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The general consensus on Mirah Yom Tov Zeitlyn seems to be that one day she will make a great album. We know she has it in her, because she's let her cards show once- with 'Cold Cold Water', an unhinged, vertiginous, epic single that easily one-upped The Flaming Lips in orchestral bombast and yet remained intimate as a whisper. That song was a revelation; I feel reasonably safe claiming that it sounded like nothing anyone had recorded before, save Ennio Morricone as the obvious influence. Shockingly, Mirah and her producer-cum-Microphones-bandmate Phil Elvrum blew right past their own brilliance- the rest of that album (2002's Advisory Committee) ping-ponged listlessly from coffeehouse folk to rickety lo-fi electro and back.So, does this new offering from Mirah deliver on that semi-accidental promise?

• Mirah The Garden Instrumentals Video
• Mirah The Garden Instrumentals Youtube

As you can probably glean from its somewhat unwieldy billing and workmanlike title, it's not meant to. It's a 28-minute sound collage that nestles five or six songs among freeform instrumentals, unprocessed ideas and found sounds. Songs from the Black Mountain comes weighted with tons of extraneous circumstance- Mirah recorded it with her friend Ginger Brooks Takahashi during a 30-day stay in a mountain town, presumably on portable equipment; its proceeds go to charities like the Rock'n'Roll Camp for Girls. In short, this record all but begs not to be judged as a proper album.I don't know what's at the root of this need to bury songs in ephemera, but it's beginning to look a lot like fear of responsibility. I hated wading through the muck of The Microphones' Song Islands for morsels of Elvrum's wan songwriting; solo Mirah at her best is so much better than Elvrum that it makes her worst that much more frustrating. To demonstrate what I mean, let's just get it over with and divide the album in two segments which, for easier reference, we'll call 'songs' and 'other shit.' Songs:'The Knife Thrower': a gently perverse torch ballad reminiscent of Advisory Committee's 'The Garden' and 'Light the Match', wonderfully packed with such antique locutions as 'lark' and 'asunder.'

'Life You Love': a surprisingly straight-faced bluegrass number, with stuttering banjo on a bed of languid lap steel, and both women on vocals.' Pure': a minimal yet powerful melody built around one heartbreaking chord change, a whispery incantation of 'give in' and precisely applied touches of ambiance both natural and industrial. The album's tentpole.' Rock of Ages': sung a capella, aside from a couple of fleeting piano chords, with the friends' voices double- and triple-tracked into a complicated choral arrangement.' September': pure fun, with doo-wop vocals that actually go 'doo-wop,' and an honest-to-goodness surf guitar.

Somewhat reminiscent of her recent brilliant Ragazza Pop compilation contribution, 'Don't'. A special bonus for rhyming 'baby' with 'ukulele.'

Other Shit:'Lil' Bit': a minute of guitar noodling.' Birdy Noises': noises akin to those made by birds.' Plink Plink Plink': as advertised.' The Red Curtain': actually quite decent, with Eastern chimes and a jerky accordion.' The Party': steel drums over a static cello riff.' Noisy Groove': 21 seconds of backwards noise.'

Plink Plink': not to be confused with 'Plink Plink Plink'. Actually, go ahead.' Broken Mirah': a tape loop.' Acoustic Groove': guitar, timidly plucked.' Horny Groove': alas, a pun on 'horns.' 'Squocky Groove': a blaring sax.' Buggy Noises': noises akin to those made by bugs.I believe it goes without saying that, for Mirah Yom Tov Zeitlyn, coming up with that great album will be a matter of subtraction, not addition.

Mirah The Garden Instrumentals Video

. 'Released: August 26, 1997. 'Released: December 1, 1997. 'Released: March 20, 1998. 'Released: March 24, 1998. 'Released: April 21, 1998Butterfly is the sixth studio album by American singer and songwriter, released on September 16, 1997,. The album contained both and sounds, as well as some softer and more contemporary melodies.

Throughout the project, Carey worked with, with whom she had written and produced most of the material from her previous albums. She also worked with many famed hip hop producers and, such as, and the. With the latter acts producing most of the album, Butterfly deviated from the contemporary sound of Carey's older work.With Butterfly, Carey continued the transition that began with previous album, (1995), which pushed her further into the R&B and hip hop market and away from the background of her previous work. During her marriage to, Carey had little control over the creative and artistic steps she took on her albums; however, after their divorce midway through the album's conception, she was able to reflect her creative maturity and evolution in the album's writing and recording. Carey wrote in the booklet of her twelfth studio album, (2009), that she considers Butterfly her and a turning point in both her life and career.Five singles were released from the album; two worldwide commercial releases, and three limited promotional singles.

', the record's lead single, topped the charts in the US and Canada and reached the top five in New Zealand, Spain and the United Kingdom. The album's fifth single, ', became a top ten hit throughout Europe and topped the charts in the US. To promote Butterfly, Carey embarked on the, which visited Australia, Japan and Taiwan, with one show in the United States. Butterfly was nominated for three at the.Butterfly garnered generally positive reviews from music critics, many of whom embraced Carey's musical transition. Reviewers complimented the album for its mature sound and production and commended Carey's musical direction.

It was certified five-times by the (RIAA), received the in Japan, and has sold over ten million copies worldwide. Though released during Carey's heavily publicized conflict with, the album became a commercial success, topping the albums chart in many countries, including Australia, Canada, Japan, the Netherlands, as well as the United States. 'In the past, people were scared to let me explore different types of music that I loved and enjoyed. They the studio heads saw me as having this instrument, and they wanted to get the most use out of it.

There were a lot of people around me who were afraid of change. I was a valuable commodity, and they didn't want to lose that. I was encouraged to act drab, because drab sells records.' —Carey, on her conflict with Sony Music.Carey began working on Butterfly in January 1997. During the album's development in mid-1997 Carey separated from her husband, music executive, who had guided her career since 1990. Carey's increasing control over her own career had led to speculation in the press over the future of the couple, and they later divorced. Throughout the development of the album, in a departure from her previous style, Carey worked with various rappers and hip hop producers, including, and Jean Claude Oliver and Samuel Barnes from.

Critics saw Carey's new production team as a form of revenge on Mottola. Carey denied taking a radically new direction, and insisted that the musical style of her new album was of her own choosing. Nevertheless, Carey resented the control that Sony, whose president was Mottola, exercised over her music, preventing her making music about which she was passionate. In contrast, Sony were concerned Carey, their best-selling act, could jeopardize her future success through her actions.The pressure of the separation and constant press attention began to take its toll of Carey. Growing creative differences with producer ended their working relationship, after collaborating on most of Carey's previous output.

The breaking point came after a heated argument during a long recording session, over the album's musical direction. Carey also faced media criticism over her choice of producers and several newspapers linked Carey romantically to several rappers, suggesting these relationships influenced her decisions. However, Carey denied the allegations, stating she had only slept with her husband. Writing and composition With a variety of writers and producers and its new musical direction for Carey, the album was always likely to be a commercial success.

Carey and Combs wrote the lead single, '.' Combs believed this to be a good song but was uncertain how successful it would be as a release owing to its heavy hip hop influence.

The remix for 'Honey' featured lead vocals from, and, and some verses were rapped by Combs himself. The track was very different from Carey's previous recordings, and was described by author Chris Nickson as 'street Hip-Hop music, with a booming.' The song's melody was driven by Q-Tip's programming and 's notes. Combs's production gave the song a 'light and airy' effect, further distancing it from Carey's. 'Honey' featured from 's 'The Body Rock', and '. The track used both hip hop and R&B with traces of pop music and was described as a 'song with a catchy chorus, combining hip hop and pop into something that simply wasn't going to be denied by anyone, and offering a powerful start to a record.'

The album's second single, ', was one of the Carey wrote with Afanasieff. Carey described the song as the 'favorite ballad she had ever written', one that was more personal than her previous work as the emotions conveyed through the song allude at just how meaningful the lyrics are to her. Carey solely wrote the lyrics while Afanasieff, who composed the music with, handled the song's, and added a few personal R&B touches.

Another ballad Carey wrote with Afanasieff was ', written as a contrast to the album's general hip hop flavor. Carey described the song as having 'a lush sound and intense styling'. It featured guitar, which were synthetically created using sampling and keyboard notes.

', Butterfly 's European single, incorporated fragments from 's ', and was produced by Carey,. 'I had the hook already, as well as a melody and lyric for the chorus. Then she and I collaborated on a new melody for the verses, and we did the first verse, and the second half of the second verse together.' —Carey, on working with Elliott on 'Babydoll'.' Fourth of July', one of the album's slower ballads, was also written solely by Carey and Afanasieff but was not released as a single.

The song was perceived to have influences and was compared to some of Carey's older work such as 'Vanishing' and 'The Wind'. The next two tracks on the record, ' and 'Babydoll', were described as 'the album's backbone, its real declaration of independence' by Nickson. 'Breakdown' was written by Carey and Puffy and included rap verses from and from. Author Chris Nickson wrote that 'Breakdown' showed Mariah treading forcefully into territory that was new for her and making it her own.' For 'Babydoll', Carey teamed up with Elliott. The track was recorded in Atlanta, where Elliott resided, and included background vocals from Carey's long-time friend,.

Mirah The Garden Instrumentals Youtube

'Babydoll' was described as 'a vocally driven piece', with strong jazz harmony provided. Other songs that incorporated R&B influence into ballads were 'Whenever You Call' and 'Close My Eyes', which were personally important to Carey due to their lyrical content. While both were similar ballads to Carey's previous work, Nickson said:'While up to the standard of anything Mariah had ever done before, they suffered in comparison. But even here you could hear the new Mariah in the spareness of the arrangements and the way it was her voice, rather than any instrument, that controlled the song. She'd grown to the point where having less behind her really proved to be more, for the song and for her. It was notable, too, that like the other ballads on the record, these two leaned very much towards R&B.'

Carey wrote the song 'Fly Away (Butterfly reprise)' with famed producer. When imagining the concept for 'Butterfly', Carey intended the song to be a house music record, but after writing it, made it into a ballad. Carey expressed a desire to feature her concept both on the house record, in addition to the ballad that would become 'Butterfly'. Morales took Carey's lyrics, concept and melody and added a house beat to it. For the album, Carey recorded a version of 's ', featuring 's lead singer. The song was one of the last recorded tracks and was the only non-original song on Butterfly. The final song on the album was 'Outside', a ballad that was written by Carey, Afanasieff and Rooney, about Carey's experience being biracial.

Richard Harrington from described the album's subtle inclusion of both pop and genres:'There are two Mariah Careys on Butterfly. One is the pop-oriented, ballad-leaning traditionalist who works very effectively with her longtime professional partner, composer-producer Walter Afanasieff. The other is a self-styled hip-hop fanatic who worked with Ol' Dirty Bastard on her last album and teams up here with several of that genre's movers and shakers, most notably Sean 'Puffy' Combs, the godfather of hip-hop soul and the hottest producer in pop music today' Promotion To promote Butterfly, Carey made many live appearances.

On September 12, 1997, Carey was interviewed about her split from Mottola and sang a live rendition of 'Butterfly' and ' on. Carey also featured as a musical guest on November 15, 1997 on, performing 'Butterfly' again, as well as the Spanish-inspired 'My All'. She made two appearances on; she performed 'My All' and on her return visit, sang 'Close My Eyes' live for the first time. Carey also gave performances at awards shows, singing 'My All' at the 1998 and 'Honey' at the. In Europe, Carey made several promotional television appearances. In the United Kingdom, Carey performed 'My All' and 'Honey' on the.

In Germany, she sang 'Butterfly' on and performed on Japanese television.Originally, Carey had not planned to tour, after receiving mixed reviews in the US for her. However, after the album's release, many fans requested Carey to tour, especially in Asia and Australia. Therefore, Carey embarked on the; her third head-lining tour and most extensive to date. The tour included eleven shows, four in Japan's largest stadium, one in Taiwan, five in Australia and one in the United States. All 200,000 tickets for her Japanese shows sold out within one hour; the other ten shows also sold out. As part of her performance at the 50,000-capacity in Hawaii, Carey filmed a concert video,. The video was a compilation DVD which included parts of Carey's shows in Japan, Australia and Hawaii.

The tour was a critical and commercial success. Both fans and critics praised the quality of the show and Carey's vocals. Singles Five singles were released from Butterfly; some featured as airplay-only singles, while others were released only in certain territories.

' was released as the album's first single on August 26, 1997. The song became Carey's twelfth number-one single on the and topped the chart in Canada, while reaching the top-five in New Zealand, Spain and the United Kingdom. It was certified by the (RIAA), for shipments of one million units in the United States, and received a gold certification in Australia.

'Honey' was well-received, with critics complimenting its catchy sound and clever fusion of pop and R&B sounds. Served as the album's second single, but it was released as an 'airplay-only' single due to Carey's conflict with Sony. Though not being released commercially by her label, 'Butterfly' reached number sixteen on the, as well as the top-twenty in New Zealand.'

' was the third single released from Butterfly. The song received a limited release throughout certain countries, such as the United States, where it peaked at number four on the. Aside from the US, 'Breakdown' achieved a steady peak of number four on the New Zealand singles chart, in addition to entering the top-forty in Australia. While not one of Carey's best-known hits, 'Breakdown' remains one of her most praised songs, receiving acclaim for assisting Carey's transition into the R&B market. In his review for the album, Rich Juzwiak from magazine wrote the following:'The song of Carey's career, where the lyrical strokes are as broad and obvious as they are naked.

Mariah the chanter flawlessly adapts to their singsong style, largely boxing her multi-octave range into a sly, hypnotic melody so that when she really wails at the end, you really feel it. Carey lunges toward musical maturity by embracing, not shunning hip-hop. This is the height of her elegance and maybe hip-hop-soul's, too.' While 'Breakdown' served as the album's third single in the United States, New Zealand and Australia, ' was released in Europe. It performed weakly on the charts, peaking at number 96 in the United Kingdom, and faring only slightly better in the Netherlands, where it peaked at number 63.

While not commercially released in the US, the song's music video received heavy rotation on and, due to the record's popularity. ' was chosen as the album's fifth and final single. The song was the most commercially successful song on Butterfly, becoming Carey's thirteenth chart topper in the US, and reaching the top-ten throughout Europe.

In France, 'My All' peaked at number six, and was certified silver by the (SNEP). In the United States, the song finished at number seventeen, on the chart, remaining Carey's highest charting single of 1998. Critical reception Professional ratingsReview scoresSourceRatingB-(Positive)Butterfly garnered generally positive reviews from. Nathan Brackett, senior editor of and author of, praised the album's producers and Carey's 'more controlled' vocals. Brackett noticed a connection between much of Carey's lyrics and her separation from Mottola., editor of called Butterfly 'a new turn' in Carey's career. He wrote, 'Carey has sold tens of millions of albums by being the girl next door with the startling vocal range.

But for most of 'Butterfly' Carey turned her voice into an airy whisper, as if she would rather charm listeners' compared to over-powering them. Aside from commenting on its deviance from Carey's previous work, he noted songs in which Carey alludes to her failed marriage to Mottola, such as 'Butterfly' and 'Close My Eyes' which were both released on the album following the divorce with lyrics about letting love go and life struggles. Additionally he wrote, 'Since Carey writes her own lyrics, fans might expect a glimpse of marital discord or pride in her new-found autonomy.' From gave Butterfly a B- in his review. Browne wrote: 'In Breakdown, Carey demonstrates she can match the, lite-reggae phrasing of her guests, two members of Bone Thugs-N-Harmony.' He described an increased intimacy in the music but noted the arrangement made it difficult to hear the lyrics Carey was singing.

'Butterfly is undeniably pleasant, with little of the all-conquering bombast usually associated with Carey. But it's also the last thing anyone would have expected from her: blandly self-effacing.' In a retrospective review of the album, from appreciated the new direction of Carey's music, commenting on the increased urban feel of the work. He described the record as 'a collection of hit singles surrounded by classy filler' and 'while the songs are all well-crafted, many of them blend together upon initial listening'. However, he noted an increased control in her voice which led him to describe some of the ballads such as 'Butterfly' and 'Breakdown' as among her best work. He said Butterfly was one of Carey's best records and she was 'continuing to improve and refine her music, which makes her a rarity among her '90s peers.' Rich Juzwiak from awarded the album a score of four and a half out of five stars, calling it 'elegant' and praising Carey's mature vocals.

Juzwiak particularly praised 'Breakdown', which he called one of the album's best tracks. Of Carey's vocals, he wrote, 'The relatively high and thin register that she sings in when not belting (and that's often) could be the most important of Butterfly's changes, as it marks the first time that Mariah the vocalist seems consistently real.

She's utterly soulful.' In his consumer guide for, critic gave Butterfly a 'dud' rating, indicating 'a bad record whose details rarely merit further thought'. Accolades PublicationAccoladeRankRef.The Best R&B Albums of '90s.

Awards Butterfly, recognised by critics as one of Carey's best albums at that point in her career, received several awards and was nominated for others. At the, Carey received an honorary award, recognizing her achievement of earning 'The Most Number-one Singles Ever by a Female Solo Artist in History'. 'Honey' was nominated at the for and, while 'Butterfly' was nominated for. Butterfly won a in the 'International Pop Album of the Year' category. For Butterfly, Carey won the for in 1998. Additionally, the album won the Pop Award for Songwriter of the Year and the Songwriter awards for 'Honey', 'Butterfly' and 'My All'. At the in 1998, Carey won the awards for the Entertainer of the Year and Soul Train Lady of Soul, which were presented to her by and.Butterfly was nominated at the 1998, in the Outstanding Female Artist category.

At the, Carey was named the Songwriter of the Year and received the Song of the Year award. At the 1998, Carey won two of night's top awards; the World's Best-selling R&B Artist and the World's Best-selling Recording Artist of the '90s. Carey was unhappy not to win any of the Grammy Awards once again, but this was offset by the success of her tour, which was taking place during the awards. According to author Marc Shapiro, 'No amount of awards could replace the popular acceptance of Butterfly and the feeling she was now free to live her own life – creatively and personally.' In a recent list compiled by a selection of rock critics, Butterfly was chosen as one of the.The album was released with two different covers and in 2007 one of them was listed on 's Sexiest Album Covers.

Commercial performance Butterfly debuted at number-one at the US selling 236,000 copies in the first week after its release. It maintained that position for one week and remained in the top twenty for 21 weeks; it stayed in the chart for 55 weeks, including one re-entry.

The album achieved its highest weekly sales in the 14th and 15th weeks of its release, when it was number eight in the chart, peaking at 283,000 sales in the 15th week. It also peaked at number three on. In the United States, Butterfly was certified five-times by the (RIAA), denoting shipments of five million copies.

Estimates the album's sales at 3,807,000 copies in the US. In Canada, the album debuted at number one and was certified double- by the (CRIA), denoting shipments of 200,000 copies of the album. Butterfly debuted at number one in Australia, and received a double-platinum certification from the (ARIA), indicating shipments of 140,000 units.In Europe, Butterfly peaked within the top-five in several European countries. It received a platinum certification by the (IFPI), denoting shipments of well one million copies throughout Europe. In the United Kingdom, Butterfly peaked at number two, and was certified gold by the (BPI), denoting shipments of 100,000 copies.

In France, the album peaked at number six, where it was certified double-gold by the (SNEP). Sales of Butterfly in France are estimated at 292,000.As with many of Carey's previous records, Butterfly became a large success in Asia. In Japan, the record debuted at number one on the album charts.

The album was certified the Million Award by the (RIAJ), denoting shipments of one million copies. In Hong Kong, Butterfly finished as one of the twenty best-selling foreign albums of 1997, receiving a platinum certification by IFPI. Globally, Butterfly has sold over 10 million copies. Legacy In the years since its release, Butterfly has been hailed as being an R&B. In a retrospective review for, Bethonie Butler focused on the album's impact, stating that it 'changed the face of pop music' by paving 'the way for other pop stars.to sing alongside their rap contemporaries'. Writing for Rich Juzwiak focused on the influence of Carey's vocal stylings in the track 'Breakdown', remarking that 'in this day and age, when there’s so much genre blending that it’s sometimes impossible to label an artist as merely “singer” or “rapper,” it’d be foolish to understate the prescience of' the song. A profile of the album in by Jessica Littles further stated that the album 'catalyzed the pop music trend of collaborating with hip-hop artists', concluding that it 'not only showcased her Carey's already-established prowess as a vocalist, who could belt out ballads or flirt over the hottest summer jams, but also as one of the most versatile songwriters in contemporary music'.

'It was a grueling process; I'm not going to say it was easy. I got up at 3 A.M. Every day, and worked until 9 in the morning the next day – for four hours in a row, swimming in my Gucci pumps! I can't say that I really jumped off the roof, but I did dive into the pool.

But I did wear and swim in those pumps, and I was not happy'—Carey, on her exhausting experience on the set of 'Honey'.The lead single from the album, 'Honey', was notable for pushing Carey further towards hip hop and R&B than before. The music video gained further attention, as Carey, for the first time in her career, was provocatively dressed, giving viewers a 'taste of the freer Mariah.' The -filmed video's concept was created by Carey with filling in as the director.

Featuring a theme, Carey was a 'very sexy agent M', in the words of Nickson, who escapes a large mansion in which she has been held captive. Carey said of the video: 'I don't really think the video is overtly sexual, but for me—I mean people used to think I was the nineties version of Mary Poppins!' At the time of the video's release, Carey and Mottola were in the midst of their divorce. Tabloids and critics were linking the video's theme to Carey's marriage, writing how Mottola would lock her in their mansion, although she denied this. In an interview, Carey said that 'Tommy loves the video, he says it's my best video yet.' Carey's writing partner of six years, Afanasieff, felt the video was undeniably about Mottola.The music video for 'The Roof' was ranked 18th on 's '100 Greatest Music Videos'. Sal Ciquemani, from Slant, gave the video a positive review, complimenting Carey's pairing the sultry song with a 'sophisticated tale of a sexy rooftop encounter.'

The video shows Carey reminiscing on a past love and a night they shared together on a rainy roof-top. The video revolves around the settings of a dark limousine, a decrepit NYC apartment, and a rainy roof-top, where according to Slant, 'Carey is featured at her most vulnerable, with runny mascara and drenched in the cold rainy night.' In the conclusion of his review of the video, Ciquemani wrote: 'When Carey rises through the limo's sunroof and relishes the warm November rain, she's not drunk on the bubbly but on the memory of past delights.' The video for 'My All' was also one of the more notable videos from Butterfly. The video featured Carey in various places, including a submerged vessel, a lighthouse and a large conch shell floating the shore.

In each of the scenes, Carey is shown lamenting her love and yearning to be re-united with him once more. In the video's climax, Carey meets her love in the lighthouse, where they caress and drift into the 'nights abyss.' According to author Chris Nickson, the scenes of Carey on the overturned vessel showed her vulnerability without her loved one, truly emphasizing the yearning featured in the song.

Track listing No.TitleLyricsMusicProducerLength1.' Adapted from the Butterfly liner notes. – lead vocals, background vocals. – keyboards, additional keyboards, synthesizers,.

Dave Hall – synthesizers, keyboards, rhythm programming. – keyboards. – background vocals, keyboards, synthesizers. – drum programming, keyboards. – programming, drums.

James T.