Butterfly＜完全生産限定盤＞

【マライア・キャリー デビュー30周年企画】1997年発売 『Butterfly』をアナログ盤で再発売(リマスター盤)

人気絶頂の中、離婚などプライベートの変化を乗り越え、生まれ変わったマライアの傑作。先行シングルとなった「Honey」は、当時バッドボーイ・レーベルを率い飛ぶ鳥を落とす勢いだったショーン・パフィ・コムズをプロデューサーに起用。他にもジャーメイン・デュプリやコーリー・ルーニー、トラックマスターズ、ミッシー・エリオットなどHIP-HOP系のトラックメーカーを招き、その後のマライアにつながるサウンドを鮮烈に印象付けた。このアルバム以後、彼女の代名詞として"蝶"のモチーフがたびたび登場することになる。

Upon its release, Butterfly was interpreted as Mariah Carey's declaration of independence from her ex-husband (and label president) Tommy Mottola, and to a certain extent, that's true. Butterfly is peppered with allusions to her troubled marriage and her newfound freedom, and the music is supposed to be in tune with contemporary urban sounds instead of adult contemporary radio. Nevertheless, it feels like a Mariah Carey album, which means that it's a collection of hit singles surrounded by classy filler. What is surprising about Butterfly is the lack of up-tempo dance-pop. Apart from the Puffy Combs-produced "Honey," Butterfly is devoted to ballads, and while they are all well-crafted, many of them blend together upon initial listening. Subsequent plays reveal that Carey's vocals are sultrier and more controlled than ever, and that helps "Butterfly," "Break Down," "Babydoll," and the Prince cover, "The Beautiful Ones," rank among her best; also, the ballads do have a stronger urban feel than before. Even though Butterfly doesn't have as many strong singles as Daydream, it's one of her best records, illustrating that Carey is continuing to improve and refine her music, which makes her a rarity among her '90s peers. ~ Stephen Thomas Erlewine