![]() ![]() If it’s raw, honest emotion you’re after, you might be better off sticking to Nilsson’s version.īut if you want a flavour of Mariah’s killer formula: melismas, finger-waggles and utterly virtuosic singing, you’ve come to the right place. “She’s taking a great song and in order to customise it for her, she’s using all the formulae she uses to sing.” Which version is better? And this great big treatment of the song, with all its virtuosity, takes all the intimacy of the lyric away. Mariah Carey’s version of ‘Without You’, although it is decidedly very ‘Mariah’, has also been labelled a ‘by the numbers remake’.īott explains: “You could say that perhaps, this is a song about somebody who is heartbroken at having been abandoned by somebody they love. So that way, it doesn’t sound like a cover version.” A ‘by the numbers remake’? Enough words Here's a supercut of Mariah 'Five Octaves' Carey. ![]() This is Mariah, being really unhappy in a crowd. Her range spans from octave 2 to octave 7, which means Queen Mimi can hit notes in five out of eight octaves. “So although Mariah has used Nilsson’s famous piano chords at the beginning and the end, she’s completely made it her own. “However, unlike classical performances, where your main aim really is to share someone else’s – the composer’s – intentions in their music, in pop, it’s your job to put your stamp on everything. ![]() But in a classical coloratura number, the singer would always be keen to make it look absolutely easy-peasy. “And it probably has, because she’s put a lot of emotion in. “At the end, she shows us it’s really been exhausting to perform it,” says Catherine. “She’s not in a studio all lonely on her own, she’s got a huge and enthusiastic audience in front of her, she’s got a great big band and four fabulous swaying backing singers behind her who are going to let rip.”ĭespite Mariah’s tendency to revert to ‘diva’ mode no matter the context, her cover of ‘Without You’ proves she is anything but a copycat artist. If Nilsson’s style is quiet, lonely anguish, Carey’s is a deafening, public display of agony.īott continues: “Towards the end of the song, we get a huge gospel sound coming in, because Mariah is doing a live gig in this recording. That’s really brilliant, and so effortless.” “Then when she sings ‘yes it shows’, there’s a twiddly bit she does that covers an octave and a half. “Mariah is brilliant because she takes that shouty voice higher in pitch than any classical singer that I’ve ever met. It’s raw, naked, visceral singing, and it sounds a bit like a shout.” ‘Brilliant and effortless’ “The chorus, she sings in a very strong chest voice. ![]()
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