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Rainbow

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Rainbow began when Ritchie Blackmore, a classically trained and legendarily difficult lead guitarist left Deep Purple, the British heavy metal band that made him famous. The rest of Deep Purple had had the audacity to demand democracy—and wouldn’t record one of Blackmore’s favorite songs, Quater-mass’s "Black Sheep of the Family"—so the guitarist packed up his strings and went solo. He immediately commandeered a New York band, Elf, which had opened for Deep Purple and starred shrieking vocalist Ronnie James Dio. The new band, Rainbow, became a revolving door of over-the-top metal talent.

Although it never had a gold album or a hit single, Rainbow wasn’t a failure; the band toured successfully for almost a decade beginning in the mid-1970s and released the underrated metal anthems "Man on the Silver Mountain," "Since You Been Gone" and "Jealous Lover." It also anticipated two major 1980s hard-rock trends: hair bands such as Poison and Bon Jovi, who borrowed aspects of their coiffure and singing styles from Dio, and fast-fingered guitarists such as Yngwie Malmsteen and Joe Satriani, who adapted Blackmore’s classical leanings and rock excess. But even Rainbow’s members knew they weren’t exactly making musical history. "It was successful, but it was always a second-rank band. It never seemed to get any better," bassist Roger Glover told the Los Angeles Times in 1985, after a Deep Purple reunion signaled the end of Rainbow, at least for the time being. "Ritchie and I were getting bored with it."

Born in England, Blackmore began his music studies at age eleven, when his father bought him a guitar and demanded that he take lessons. The British rock scene was just heating up in those days, with eventual contemporaries Jeff Beck, Eric Clapton, and Jimmy Page preparing to form their own bands. Blackmore found work as a session musician. He backed rockabilly heroes Gene Vincent and Jerry Lee Lewis onstage and attended studio sessions by the great freaked-out producer Joe Meek. In 1968 he cofounded Deep Purple, whose first hits were souped-up versions of Joe South’s "Hush" and Neil Diamond’s "Kentucky Woman." Blackmore soon invented one of the most recognizable metal riffs of all time, "Smoke on the Water," a number-four hit that helped the band sell 15 million records by the mid-1970s.

"Pound for pound, [Blackmore is] one of the best soloists in history, but he’s such a d*** that he’ll probably never get the credit he deserves," Billy Corgan, the Smashing Pumpkins’ lead singer and guitarist, told Guitar Player in 1996. It was this arrogance that led him to form Rainbow. The band immediately made Blackmore happy by covering "Black Sheep of the Family"; they then went to Germany’s Musicland Studios to record Ritchie Blackmore’s Rainbow. The album’s creative axis was Blackmore and Dio, who bonded over a mutual love for both heavy rock and medieval music. "Man on the Silver Mountain," Dio’s signature song during his brief Rainbow tenure was the epitome of this Jethro Tull-like concept.

Fans of Blackmore and Dio say the next album, 1976’s Rising, was the band’s peak, with former Jeff Beck group drummer Cozy Powell (later of Whitesnake and Emerson, Lake, and Powell), then-unknown bassist Jimmy Bain, and keyboardist Tony Carey replacing the original Elf core. The album’s core is "Stargazer," an eight-minute dungeons-and-dragons epic featuring busy drumming, a long guitar solo, lyrics about whips, chains, towers of stone and the immortal line "there’s no sun in the shadow of the wizard/see how he glides/ why, he’s lighter than air/oh, I see his face." The album had its less-busy side, too, with the femme-fatale rocker "Starstruck" showing a more restrained Blackmore and Powell. In 1981 Kerrang! magazine readers named Rising the greatest metal album of all time.

After a sold-out European tour and live album, Dio stayed on for one more studio round, resulting in 1978’s Long Live Rock ‘n’ Roll, which featured the same mixture of motorcycle-groove metal (the title track) and medieval excess ("Gates of Babylon"). Blackmore tinkered with the band lineup again, replacing bass and keyboard players for the third time in as many albums. As was often the case with Blackmore’s bandmates, however, Dio became disenchanted. The guitarist, emboldened by the success of the "Long Live Rock ‘n’ Roll" single, wanted to move in a more mainstream-rock direction, while Dio preferred to stick with the medieval experiments. He was also tired of

deferring to Blackmore. When singer Ozzy Osbourne quit the pioneering Black Sabbath in 1979, Dio landed a job as the future bat-biter’s replacement.

Rainbow persevered. For the group’s next album, Down to Earth, Blackmore hired bassist Roger Glover and singer Joe Lynn Turner, who exerted a streamlining influence. Although Dio (and perhaps even Blackmore) would disagree, the band turned out its best singles, "Since You Been Gone" and "Jealous Lover," both of which sounded great next to Foreigner and REO Speedwagon on early 1980s rock radio. Glover and Turner managed to hang on for the next several years, until Deep Purple reunited in the mid-1980s and Blackmore broke up Rainbow. Before that happened, though, the band had a bombastic finale: their last performance at Tokyo’s Budokan Hall in April of 1984 that featured "Difficult to Cure," a rewrite of Beethoven’s Ninth Symphony. The song landed on Rainbow’s Finyl Vinyl compilation two years later.

The Purple reunion was short-lived, of course, after Blackmore characteristically ripped Gillan in public, calling the singer’s attitude unprofessional and his voice, as quoted in Guitar Player, "completely shot." In 1995 Blackmore reunited Rainbow, with two new unknown singers, Dookie White and Candice Night (Blackmore’s fiancée), but the moment had passed. By then, Nirvana and other Seattle grunge bands favoring punk simplicity over metal excess were hugely popular, while classically trained metal guitarists were This Is Spinal Tap clichés. Rainbow survived a few more years in that configuration, until Blackmore shifted almost exclusively to his New-Age-y solo project, Blackmore’s Night. He also contributed the guitar solos to Pat Boone’s "Smoke on the Water" cover on a bizarrely funny solo CD In a Metal Mood. Blackmore’s Night, starring Blackmore and Night, continues to tour the world; Shadow of the Moon went gold in Japan.

Selected discography
Ritchie Blackmore’s Rainbow, Polydor, 1975.
Rising Polydor, 1976.
On Stage, Polydor, 1977.
Long Live Rock ‘n’ Roll, Polydor, 1978.
Down to Earth, Polydor, 1979.
Difficult to Cure, Polydor, 1981.
Bent Out of Shape, Polydor, 1983.
Finyl Vinyl, Polydor, 1986.
Very Best of Rainbow, Chronicles/Polydor, 1997.
Best of Rainbow: The Millennium Collection, Polydor/ Universal, 2000.

Sources
Books
Graff, Gary, and Daniel Durchholz, editors, MusicHound Rock: The Essential Album Guide, Visible Ink Press, 1999.
Romanowski, Patricia, and Holly George-Warren, Rolling Stone Encyclopedia of Rock & Roll, Rolling Stone Press, 2001.


Periodicals
Boston Globe, April 9, 1987.
Guitar Player, November 1993; December 1996.
Los Angeles Times, January 13, 1985; January 27, 1985.

Online
"Rainbow," All Music Guide, http://www.allmusic.com (October 7, 2002).
Ritchie Blackmore and Blackmore’s Night Official Website, http://www.blackmoresnight.com/ritchie_bio.html (October 7, 2002).
Additional information was obtained from the Very Best of Rainbow liner notes, Chronicles/Polydor, 1997.
AMG AllMusic Guide: Pop Artists:

Rainbow

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  • Genres: Rock

Biography

The brainchild of former Deep Purple guitarist Ritchie Blackmore, Rainbow quickly developed into one of the '70s most successful heavy metal bands behind charismatic front man Ronnie James Dio. Together, the duo would produce a string of acclaimed albums which are still considered classics of the genre. But the group would change their musical approach numerous times following the singer's departure, eventually confusing and alienating much of their audience. Releasing eight albums during it's decade long run, the band finally came to an end when Blackmore departed to rejoin his old Deep Purple comrades in a full-fledged reunion in 1984. And while the impact of Rainbow's influence has faded with the intervening decades, theirs was a crucial chapter in the development of heavy metal and hard rock.

Disillusioned and fed up with the chaotic state of Deep Purple in the mid-'70s, guitarist Ritchie Blackmore made the stunning announcement in May of 1975 that he was quitting the group he had founded and led for over seven years in order to start from scratch. Teaming up with up-and-coming American vocalist Ronnie James Dio, Blackmore built Rainbow around the singer's former band Elf, minus their guitarist David Feinstein. Featuring bassist Craig Gruber, keyboard player Mickey Lee Soule, and drummer Gary Driscoll, the group's 1975 debut Ritchie Blackmore's Rainbow was quickly embraced by European fans and yielded their first hit single, "Man on the Silver Mountain." Blackmore and Dio were dissatisfied with the album's sound, however, and decided to re-vamp Rainbow (by then sufficiently established to do without Blackmore's name) by drafting bassist Jimmy Bain, keyboard player Tony Carey, and former Jeff Beck Group drummer Cozy Powell. It was with this lineup that they entered Musicland studios in February 1976 to record the landmark Rising opus -- once voted the greatest heavy metal album of all time in a 1981 Kerrang! magazine readers' poll. Capturing Blackmore and Dio at the peak of their creative powers, Rising chronicled both the guitarist's neo-classical metal compositions at their most ambitious, and the singer's growing fixation with fantasy lyrical themes -- a blueprint he would adopt for his entire career thereafter. Following its release, the band embarked upon a successful world tour, culminating in a sold out European jaunt which spawned a best-selling live album entitled On Stage, released in 1977.

By the time they returned with the equally acclaimed Long Live Rock'n'Roll album in 1978 (featuring bassist Bob Daisley and keyboard player David Stone), Rainbow had established themselves as one of Europe's best-selling groups and top concert draws. But the volatile relationship between Blackmore and Dio had already begun to deteriorate, as the American-born singer became increasingly frustrated of standing in the guitarist's shadow -- even in his own country, where the group was now fully committed to breaking big. To make matters worse, Blackmore had been so impressed with "Long Live Rock'n'Roll"'s success as a single, that he began to consider altering the band's sound in order to pursue a more mainstream hard rock approach (a direction which Dio wanted no part of). A chance meeting with Tony Iommi of Black Sabbath (only recently divorced for good from unreliable front man Ozzy Osbourne) helped the singer make up his mind, and Dio officially quit Rainbow in early 1979 to join the Sabs.

Finding a suitable replacement for the charismatic singer proved a serious dilemma, and when Blackmore eventually recruited former Marbles vocalist Graham Bonnett, his decision came with an all-around re-tooling of Rainbow's sound, not to mention, once again, the band's membership, which now included former Deep Purple cohort Roger Glover and keyboard player Don Airey. With the release of 1979's Down to Earth, gone were the mystical themes and epic metal compositions, replaced by a more streamlined commercial hard rock style. But despite containing two of Rainbow's biggest singles, "All Night Long" and "Since You've been Gone" (the second, written by former Argent singer Russ Ballard), the album sputtered in stores, selling far less than the group's previous, Dio-fronted efforts. Bonnett also failed to meet Blackmore's lofty expectations on stage, and after a single, disastrously drunken performance at the inaugural Castle Donington Monsters of Rock Festival in the summer of 1980, the singer was unceremoniously given the boot.

Once again strapped for a vocalist, Blackmore found his man in American singer Joe Lynn Turner, who along with new drummer Bobby Rondinelli signaled a true career rebirth for Rainbow. Wishing to shed the group's overblown, Dio-associated Euro-metal sound of days past once and for all, the new Rainbow lineup was made to order for another bid at widespread acceptance in America. The first product of this new direction, 1981's well received Difficult to Cure helped the group regain some of their momentum and yielded their highest-charting single ever, another Russ Ballard-penned track entitled "I Surrender." In fact, the record's title track -- a sprawling, ten-minute metallic blitzkrieg through Beethoven's Symphony No. 9 -- was the only throwback to Rainbow's highbrow metal origins. Released in 1982, Straight Between the Eyes failed to chart any successful singles, however, and the band's appeal began to nose-dive, along with Blackmore's increasingly uninventive, risk-free song writing. 1983's Bent out of Shape (featuring new members in keyboard player David Rosenthal and drummer Chuck Burgi) fared no better, and after accepting the fact that Rainbow's best days were behind them, Blackmore finally relented to take part in the long-rumored and hoped for re-formation of Deep Purple's classic Mark II lineup. Typically, the guitarist refused to go out quietly, and Rainbow were backed by a full symphony orchestra for their final March 1984 performance in Japan.

A posthumous live release, entitled Finyl Vinyl, was compiled in 1986, and though he would briefly resurrect the Ritchie Blackmore's Rainbow moniker after quitting Purple for the second time in 1994 (even recording an album called Stranger in Us All"), this incarnation would be short-lived. Blackmore was last heard from performing with his purported fiancé Candice Night in the medieval folk duo Blackmore's Night. ~ Eduardo Rivadavia, Rovi
Wikipedia on Answers.com:

Rainbow (Mariah Carey album)

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Rainbow
Studio album by Mariah Carey
Released November 2, 1999
Recorded May 29, 1999 – August 31, 1999
Genre R&B, pop, hip hop[1]
Length 55:49
Label Columbia
Producer Mariah Carey, Diane Warren, Shawn Carter, Jimmy Jam and Terry Lewis, James Wright, David Foster, Jermaine Dupri, Bryan-Michael Cox, Missy Elliott, DJ Clue, Steve Mac
Mariah Carey chronology
  • Rainbow
  • (1999)
Singles from Rainbow
  1. "Heartbreaker"
    Released: September 21, 1999
  2. "Thank God I Found You"
    Released: February 1, 2000
  3. "Can't Take That Away (Mariah's Theme)"
    Released: June 6, 2000
  4. "Crybaby"
    Released: July 18, 2000
  5. "Against All Odds (Take a Look at Me Now)"
    Released: October 3, 2000

Rainbow is the seventh studio album by American singer-songwriter Mariah Carey, released on November 2, 1999, by Columbia Records. The album followed the same pattern as Carey's previous album, Butterfly (1997), in which she began her transition into the R&B market. Rainbow contains a mix of hip-hop-influenced R&B jams, as well as a variety of slow ballads. On the album, Carey worked with David Foster and Diane Warren, who replaced Walter Afanasieff, the main balladeer Carey worked with throughout the 90s. As a result of her separation from her husband, Tommy Mottola, Carey had more control over the musical style of this album, so she collaborated with several musicians such as Jay-Z, Usher, and Snoop Dogg.

On Carey's previous album, Butterfly, she began incorporating several other genres, including R&B and hip-hop, into her musical repertoire. In order to further push her musical horizons, Carey featured Jay-Z on the album's lead single, the first time in her career that another artist was featured on one of her lead singles. Carey wrote ballads that were closer to R&B than pop for this album, and worked with Snoop Dogg and Usher on songs such as "Crybaby" and "How Much", both of which featured strong R&B beats and grooves. Several of the ballads that Carey wrote during this period, including "Thank God I Found You" (written with Terry Lewis) and "After Tonight" (written with Diane Warren), mirrored sentiments she experienced in her personal life.

Upon release, Rainbow received mixed to positive reviews from contemporary music critics. While many celebrated Carey's continued musical departure from her adult contemporary past, some felt the album was not as strong or as distinct as Butterfly. The album debuted at number two on the Billboard 200, with first week sales of over 323,000. It was her first album in years to not reach number one. Rainbow was certified triple-platinum by the Recording Industry Association of America (RIAA), denoting shipments of over three million copies within the United States. Outside the US, the album debuted atop the charts in France, and within the top five in Australia, Austria, Belgium, the Netherlands, Germany, Japan, and Switzerland. In Europe, Rainbow was certified platinum by the International Federation of the Phonographic Industry (IFPI), denoting shipments of over one million copies throughout the continent.

Five singles were released from the album: two worldwide international releases, two promotional releases, and one European single. The album's lead single, "Heartbreaker", featured Jay-Z. The song became Carey's fourteenth chart topper on the Billboard Hot 100, and topped the charts in Canada, New Zealand, and Spain. "Thank God I Found You", featuring Joe and 98 Degrees, was the second single released from the album. The song peaked atop the chart in the US, becoming Carey's fifteenth song to do so, and achieved moderate international charting. The next two singles, "Can't Take That Away (Mariah's Theme) and "Crybaby"—featuring Snoop Dogg—were released as a double A-side. The songs were at the center of a public feud in between Carey and Sony due to Sony's alleged weak promotion of the singles. Carey's cover of Phil Collins "Against All Odds (Take a Look at Me Now)" was released in Europe, topping the charts in Ireland and becoming Carey's second chart topper in the United Kingdom.

Contents

Background

Since her debut in 1990, Carey's career was heavily calculated and controlled by her husband and head of her label Sony Music Entertainment, Tommy Mottola.[2] For years, Carey's albums had consisted of slow and meaningful ballads, devoid of any guest appearances or hip-hop. In January 1995, as she recorded Daydream, Carey began taking more control over her musical style and genre influences.[2] She enlisted the production skills and rap styles of Ol' Dirty Bastard, who was featured on the remix of her song "Fantasy". While Mottola was hesitant at first, Carey's influence paid off:[2] the song became an international chart topper, with critics calling their joint performance one of the pioneering songs of pop and R&B musical collaborations.[3]

During the recording and production of Carey's Butterfly in 1997, the couple separated, leaving Carey an extended amount of control over the unfinished album.[3] Following their separation, Carey began working with younger hip-hop and R&B producers and songwriters, aside from her usual work with balladeers Walter Afanasieff and Kenneth Edmonds.[1] While the album incorporated several different genres and components that were not present in Carey's previous releases, Butterfly also included a balance of her classic ballads and newer R&B-infused jams.[1] While Sony accepted Carey's new collaborations with writers and producers such as P. Diddy and Bone Thugs-n-Harmony, they contiunued to focus their promotion on the ballads. After "Honey", the debut single from Butterfly, was released in September 1997, Sony halted the release of the succeeding R&B-influenced jams, and released the ballad "My All" as the second worldwide single. Rainbow followed in its predecessors' footsteps, becoming even more drenched in modern hip-hop and R&B.[1]

Writing and recording
"Heartbreaker"
A sample of the song featuring Jay-Z's verses and the chorus. It features the sampled hook from "Attack of the Name Game", as well as Carey's pro-female lyrics.
"Thank God I Found You"
A 26-second sample of "Thank God I Found You"'s featuring the bridge and beginning of the last chorus. Additional male vocals from Joe and 98 Degrees are also heard.
Problems listening to these files? See media help.

During the spring of 1999, Carey began working on the final album of her record contract with Sony, her ex-husband's label.[4] Carey's lover at the time, Luis Miguel, was in the midst of a European tour. In order to spend more time with him, she opted to record the album on the secluded island of Capri, Italy, figuring the seclusion would also help her complete the album sooner.[4] During this time, Carey's strained relationship with Sony affected her work with writing partner Afanasieff, who had worked extensively with Carey throughout the first half of her career.[4] Aside from their growing creative differences, Mottola had given Afanasieff more opportunities to work with other artists.[5] She felt Mottola was trying to separate her from Afanasieff, in hopes of keeping their relationship permanently strained.[5] Due to the pressure and the awkward relationship Carey had now developed with Sony, she completed the album in a period of three months in the summer of 1999, quicker than any of her other albums.[5] In an interview with Blitz TV, Carey spoke of her decision to record the album in Capri:

I love New York. But if I'm there, I want to go out, friends come to the studio, the phone rings constantly. But in Capri, I am in a remote place, and there is no one I can run into. I felt that in Capri I would be able to effectively finish the album on a shorter schedule. And I did. I made it in three months, I was like 'Get me off this label'! I couldn't take it. The situation there [Sony] was becoming increasingly difficult.[4]

Like her previous releases, Carey co-wrote and co-produced the album's material, working with several hip-hop and R&B producers such as Jay-Z, Terry Lewis, Usher, Snoop Dogg, Missy Elliott, Jermaine Dupri, and Brian Michael Cox.[5] For the album's debut single release, Carey collaborated with Jay-Z and DJ Clue.[6] During the spring of 1999, Carey began working with Clue on several hooks and melodies for the lead single. After a few hours, they decided to include a hip-hop star on the track, which eventually led to Jay-Z.[6] Carey's longtime friend and back-up vocalist Trey Lorenz, who was featured on her remake of the Jackson 5 song "I'll Be There", added "some soft male [back-up] vocals."[6] Carey worked with Lewis and Jam on the ballad "Thank God I Found You".[7] She had already been in the studio with the duo several times when she contacted them to meet her at the studio, where she told them that she had come up with the title, hook, and melody. Usually, when Carey was writing the songs for Rainbow, James "Big Jim" Wright would play the organ or piano and assist Carey to find the "right melody."[7] However, since Wright was not present, Lewis played the organ while Carey directed him with her lower registers, providing the chord progression. They composed the song and recorded Carey's vocals. Knowing she wanted to introduce a male vocalist on the track, Lewis brought R&B singer Joe and pop group 98 Degrees into the studio.[7] After a few hours, the group and Joe had recorded all their vocals and the song was complete.[7] In an interview with Bronson, Lewis discussed the night Carey wrote "Thank God I Found You":

It all happened that night. She told us the title of the song, the concept and sang us the melody. We usually have Big Jim Wright sit in on those kind of sessions to work out the chords. he wasn't there so I had to work on the chord myself. So I was playing and there was a part where I said 'Man, what chord am I supposed to do here?' and Mariah has such a good ear that she sang me the chord.[7]

While the album was immersed further into mainstream R&B territory, Carey included some of her classic ballads and tender love songs on the album, working with writers and producers such as David Foster and Diane Warren.[5] The idea to work with Warren was suggested by Foster, who thought that the two would be able to "hammer out one hell of a ballad" together.[5] The two wrote and produced the song titled "After Tonight". Carey felt the song was a perfect metaphor for her relationship with Miguel, describing their romance in Capri. While the song was deemed a success by both parties, they described their working relationship with mixed feelings.[5] According to Foster, who was involved in the writing session, Carey and Warren would not always agree on the lyrics and melodious structure of the song. He described it as a "give and take relationship"; Warren would offer lyrics and Carey would not like them; she wanted something more intricate and detailed. Carey would produce a hook or lyrics that Warren did not feel were a perfect fit.[5] In the end, Foster felt that they worked "well together". After recording the song, Carey invited Miguel to record the song with her as a duet.[8] However, after recording his verses several times, Foster and Carey realized that the song would not turn out the way they planned.[8] Foster said the song's key was "too high for him"; the voices did not harmonize well. Carey did not have time to re-record her vocals in a lower key to accommodate Miguel's verses.[8] Miguel, furious over the failed collaboration, later sent a cut-up tape of the demo to Foster. Carey, Warren, and Foster also wrote "Can't Take That Away (Mariah's Theme)", one of the other ballads featured on Rainbow.[8]

Music and lyrics

"It was from the standpoint of girls who keep going back to the same guy and they can't help themselves. They know they're going to get hurt. I've been one of those girls, so I know there's a lot of them out there."

—Carey, describing the lyrics of "Heartbreaker"

As with Butterfly, songs for Rainbow were chosen to solidify Carey's reputation as a multi-genre artist.[6] Throughout the first phase of her career, Carey's albums predominantly consisted of pop and adult contemporary ballads. Rainbow mixed hip hop and R&B-flavored upbeat songs with softer and lyrically intense ballads resembling those that Carey had previously recorded.[6] "Heartbreaker", Carey's first collaboration with Jay-Z, used a sample from "Attack of the Name Game", recorded by Stacy Lattisaw, as its hook. The loop originated from "The Name Game" by Shirley Ellis;[6] Ellis and co-writer Lincoln Chase are credited as songwriters on the track. Carey incorporated the hook into the song's melody, and added instrumentation.[6] Lyrically, the song chronicles the heartbreak the protagonist feels after learning of her lover's infidelity. "Thank God I Found You" features vocals from Joe and 98 Degrees, as well as songwriting and production from Carey and Lewis.[7] According to Carey, the song reflects on events in her own life at the time, with the lyrics describing the completion the protagonist feels after "finding" their lover. Joe provides the main male vocal throughout each verse, and 98 Degrees sing the background vocals and the bridge.[7]

Prior to the album's recording, Carey and her sister Allison had a falling out in their relationship.[9] Allison had contracted AIDS in 1995, and she blamed Carey for many of her problems and heartbreaks throughout the years. Her children were taken away while she received treatment for AIDS and for mental health issues.[9] Carey wrote a song titled "Petals", which she describes as the most honest lyrics she has ever written. The song tells of Carey's feelings for her sister, while illustrating the pain Allison's betrayal and suffering have caused.[9] In an interview with Bronson, Carey described the meaning of the lyrics of "Petals":

It is a great outlet for me to go into the studio and write a song like 'Petals', which is one of my most personal songs and remains on of my favorites. I think [it had the most] honest lyrics I've ever written. The song chronicles a lot of past emotions I've felt to certain people close to me, and the way I feel towards them and how their actions have impacted me personally. For that reason, I sang in my lower registers, trying to add that breathy effect to go hand in hand with the song's composition.[6]

"After Tonight" was a song Carey wrote with David Foster and Diane Warren. Carey had strong feelings about the song, as she wrote it about her relationship with Luis Miguel.[10] The song was compared instrumentally to "My All" from Butterfly, which features traces of Latin and guitar instrumentation.[10] In the lyrics, the protagonist asks her lover if he will still love her and come back to her "after tonight." Carey's cover of the Phil Collins song "Against All Odds (Take a Look at Me Now)" was originally intended to be a solo ballad. The song was re-done after the album was released, with music by the Irish band Westlife replacing the song's instrumental bridge.[10] "Can't Take That Away (Mariah's Theme)" was one of the album's most uplifting ballads, lyrically serving as an anthem for fans and listeners. The message, Carey said, was a personal theme of hers growing up, of not letting others "bring her down" and not allowing them to take away the light inside her.[10]

Conflict with Sony
"Can't Take That Away (Mariah's Theme)"
A sample of the song's chorus. It features the emotional and personal message left by Carey in the lyrics, as well as the melody she composed with Warren.
Problems listening to this file? See media help.

As with Butterfly two years earlier, Rainbow became the center of conflict between Carey and her label.[11] After her divorce from Sony record official and Columbia CEO Tommy Mottola, Carey's working relationship with the label deteriorated. She intended for "Can't Take That Away (Mariah's Theme)" to be the third single from Rainbow, as it held very personal lyrical content. However, Sony made it clear that they intended the third single should be a more upbeat and urban track.[11] The difference in opinion led to a very public feud, as Carey began posting messages on her webpage in early and mid-2000, telling fans inside information on the dispute, as well as instructing them to request "Can't Take That Away (Mariah's Theme)" on radio stations.[11] One of the messages Carey left on her page read:

Basically, a lot of you know the political situation in my professional career is not positive. It's been really, really hard. I don't even know if this message is going to get to you because I don't know if they want you to hear this. I'm getting a lot of negative feedback from certain corporate people. But I am not willing to give up.[11]

Carey's actions were given mixed reception, with critics and executives commending her bold actions regarding a song she felt needed to be heard, while others criticized her for publicizing the dispute further.[11] Soon after, Sony stripped Carey's webpage of messages and began negotiations. Fearing to lose their label's highest seller and the best-selling artist of the decade, Sony chose to release the song.[11] Carey, initially content with the agreement, soon found out that the song had only been given a very limited and low-promotion release, which meant the song failed to chart on the official US chart, and made international charting extremely difficult and unlikely.[11]

Critical reception

Professional ratings
Review scores
Source Rating
Allmusic 3/5 stars[12]
Robert Christgau (2-star Honorable Mention)[13]
Entertainment Weekly B+[14]
Los Angeles Times 3.5/4 stars[15]
MTV Networks Asia Pacific (7/10)[16]
Rolling Stone 3/5 stars[17]
USA Today 3/4 stars[18]
Vibe (Mixed)[19]

Rainbow garnered mixed to positive reviews from contemporary music critics. The album's main criticism was its lack of originality, as it failed to improve upon her previous opus, Butterfly.[3] Stephen Thomas Erlewine from Allmusic awarded the album three out of five stars, complimenting it as "the first Carey album where she's written personal lyrics, and allusions to her separation from Mottola."[12] He called the lyrics "true" and "deep", but criticized the lack of originality. Erlewine alluded to Rainbow as "ballad-heavy" and "repetitious", writing how the album followed the formula of Carey's previous album too precisely. Erlewine ended his review on a mixed note, writing "Rainbow proves that she can still pull off that difficult balancing act, but it's hard not to be a little disappointed that she'd didn't shake the music up a little bit more – after all, it would have been a more effective album if the heartbreak, sorrow, and joy that bubbles underneath the music were brought to the surface."[12]

Arion Berger, an editor from Rolling Stone, also gave the album three out of five stars. He felt Rainbow was a genuine R&B and hip-hop album, calling it a "sterling chronicle of the state of accessible hip-hop balladeering at the close of 1999."[17] Aside from calling the some off the ballads "banal", Berger concluded his review with "Rainbow is at its best—and Carey at her most comfortable—when urbane hip-hop stylings and faux R&B coexist in smooth middle-of-the-road harmony."[17] Critic Robert Christgau of The Village Voice gave the album a double honorable mention ((2-star Honorable Mention)), writing "[It's] Not a 'real' r&b thrush, but good enough to fake it."[13] Amy Linden from Vibe was unimpressed with the album, writing "I don't care about it anymore." While complimenting the album's genre influences and featured musical guests, Linden felt Rainbow was not original. She concluded her review with "'Rainbow' will garner her even more adoration. As for me? I'll be okay."[19] Danyel Smith from Entertainment Weekly gave Rainbow a B+, and concluded "what began on Butterfly as a departure ends up on Rainbow a progression – perhaps the first compelling proof of Carey's true colors as an artist."[14] Elysa Gardner from the Los Angeles Times gave Rainbow three and a half out of four stars. She complimented the album's strong blend of breezy R&B cuts, as well as the lyrically, vocally, and melodically strong ballads. "Exhibiting an emotional authority to match her technical prowess, Carey gives us a vision of love that's dynamic without being ostentatious," she wrote.[15] Steve Jones from USA Today gave Rainbow three out of four stars, calling it "colorful" and "some of her most compelling work."[18]

Commercial performance

Carey performing "Heartbreaker" live on her Adventures of Mimi Tour in 2006

Rainbow debuted at number two on the Billboard 200 chart with 323,000 units sold, the highest first-week sales of Carey's career at that time.[20] In its second week, the album stayed at number two, selling an additional 228,000 copies, barred from the top by Faith Hill's Breathe.[3] In its eighth week, Rainbow experienced its highest weekly sales—during the Christmas week of 1999—selling 369,000 copies, while placing at number nine.[3] It became Carey's first studio album since Merry Christmas (1994) to not reach the top position in the United States. In total, Rainbow stayed in the top twenty for ten weeks and on the chart for thirty-five, making one re-entry.[3] It was certified triple-platinum by the Recording Industry Association of America (RIAA), denoting shipments of over three million copies throughout the continent.[21] According to Nielsen SoundScan, the album's sales in the US are estimated at over 2,946,000 copies, not including sales from BMG music clubs.[22] In Canada, Rainbow debuted at number two on the Canadian Albums Chart, and was certified double-platinum by the Canadian Recording Industry Association (CRIA).[23] Sales in Canada are estimated at over 300,000 units.[24]

Rainbow debuted at number three on the Australian Albums Chart, staying within the chart for seven weeks. The album was certified gold by the Australian Recording Industry Association (ARIA), denoting shipments of over 35,000 copies.[25] In France, the album experienced strong success, debuting atop the albums chart and remaining inside the top forty for thirty-four weeks. The album was certified platinum by the Syndicat National de l'Édition Phonographique (SNEP), with estimated sales of over 813,000 copies.[26][27] In Germany, Rainbow peaked at number three, and received a platinum certification from the Bundesverband Musikindustrie (BVMI), denoting shipments of over 500,000 units.[28] The album's success in the United Kingdom was limited; it debuted at number eight and stayed within the top 100 for four weeks.[29] Rainbow was certified gold by the British Phonographic Industry (BPI), denoting shipments of over 100,000 units.[30] Additionally, Rainbow received a platinum certification in Brazil,[31] New Zealand,[32] and Spain,[33] and a gold certification in Argentina,[34] Belgium,[35] the Netherlands,[36] and Switzerland.[37] Throughout Europe, Rainbow shipped in excess of two million units, and was certified platinum by the International Federation of the Phonographic Industry (IFPI).[38]

Singles

Five singles were released from Rainbow; two were worldwide international releases and three were limited promotional releases. "Heartbreaker", the album's first worldwide release, became Carey's fourteenth chart topper in the United States.[39] Aside from staying atop the US chart for two weeks, the song reached the chart's summit in Canada and New Zealand.[40] Elsewhere, "Heartbreaker" achieved high charting, peaking within the top five in France and the United Kingdom, and within the top ten in Australia, Belgium, the Netherlands, Germany, and Switzerland.[41][42] The song received mixed reviews from critics. Arion berger from Rolling Stone called the song Carey's "most insinuating: nasal, silken, declarative, riding the percolating beat."[17] However, while dismissing some of the song's vocals and the incorporation of the hook, he complimented its marriage of pop and hip-hop through Jay-Z's verses.[17] Robert Christgau named the song one of his favorites from Rainbow, calling it "real R&B."[13] The song's music video became one of the most expensive music videos of all time, costing an estimated $2.5 million.[6] The video features Carey visiting a movie theater with her friends, where she finds her lover with another woman. "Thank God I Found You" was released as the second worldwide single from the album. While becoming Carey's fifteenth chart topper in the US, the song achieved moderate chart success in Europe and other territories. Berger called it a "gospel soar" and complimented Carey's vocals, as well as the harmonies by 98 Degrees.[17] The music video features footage from a live concert with Carey and the band performing the song.

"Crybaby" and "Can't Take That Away (Mariah's Theme)" were released simultaneously as a double A-side, with very limited promotion from Sony.[9] These two songs, especially the latter, became the center of a very public controversy between Carey and her label, due to their alleged low promotion of the album.[9] "Crybaby" was chosen as one of the album's top songs by Christgau, who called it the album's best attempt at R&B.[13] Carey and Snoop Dogg were featured in the music video for "Crybaby", with Carey playing an anxious woman who can't sleep at night due to her lover's infidelity. A music video for "Can't Take That Away" was released around the same time, which features Carey on a rooftop garden. Carey sings during a rain storm, and towards the video's conclusion, the sun arises, bring forth a "new day". The final single from Rainbow, "Against All Odds (Take a Look at Me Now)", was given a limited release as well. After performing moderately around the world, a new version of the song, featuring Westlife, was released in Ireland and the United Kingdom.[10] It became successful there, peaking at number one in both territories, and became Carey's second UK chart topper.[10] The song's video features Carey and Westlife on a boat in Capri. Scenes of the group exploring the island are cut with scenes of them in the studio, though Carey never re-recorded her vocals from the original version.[10]

Promotion

Main article: Rainbow World Tour
Carey performing "Thank God I Found You" live on her Adventures of Mimi Tour in 2006

Prior to the album's release, Carey made an appearance on Pavarotti & Friends for Guatemala and Kosovo, performing "My All" and "Hero" alongside Luciano Pavarotti in a live duet.[43] The concert benefit was filmed live in Modena, Italy, during the summer of 1999 and was released for sale on September 21, with funds being donated to relief efforts for natural disasters in Guatemala and Kosovo.[43] Carey made several live television and award show appearances at this time, and recorded her own Fox Broadcasting Company special,[11] titled The Mariah Carey Homecoming Special. A mini-concert filmed at Carey's old high school in Huntington, New York, the special aired on Fox on December 21, 1999.[11] Carey performed "Heartbreaker" and its accompanying remix at the MTV European Music Awards, held on November 11, 1999, in Dublin, Ireland. Additionally, the song was performed on The Oprah Winfrey Show, the British music chart program Top of the Pops, and The Today Show, which included a performance of "Can't Take That Away (Mariah's Theme)" and "Hero".[10] "Thank God I Found You was performed live at the 2000 American Music Awards as well as on several European programs, including Top of the Pops and Friday Night's All Wright in the United Kingdom, NRJ and Soulier d'Or in France, Wetten, dass..? in Germany, and Quelli che... il Calcio in Italy.[10] The album's final two releases, "Can't Take That Away (Mariah's Theme)" and "Against All Odds (Take a Look at Me Now)", were performed on The View and at the 2000 Blockbuster Entertainment Awards.[11]

In order to promote Rainbow, Carey embarked of her fourth headlining and third worldwide tour. Titled the Rainbow World Tour, it included nineteen shows: six in Europe, four in Asia, eight in the United States, and one in Canada.[43] For Carey's previous two tours, she had only visited Europe and Asia, due to the mixed reception of her debut stateside tour in 1993.[43] However, after achieving record-breaking ticket sales throughout Asia and instant sellouts in Europe, Carey felt secure enough to once again tour her native country. The set list featured songs from most of Carey's previous studio albums, as well as some tracks from Rainbow.[43] Missy Elliott and Da Brat served as opening acts for the US leg of the tour. Ticket sales were very strong; the entire US leg sold out in a matter of days. The Asian and European leg mirrored the commercial success of her previous two tours.[43] Reviews for the tour varied from positive to mixed. Some critics and fans reproached her of having a "tired and hoarse voice", while others commented on Carey's choice of wardrobe. Several critics and many concert-goers praised the tour, calling it an intense celebration of Carey's career.[43]

Track listing

No. Title Writer(s) Producer(s) Length
1. "Heartbreaker" (featuring Jay-Z) Mariah Carey, Shawn Carter, Narada Michael Walden, Shirley Ellison, Lincoln Chase, Jeffrey Cohen M. Carey, DJ Clue 4:46
2. "Can't Take That Away (Mariah's Theme)"   M. Carey, Diane Warren M. Carey, Jimmy Jam and Terry Lewis 4:33
3. "Bliss"   M. Carey, James Harris III, Terry Lewis, James "Big Jim" Wright M. Carey, J. Harris, T. Lewis 5:44
4. "How Much" (featuring Usher) M. Carey, Bryan-Michael Cox, Jermaine Dupri, Daryl Harper M. Carey, B. M. Cox, J. Dupri 3:31
5. "After Tonight"   M. Carey, D. Warren, David Foster M. Carey, D. Foster 4:16
6. "X-Girlfriend"   M. Carey, Kandi Burruss, Kevin Briggs M. Carey, K. Burruss 3:58
7. "Heartbreaker (Remix)" (featuring Da Brat and Missy Elliott) M. Carey, N. M. Walden, Shawntae Harris, Melissa Elliott, Calvin Broadus, Andre Young, Warren Griffin III M. Carey, M. Elliott, C. Broadus 3:15
8. "Vulnerability (Interlude)"   M. Carey M. Carey 1:12
9. "Against All Odds (Take a Look at Me Now)"   Phil Collins M. Carey, J. Harris, T. Lewis 3:25
10. "Crybaby" (featuring Snoop Dogg) M. Carey, C. Broadus, Trey Lorenz, Teddy Riley, Gene Griffin M. Carey, Scram Jones 5:20
11. "Did I Do That?" (featuring Mystikal and Master P) M. Carey, Craig B., Tracey Waples, Joseph Johnson, M. Carey, T. Waples 4:16
12. "Petals"   M. Carey, J. Harris, T. Lewis, J. Wright M. Carey, T. Lewis, J. Wright 4:23
13. "Rainbow (Interlude)"   M. Carey, J. Harris, T. Lewis M. Carey, T. Lewis 1:32
14. "Thank God I Found You" (featuring Joe and 98 Degrees) M. Carey, J. Harris, T. Lewis M. Carey, T. Lewis 4:17
Bonus tracks
No. Title Writer(s) Producer(s) Length
15. "Theme from Mahogany (Do You Know Where You're Going To)" (French bonus track) Michael Masser, Gerald Goffin M. Carey, Stevie J., Mike Mason[disambiguation needed ] 3:47
16. "Against All Odds (Take a Look at Me Now)" (featuring Westlife) P. Collins M. Carey, Steve Mac 3:25

Personnel

Personnel[44]
Production[44]
  • Mariah Carey – arranger, producer
  • David Foster – arranger, producer
  • Diane Warren – arranger
  • Jermaine Dupri – arranger, producer
  • Narada Michael Walden – producer
  • Terry Lewis – arranger, producer
  • James Harris – producer
  • Bryan-Michael Cox – producer
  • Melissa Elliott – producer
  • Calvin Broadus – producer
  • Shawn Carter – producer
  • DJ Clue – arranger, producer

Charts and certifications

Charts

Chart Peak
position
Australian Albums Chart[45] 4
Austrian Albums Chart[46] 4
Belgian Flandres Albums Chart[47] 14
Belgian Wallonia Albums Chart[47] 5
Canadian Albums Chart[48] 2
Dutch Albums Chart[49] 4
European Albums Chart[50] 1
Finnish Albums Chart[51] 2
French Albums Chart[51] 1
German Albums Chart[42] 3
Italian Albums Chart[52] 10
Japanese Albums Chart[53] 2
Malaysian Albums Chart[50] 3
New Zealand Albums Chart[54] 11
Norwegian Albums Chart[55] 9
Spanish Albums Chart[33] 7
Swedish Albums Chart[56] 15
Swiss Albums Chart[57] 2
UK Albums Chart[29] 8
US Billboard 200[48] 2
US Billboard Top R&B/Hip-Hop Albums[48] 2

End of year charts

End of year chart (1999) Position
Australian Albums Chart[58] 71
Belgian Flandres Albums Chart[59] 85
Belgian Wallonia Albums Chart[60] 48
Dutch Albums Chart[61] 97
French Albums Chart[62] 5
U.S. Billboard 200[63] 157
End of year chart (2000) Position
Belgian Flandres Albums Chart[64] 89
Belgian Wallonia Albums Chart[65] 51
French Albums Chart[66] 67
Swiss Albums Chart[67] 98
U.S. Billboard 200[68] 31

Certifications

Country (provider) Certification
(sales thresholds)
Argentina (CAPIF) Gold[34]
Australia (ARIA) Gold[25]
Belgium (IFPI) Platinum[35]
Brazil (ABPD) Platinum[31]
Canada (CRIA) 2× Platinum[23]
Europe (IFPI) Platinum[38]
France (SNEP) Platinum[26]
Germany (BVMI) Platinum[28]
Netherlands (NVPI) Gold[36]
New Zealand (RIANZ) Platinum[32]
Spain (PROMUSICAE) Platinum[33]
Switzerland (IFPI) Gold[37]
United Kingdom (BPI) Gold[30]
United States (RIAA) 3× Multi-Platinum[21]

Singles

Year Single Peak chart positions Certifications
US
[39]		 US R&B
[69]		 AUS
[45]		 CAN
[40]		 FRA
[70]		 GER
[42]		 NL
[71]		 NZ
[41]		 SWI
[72]		 UK
[29]
1999 "Heartbreaker" (featuring Jay-Z) 1 1 10 1 4 9 7 1 7 5
2000 "Thank God I Found You" (featuring 98 Degrees) 1 1 27 2 28 28 24 34 17 10
"Crybaby" (featuring Snoop Dogg) 28 23 — 4 — — 27 — — —
"Can't Take That Away (Mariah's Theme)" — — — — — 45 — — —
"Against All Odds" — — — — 18 29 27 — 20 —
"Against All Odds" (featuring Westlife) — — 52 — — — 29 — — 1
"—" denotes a title that did not chart or was not released in that territory.

References

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Works cited

Mariah Carey
Studio albums
Live albums
Compilation albums
Video albums
Concert tours
Filmography
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