nama Mariah Carey tak semeriah 10 tahun lalu. Namun, Mariah tetap bisa mempertahankan eksistensinya di industri musik.

Bahkan Majalah TIME menyebut bahwa Mariah Carey adalah penyanyi pop paling konsisten di dunia. Hal tersebut terlihat dari lagu-lagu hits yang terus menggema.

Meski namanya kian jarang terdengar, tapi lagu-lagu hits selalu menghiasi industri musik di seluruh penjuru dunia. Satu tingkat di bawahnya adalah penyanyi Rihanna.

Meski tergolong masih muda, namun penyanyi asal Barbados sudah sukses mencuri perhatian penikmat musik dunia. Nama-nama lain secara berurutan adalah Usher, The Beatles dan Madonna.

Selain itu, penilaian TIME sendiri juga mengacu kepada tangga lagu Billboard top 10 sejak 1969. Nama Mariah pun yang paling sering memuncaki tangga lagu Billboard top 10.

May 10, 2014

Where Do I Start With Mariah Carey?

Took a lil walk through Times SquareSlate

Musically, Mariah Carey’s had a tough run of late. Her long-delayed upcoming album, now titled Me. I Am Mariah… The Elusive Chanteuse, was slated to come out last spring before being pushed back several times. With one exception, its would-be lead singles failed to make a significant dent on the charts. Just a few weeks ago it sounded like Carey might pull a “Beyonce”, and spring the album on us unawares, judging from a confusing interview she gave to Billboard.

Then last week, the album’s release date, May 27, was finally confirmed by a teaser that is as strange and rambling as the album’s title. The announcement has been called “weird”, “insane”, “bizarre”, and “ridiculous”, descriptors that are rarely far away when Carey comes up these days. If you’re not a long-time fan, or are only familiar with Carey’s current public persona, it’s easy to see how such an awkward promotional move would elicit little more than an eye roll.

And we should chuckle at her weirdness, to be sure. But Carey deserves to be taken seriously as an artist as well, and, unfortunately, she hasn’t always gotten her due in that regard. Carey’s popular accomplishments – she has the second-most No. 1 songs of any pop artist, for instance, behind only the Beatles (and possibly tied with Elvis, depending whom you ask)- are often downplayed by critics who don’t take her influence on the music world seriously, as Jody Rosen pointed out in Slate several years ago. She’s long been credited – or blamed – for spawning a breed of “over singers”. (Rosen called her “the most influential vocal stylist of the last two decades”.) Her vocal acrobatics are frequently dismissed as “passionless”, her songs scorned as fluff.

But don’t blame Mimi for the diminishing returns represented by her impersonators. She’s better than all of them. Not only has she co-written the overwhelming majority of her hits since her career began almost 25 years ago, she’s also proven capable of switching up musical styles effortlessly. After taking creative control of her career, she went from a pop singer with a big voice to sultry diva who sang with Ol’ Dirty Bastard (on the excellent, Puff Daddy-produced “Fantasy (Remix)”), Bone Thugs ‘n’ Harmony (the slow-jam deep cut “Breakdown”), and Jermaine Dupri (her smash hit “We Belong Together”, among several others). Her label assumed this would be career suicide. But she was a pioneer for the hip hop-pop hybrid that is now inescapable, paving the way for Rihanna, Beyonce, Katy Perry and others to embrace a more hip-hop sound.

But back, for a minute, to her weirdness. One of the things that makes Carey so endearing to fans is that she wholeheartedly embraces her idiosyncracies. She’s not afraid to get goofy with her lyrics (“If we were two Lego blocks even the Harvard University graduating class of 2010 couldn’t put us back together again“) or her music videos, signaling to everyone that while she may take her work seriously, she’s not afraid to poke fun of herself.

There’s much more to Carey than her feuds with rap stars and her heavily Instagrammed marriage to Nick Cannon. In fact, a remarkable number of her songs hold up beautifully.

UOMF Nurse

May 7, 2014

The Passionate and Elusive Singer Reveals Her New Album

MC SMHThe Sydney Morning Herald

For the American pop icon Mariah Carey, who walks and talks just as she sings – sultry, curvaceous and with feeling – music seems to be more than merely an occupation. It is a passion, certainly. An obsession, perhaps. She herself is not certain. What she does know, she says, is that deconstruction is the fast path to ruin. Her songs, their meaning and, ultimately, their impact are, Carey says candidly, for others to interpret.

“I like to leave things to people,” she says. “It’s only fair to allow people to feel the way they feel about the song. Music is very personal. Extremely personal. I remember as a kid if somebody sang a song, I wanted it to be about me. That song became about me and whatever, whoever I had a crush on that week. I wanted that to be my song.”

More certain is the commercial impact of her work. In a career spanning more than two decades, Carey has sold more than 200 million records worldwide, making her one of the best-selling music artists of all time. That’s less, according to the somewhat unscientific algorithm of declared sales, than either Elvis Presley, Madonna or the Beatles, but more than Whitney Houston, Queen, the Rolling Stones and Abba. Whichever way you look at it, she is in esteemed company.

On stage, Carey is an immense presence, packaged with benchmark-setting precision and with a range that one US critic once described as “a sound that nearly changes the barometric pressure in the room”. In person, she is smaller in scale, a whirlwind who seems, in equal parts, to evoke queen of soul Aretha Franklin, Latin film icon Lupe Vélez, and sultry Hitchcock heroine Kim Novak.

We meet at New York’s Greenwich Hotel in fashionable Tribeca. Within her rented boudoir is a mixture of subtle influences: Carrara marble, Tibetan silk rugs and smothering English leather armchairs that seem to envelope us as we sit down. Our interview was scheduled for 8pm, then nudged to 10.45pm. But as with so much in the hectic world of Mariah Carey, the schedule slides further and further behind.

When we finally sit down to talk, it is at 2.45am. Lesser mortals have fallen by the wayside around us, but Carey is powering on like an Energiser bunny. She has pulled a week of all-nighters putting the finishing touches on her 14th studio album, Me. I Am Mariah … the Elusive Chanteuse. She is also on the promotional trail, perhaps in part because the first three singles released from the album – Beautiful, The Art of Letting Go and You’re Mine (Eternal) – were met with a mixed reception on the charts.

A central theme to the album, as with the 13 that preceded it, is love. Cast an eye over her discography and you’ll see titles such as Without You, We Belong Together and Always Be My Baby. Pressed on the question, Carey isn’t so sure. Perhaps it is the case, she says, if you look only at the singles. “But if you asked somebody who knew all the album cuts, they’d say the central theme would be the need to be loved versus [being in] love.

“A lot of my songs sound like they’re happy love songs, but they’re actually sad songs,” Carey says. “The songs that are really intrinsic and really close to who I am are those songs that still have a lot of longing and still are full of … they’re still written by someone in need of something.”

Carey’s new album is defined by that dichotomy, she says. “There are songs that are in that vein, they’re uptempo, they’re feel-good records, but they also have an element of darkness to them,” she says. “I feel like I’ve been in this fight, like I’m a boxer, and I’m coming to the end of this journey and I’m getting ready to release this album that I want the world to hear simultaneously.”

April 30, 2014

Mariah Carey’s Journey to a New Album: The Billboard Cover Story

Billboard Cover StoryBillboard

After waiting five years between albums, Mariah explains the struggle behind her next release: “This is my life since we last left off. Just picture a dot dot dot, and then here’s the album”

Mariah Carey is having a Case of the Mondays.

It’s the day after Easter, and she’s nursing a kick to the face from her nearly 3-year-old son Moroccan after a long day of egg hunting. “We were sort of winding down the day, removing his shoes, and he was having his own moment of not wanting the night to end and he ended up getting me square in the nose while the shoe was still on,” says Carey, 44, on the phone from her apart- ment in New York. Though her nose has a “tiny bump” that Carey has been treating with ice and milk, the incident has still apparently swollen her face enough that she has had to cancel a planned photo shoot and in-person sitdown with Billboard. “I think it’s OK. It’s still really red. I could’ve covered it up and tried to look decent, but shouldn’t my “Billboard” cover be a little less about that and more about the music?” (The cover photo is an outtake from her album shoot.)

If you’ve followed the headlines around Carey in the years since 2009’s “Memoirs of an Imperfect Angel,” you would know it hasn’t always been about the music. Since the birth of her twins Moroccan and Monroe in April 2011, she has weathered a rocky stint as a judge on American Idol in 2013, for which she was paid $18 million, according to People, as well as an accident on a music video set that led to a dislocated shoulder and cracked ribs. The injury preceded the latest in a series of delays for her planned 14th album, which at one point was earmarked for early 2013. Though her Miguel duet “#Beautiful” was a decent-sized hit last summer, peaking at No. 15 on the Billboard Hot 100 with sales of 1.2 million (according to Nielsen SoundScan), a trio of other singles failed to catch fire, most recently February’s “You’re Mine (Eternal),” which spent a week on the Hot 100 at No. 88 and has sold only 56,000 copies.

But in late May, Carey hopes she can silence her naysayers and super-serve her patient fans with the much-anticipated release of her 14th album, which at one point was intended as a digital-first, all-at-once release a la “Beyoncé.” Though her label Def Jam now says an official pre-order is expected for later this week, announcing the album’s title, cover and tracklist, it’s clear from talking to Carey that she misses the good old days of the ’90s. The time when you could deliver an album the old-fashioned way, when you had to go to the store to see the song names and the cover art. “I have to be the one that announces this, especially the title,” says Carey, noting the album takes its name from a “personal possession of mine that’s part of an entity that I’ve had almost all my life.”

The “Beyoncé” parallels would have made even more sense when you consider that Beyonce was coming off an underperforming album (2011’s “4”) before going the surprise route, much like Carey’s “Memoirs” produced just one top 10 hit (“Obsessed”) and sold a disappointing 549,000 copies, low enough to cancel a planned remix album.

Carey will cop to a few of the prerelease singles not doing particularly well, pausing to note that 2013’s Stargate-produced “Almost Home” was intended for the “Oz, Great and Powerful” soundtrack. “It was never about, ‘This is my album,’ but I wasn’t fully connected to that song. I was in the middle of that other situation in my life, which we will erase and pretend it never happened.” (That “situation” being Idol, which we’ll get to later.) “You would think I would be all about the singles-driven situation, and I am in a way, but with this particular album I want my fans to hear it as a body of work,” she says. “This is my life since we last left off. Just picture a dot dot dot, and then here’s the album.”

“Life happens, and that added to the making of this album,” songwriter-producer Bryan-Michael Cox told “Billboard” in February. “Over the past couple years we’ve added songs, scratched songs, slow-baking this record like a honey-baked ham. And when you take a bite of that ham — people will be extremely and pleasantly surprised.”

Carey’s label group Island Def Jam is probably best described as cautiously optimistic about the album, declining to respond to multiple fact-checking and interview requests for this story.

In terms of fans, anticipation for a new Carey album hasn’t been this high since her mid-2000s comeback, which saw 2005’s “The Emancipation of Mimi” go quadruple-platinum and turn “We Belong Together” into the biggest radio hit of her career, spending 14 weeks atop the Hot 100 and becoming Billboard’s top song of the 2000s. But in addition to the reteaming with Jermaine Dupri (“We Belong Together,” “Always Be My Baby”) on two tracks for the new album, she has assembled a team of collaborators that shows she has paid attention to the hip-hop and R&B charts in recent years. There’s tracks from of-the-moment producers like Hit-Boy (Kanye West and Jay Z’s “N***** In Paris”) and Mike Will Made It (Rihanna’s “Pour It Up”); guest features from Wale, Nas and Trey Songz; and even c ontributions from veeran arranger Larry Gold and the Love Unlimited Orchestra and a “special guest that I’m not allowed to reveal.”

Talk to Carey about the album, and you’ll get lengthy if cryptically worded explanations about the material, making liberal use of favorite words like “journey” (“If I use that word one more time I’ll have to start an ’80s rock band”), “festive” (her time on Idol, she says, “was not festive”) and “moment” (“I just need a moment to finish this track listing”). She’ll call you “dahhhling,” with a Zsa Zsa Gabor affectation, and grill you on your “lambily” status (that’s Mariah speak for hardcore fans, or “lambs”). “There’s no way I’ll be able to quite relive the splendor of certain moments — name that tune, lambily!” she says at one point, asking if you’ve spotted her lyrical reference to “The Roof ” from 1997’s “Butterfly.”

As Carey began work in earnest on the project in 2012, a friend compiled an exhaustive, 1,000- track playlist of all of Carey’s catalog and remixes, dubbed “The Ultimate MC Audio Collection.” Through revisiting her own 24-year career, Carey reminisced about forgotten remixes from the ’90s with producers like the late David Cole and her early experiments with genre-fusing. “I will always lean toward R&B in general, but I do think that merging hip-hop and R&B was one of the best things that happened for me as a fan of music. There’s this whole pop and hip-hop mixing together thing now — first of all, it’s not new, and second of all, why are we acting like it is?”

The album will also showcase Carey’s intro-spective, “morose” side, which certain lambily have treasured through the years from deeply personal cuts like “Looking In” (from 1995’s “Daydream”), “Close My Eyes” (from “Butterfly”) and “Petals” (from 1999’s “Rainbow”) — songs that offer an intimate glimpse into the person behind all the diva behavior. “It’s so good to hear people say they grew up with me as the soundtrack to their life, even though I was making it, so that was the soundtrack to my life as well,” she says.

It was Carey’s reconnection with “Looking In” that shaped the final phase of the current album. She performed the song live for the first time with the New York Philharmonic in Central Park last July, just one week after her shoulder injury, clad in a faux-fur sling that matched her white ballgown. The song’s lyrics were inspired by her unhappy marriage from 1993 to 1998 to Tommy Mottola, and found her singing in the third person about a girl who “dreams of all/ That she can never be/She wades in insecu- rity, yeah/And she hides herself inside of me.” Carey broke down in tears at one point during the song, cautioning the audience beforehand that it “requires a bit more stability than I have right now. I kind of got in trouble for writing this song so I’m going to try.”

After the show, Carey revisited the songs she had already earmarked for the ballad-heavy album and decided she needed a change of pace. That’s where two of the three Hit-Boy tracks came in, as well as a fresh collab with Dupri, who became her latest manager thereafter. (Carey’s management underwent several changes in 2012 and 2013, including parting ways with former Idol co-star Randy Jackson after many years together and a brief stint with Coran Capshaw’s Red Light Management.) “There were certain parts of the album where I needed to be lifted up again. I needed something uplifting.” (That’s a “Dreamlover” reference, lambily.)

That Carey is taking even more of a hands-on approach to her music these days is no surprise from a woman who co-wrote all her No. 1 singles, and has also taken more aspects of her career in her own hands amid her various management shifts and other endeavors. After being “bamboozled” by the Idol experience when footage of her feud with fellow judge Nicki Minaj leaked, for example, Carey says she would like to executive-produce her next reality-competition venture. “I have another project that I’m so very excited about that’s finally coming to fruition. I would want to do something that was authentic. And I did feel that there were some truly talented singers on there this year, last year, whenever that was. It’s a blur, it has all been a blur, all of it, dahhhling.”

But she’s also in a rarefied class of superstars in their third decade of fame who can still compete in the big leagues. Madonna, Cher and Celine Dion continue to rank among Billboard’s top-earning artists more for their exhaustive touring work, not because they’re still getting the massive radio play and album sales of their respective heydays. Carey, meanwhile, has never been much of a roadhorse (she didn’t even tour until 1993, when she played 10 theaters in support of her third album, “Music Box”) and still considers herself more of “a studio rat” at heart.

“I love being in the studio, making Wall of Sound background vocals. That’s when I’m most at home, other than being with ‘dem babies’ now. I love being onstage and connecting with the lambily most importantly, but it’s just that now nothing’s just an experience with your fans and your fans alone. It’s on YouTube immediately, not ‘Oh, that was an amazing moment I just experienced.'” So until she’s willing to do a global arena tour or a Las Vegas residency, Carey will need to keep churning out hits to extend her living legacy.

Dupri seems weary of the expectations that come with official “comeback singles,” which is why one of his first items of business as Carey’s manager last fall was releasing the ballad “The Art of Letting Go” as a teaser track on Carey’s Facebook page to set the tone for the album, rather than the typical event strategy. Though “Letting Go” will appear on the album along with “#Beautiful” and “You’re Mine,” the hope is that the fans’ response will democratize the typical album process from here.

“The challenge with Mariah has always been if I like one record and she likes another, you can never pick a single that satisfies everybody,” says Dupri. “If you just did what Beyonce did, she just gave you 17 singles and you picked which record you like.”

Even though Carey’s latest album marks the longest gap between albums, it certainly won’t be her last, despite a recent interview with Bravo’s Andy Cohen on “Watch What Happens Live” where she indicated she might be treating it as such. Still, it signifies something of a make- or-break moment at this phase in her storied career as Billboard’s second-most-decorated Hot 100 chart-topper, next to The Beatles.

“I will always make music. When I said [this album] could be my last, that’s because tomorrow’s not promised to anyone. When I release anything, it’s difficult — it could be a performance that you don’t love and it’s like, ‘Great, everybody’s going to pick this apart,’ and that’s it. What I’m trying to say is I wanted this to be something I could be proud of, whether it’s like, ‘Yay, No. 1 song!,’ and this and that. However things end up happening, we’ve all worked so hard. The true lambily have all worked so hard to break all these Billboard records and to have this incredible experience with me that I want them to have this almost as a gift.”

April 27, 2014

Billboard All Time Top 100 Songs

December 29, 2012

Mariah Carey Graces the Coast

20121229-105821.jpg

Gold Coast

She’s the biggest artist to visit the Gold Coast since Whitney Houston shared the bill with Frank Sinatra for The Ultimate Event at the opening of Sanctuary Cove in 1988.

Mariah Carey is an undisputable diva among divas — and not just because of her notorious penchant for the six-star life. (Interesting fact: She owns Marilyn Monroe’s white piano).

Like them or loathe them, Carey, Celine Dion and the late Houston are renowned as the world’s top three divas because of their vocal powers.

There’s a very good reason Carey has remained at the top of the pack since she released her debut album 22 years ago. She has a five-octave vocal range — and isn’t afraid to use her whistle register! (Interesting fact: The whistle register, also called the flageolet, is the highest register of the human voice, above the modal register and falsetto).

Ranked second this year on VH1’s 100 Greatest Women in Music list, Carey’s voice earned her a place in the Guinness Book Of World Records and the title “songbird supreme” for the highest range of any recorded singer.

Carey high note is G#7 — known as the dolphin squeak. The kind of note that can shatter glass.

She has clocked up total album sales of more than 200 million worldwide, a figure that keeps rising every Christmas when new legions of music lovers discover her 1994 Merry Christmas album and single All I Want for Christmas. (Interesting fact: She co-wrote and co-produced the hit track with Walter Afanasieff.)

In 1995, Carey made history when her duet with Boyz II Men, One Sweet Day, spent a record 16 weeks on top of the Billboard Hot 100. The songs remains the longest-running No. 1 in US chart history.

The proud owner of more No. 1 US singles than Elvis, Carey’s tally of 18 is second only to The Beatles (who have 21) and light years ahead of “pop culture icon” Madonna.

She has five Grammy Awards, 17 World Music Awards, 11 American Music Awards and 31 Billboard Music Awards to her credit but unlike Whitney and Celine, Mariah is not only a singer and actress but a songwriter and record producer.

Of course, if it looks like a diva, quacks like a diva and walks like a diva, it isn’t necessarily a diva. But if it sings like Mariah, well … it’s perhaps the world’s greatest living diva.

Don’t be fooled by the choice of venue for the first show of Mariah Carey’s first Australian tour in 15 years.

Carey, 42, is playing the Gold Coast Convention and Exhibition Centre because Jupiters has subsidised the show (just as Mike Gore did with Whitney and Frank at Sanctuary Cove).

If they hadn’t, she wouldn’t be playing the Gold Coast at all.

She’s too big a diva, dahlings.

February 1, 2012

5 Lagu Mariah Carey Yang Layak Rilis

Sering kita temui dalam sebuah album lagu-lagu yang enak didengar bahkan jadi favorit tapi tidak pernah dirilis sebagai single. Nah berikut ada 5 lagu Mariah Carey yang menurut Billboard layak jadi single dan punya potensi jadi juara. Bisa jadi bila 5 lagu ini benar-benar dirilis, mungkin Mimi akan menggeser posisi The Beatles sebagai pemilik #1 hits terbanyak. Berikut hitung mundurnya:

5. Languishing (The Interlude)
Lagu ini terdapat di album Memoirs of an Imperfect Angel tahun 2009. Sangat disayangkan Mariah hanya menampilkan lagu ini sebagai interlude berdurasi sekitar 2 menit saja. Padahal bila dibuat dalam versi lengkap, ini menjadi satu dari lagu dalam album MOAIA yang layak dirilis.

4. So Blessed
Dipilih sebagai materi di album Emotions tahun 1991, namun tim Mariah lebih memilih Can’t Let Go sebagai single ballad untuk album ini.

3. Reflections (Care Enough) dan Lead the Way
kedua lagu mendayu ini terdapat dalam album Glitter tahun 2001. Namun sayang, di era ini Mariah mendapat tekanan dan fitnah yang tidak beralasan dari pihak label sebelumnya. Kedua lagu ballad yang sangat potensial ini gagal dirilis di Amerika.

2. Whenever You Call
Hadir menghiasi album Butterfly tahun 1997 dan direkam ulang dalam versi duet bersama Brian McKnight untuk album kompilasi #1’s tahun 1998. Walau kedua versi ini sempat dibuat klipnya namun tak pernah secara resmi dirilis sebagai single.

1. All I Ever Wanted
Lagu ini terdapat di album Music Box tahun 1993. Seperti All I Want For Christmas Is You yang meledak namum tak pernah dirilis sebagai single komersil, begitu pun lagu ini kalah saing dengan Anytime You Need A Friend sebagai pendongkrak Music Box. Andai saja All I Ever Wanted yang dipilih saat itu, mungkin Mariah akan terus memperpanjang rekornya di top 10, karena sangat disayangkan Anytime You Need A Friend hanya sampai di peringkat 12 dan menghentikan rekor top 10 di awal karir Mariah.

Itu 5 lagu Mariah Carey yang layak dirilis sebagai single versi Billboard. Tentu saja setiap pendengar album Mimi punya lain opini, bagi yang mau berbagi opini mengenai tema ini bisa kirim versi kamu melalui email mariahcareyid@yahoo.com

Billboard

What Songs Should’ve Been Singles?

Hi Gary,

This has bothered me for 17 years: why wasn’t “When I Saw You” by Mariah Carey released as a single?

In 1995-96, Carey was at one of her (many) career peaks and this ballad could have easily been the fourth Hot 100 No. 1 from her album “Daydream.” Columbia chose the admittedly beautiful ’50s-styled “Forever” instead (although it didn’t give that song a physical CD release).

“When,” an ode to love at first sight, would’ve countered nicely to the themes of loss and longing featured on her other “Daydream”-era singles (i.e., “One Sweet Day”), not to mention its insanely hooky chorus where Carey belts out 16 bars of melisma – without ever taking a breath! (Maybe that’s why she, as far I know, has never performed it live?)

Such a shame because this track should’ve been huge (and still could be a hit today).

Artie O’Daly
West Hollywood, California

Hi Artie,

I like “When I Saw You,” too, although I can’t argue with Columbia having released “Forever.” It was actually a bold choice, as not many songs on pop radio in recent decades sound like “Unchained Melody.” The waltz rose to No. 9 on Pop Songs in summer 1996.

This e-mail, in fact, deserves its own countdown! Here are my picks for Carey’s top five songs that should’ve been singles, guided by my radio background that taught me that a hook outweighs any other attributes a song may have. Had they been released, Carey might have already passed the Beatles (20) for most Hot 100 No. 1s. She currently has 18.

5, “Languishing (The Interlude),” from “Memoirs of an Imperfect Angel” (2009). Maybe if Carey had recorded the song in full and not just as a 2-minute, 33-second filler track, it would’ve been a stronger single candidate. Still, she packs the song’s short length with a memorably catchy chorus.

4, “So Blessed,” from “Emotions” (1991). Carey even covered the song, similar in sound to “When I Saw You,” on 1992’s “MTV Unplugged” EP.

Tie 3, “Reflections (Care Enough)”/”Lead the Way,” from “Glitter” (2001). Yes, I’m aware that “Glitter” is one of the most maligned movies in cinema history. Too bad, because I’ve always felt that its soundtrack contains two of her best ballads. “Lead” was co-written by Carey and Walter Afanasieff, who teamed to pen her hits “Can’t Let Go,” “Hero” and “Anytime You Need a Friend” (plus the No. 1 song ahead on this ranking.)

2, “Whenever You Call,” from “Butterfly” (1997). It seemed that the ballad might finally become a single when Carey rerecorded it as a duet with Brian McKnight and revived it on her 1998 compilation “#1’s.” Although a video was filmed, the song never became a radio single.

1, “All I Ever Wanted,” from “Music Box” (1993). Despite her catalog of monster hit singles, my two favorite songs of Carey’s are the seasonal “All I Want for Christmas Is You” and this ballad (also co-written with Afanasieff). Who knows, had “All” become the fourth single from “Music Box” instead of the No. 12 Hot 100 hit “Anytime You Need a Friend,” Carey might’ve extended her career-opening streak of top 10s to 12. Instead, her run halted at 11, still a Hot 100 record among new artists matched since by only one act, the singer that prompted this discussion when her streak stopped with the No. 29-peaking “Marry the Night”: Lady Gaga.

January 21, 2012

10 Artis Terlaris

Setiap pergantian tahun selalu ada data terbaru, termasuk laporan dari Billboard dan kalkulasi Nielsen dalam penjualan album. Keduanya merangkum Top 10 penjualan album terlaris setiap tahun sepanjang musim. Berbagai aliran musik bersaing ketat mulai dari Rock hingga Country. Perhitungan ini sendiri diawali dari sejak SoundScan berdiri.

Hadir di peringkat 1 dalam daftar ini adalah Garth Brooks, dengan penjualan sebanyak 68,5 juta unit mengalahkan perempuan terlaris, Mariah Carey yang mampu menjual 53,6 juta unit album. Pada peringkat 2 ada The Beatles yang konon katanya album mereka dijual ulang dengan format digital di era SoundScan, walau data ini meragukan namun tercatat 63,3 juta unit album Beatles terjual di era ini.

Sementara itu, Eminem, yang tidak seperti artis lainnya dalam daftar ini, memulai kariernya justru setelah era SoundScan lama berjalan, namun Em berhasil mendulang prestasi cemerlang dengan mencetak angka penjualan sebesar 41,1 juta unit.

Billboard mulai menggunakan data SoundScan pada tahun 1991, dalam upaya untuk mengambil langkah yang lebih tepat dari penjualan dengan menghitung secara scan bukan mengandalkan angka penjualan di toko kaset informal. Dampaknya, total angka pada daftar ini hanya menghitung data 20 tahun terakhir sejak SoundScan hadir, namun data ini bisa menjadi acuan yang baik untuk mengukur tingkat keberhasilan para musisi era dewasa ini.

Berikut adalah daftar top 10 best-selling artists dalam era SoundScan terhitung mulai 1991 hingga Januari 2012 yang kami kutip melalui Pop Crush:

1. Garth Brooks (68,561,000)
2. The Beatles (63,299,000
3. Mariah Carey (53,612,000)
4. Metallica (53,170,000)
5. Celine Dion (51,492,000)
6. George Strait (43,310,000)
7. Eminem (41,166,000)
8. Tim McGraw (40,169,000)
9. Alan Jackson (38,860,000)
10. Pink Floyd (37,228,000)

(Endang Real Suryana)