Butterfly (Mariah Carey album)

Untitled

Butterfly is the sixth studio album by American R&B singer-songwriter Mariah Carey, released on September 16, 1997 by Columbia Records. Buttefly became a fusion of Hip-Hop and R&B sounds, as well as some softer and more contemporary melodies. Throughout the project, Carey worked with writing partner, Walter Afanasieff, with whom she co-wrote most of the material in her previous albums. Aside from Afanasieff, she worked with many famed hip-hop producers and rappers, such as Sean "Puffy" Combs, Kamaal Fareed, Missy Elliott and Jean Claude Oliver and Samuel Barnes from Trackmasters. With the latter acts helming the album's production, Butterfly was able to further deviate from the repeated formula of Carey's older work, as well as hailing as one of the defining albums of the 1990's and Hip-Hop and R&B music.

Upon release, the album received positive reviews from music critics, who embraced Carey's musical transformation. Reviewers complimented the album for its mature sound and production, as well as commending Carey's musical direction, calling it a "transitional album, one that makes her a rarity of the 90's." Buttefly was an life-altering album for Carey, continuing the transformation that began with her previous release, Daydream. The album led Carey into a more Hip-Hop and R&B sound, further leading her away from her contemporary-pop background. Though released during Carey's conflict with Sony Music, the album became a commercial success, topping the charts in Australia, Japan and the Netherlands. On the US Billboard 200, the album debuted at number one, spending one week atop the chart. Butterfly was nominated for three Grammy Awards, although not winning either nomination. Butterfly was certified five-times platinum by the Recording Industry Association of America (RIAA), as well as receiving the Million Award in Japan. To date, the album has sold over fifteen million copies worldwide.

Five singles were released from the album. "Honey," the album's debut single, reached the top-five in Canada, New Zealand, United Kingdom and Spain and became Carey's twelfth chart topper in the US. The album's fourth single, "My All," became a top-ten hit throughout Europe, and won Carey her thirteenth number-one single in the US, surpassing Madonna as the female with the most number-ones on the Hot 100. To support the album, Carey embarked on her "Butterfly World Tour," which visited Australia, Japan and Taiwan, with one show in the United States. In the booklet from Carey's twelfth studio album, Memoirs of an Imperfect Angel, Carey stated that she considered Butterfly her magnum opus, and viewed it as a serious turning point in her life.

Background

During Butterfly's development, Carey and then husband, Tommy Mottola, were in the midst of a divorce. During this period, Carey began taking control over her career, musical direction and staff, further fueling the media speculation of the couple's, "irreconcilable separation." Throughout the project, Carey began working with a cast of various rappers and Hip-Hop producers to assist with the album's production, of them were Sean "Puffy" Combs, Kamaal Fareed, Jean Claude Oliver and Samuel Barnes from Trackmasters, Missy Elliott and many others. Upon hearing of Carey's production team, critics frenzied on the move, claiming it was her way of seeking revenge on Mottola, as well as Sony Music. In an interview with What's On magazine, Carey made a statement in regards to the media's speculation.

"I don't think it's that much of a departure from what I've done in the past. I don't want people to be mislead into thinking that it's an entirely new thing and that I've gone entirely left field. It's not like I went psycho and thought I was going to be a rapper. Personally, this album is doing whatever the hell I wanted to do."

Carey had made it obvious that her new album's direction was of her choosing. In fact, the decision was causing a commotion in Sony's headquarters, who feared Carey was jeopardizing the success of their "best-selling act." Carey expressed resentment towards the fact that Sony, who was run by Mottola at the time, did not allow her to make music she was passionate about, despite her "multi-platinum career.

"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 allot 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.

The pressure of starting life on her own, as well as becoming constant "media fodder," took its toll on Carey, which began to show in her work. Due to large amounts of stress, alongside their growing creative differences, Carey and Afanasieff had a fall-out. Reportedly, one night after a long session at the famed "Hit Factory," they entered a heated argument over the album's direction, one which ended in a shattered relationship. In addition to the fall-out, the media began criticizing Carey for her "new crowd of rappers and producers." Stories were being posted in tabloids, linking Carey to several rappers, even going as far as claiming her decision was purely for sexual purposes. In an interview with France Soir, Carey addressed the speculations of her promiscuity with the following statement.

"It's funny because I've never been out there that way, and now it's like a free-for-all, and they're making me out to be a promiscuous freak. And it's not like I need to sleep with a hundred guys to make up for lost time. If I'm with somebody, it's going to be because I love him, not because I need to go wild. With all those diseases and stuff out there, I'm certainly not trying to be in everybody's bed.

In what concerns love, I'm pretty much a novice. I haven't known any man, with the exception of my husband. I have less experience than a teenager."

Writing and composition

Butterfly proved to be Carey's most expressive and mature album to date. With a new musical direction, and a slew of different writers and producers, the album was set to be a hit. On the album, Carey worked with famed producer and rapper, Sean "Puffy" Combs, with whom she wrote the album's lead single, "Honey." Combs was very confident in the song calling it "slammin'," although he felt cautiously optimistic about how the single would fair, considering it's mix of Hip-Hop and R&B. The remix for "Honey" featured rap leads from Da Brat and Mase, with some verses rapped by Puffy as well. While very different than anything Carey had ever recorded, the track was described as "street hip-hop music, with a booming bass." The song's melody was driven by Q-Tip's drum programming and Stevie J's keyboard notes, which all lined up with Carey's voice. Production from Puffy gave the song a "light and airy" effect, further distancing itself from Carey's contemporary sound. "Honey" featured musical samples from Treacherous Three's "The Body Rock," and "Hey DJ" from the World's Famous Supreme Team. While hip-hop and R&B, the track incorporated traces of pop music, for which it was described 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 track, "Butterfly", was one of the ballads written with Afanasieff. Carey described the song as "her favorite ballad she had ever written," one that was different and more personal than anything she had ever written in the past. Co-composed alongside Dan Shea, Afanasieff handled all of the songs instrumentals, as well as adding a few personal R&B touches. Among other ballads written with Afanasieff was "My All", one they wrote together in an effort to contrast the album's Hip-Hop flavor. The song, which seemed directly linked to Kenneth "Babyface" Edmonds's writing style, was described by Carey as "[having] a lush sound and intense styling." Solely written by Carey and Afanasieff, "My All" featured guitar arpeggios, which were synthetically created by Afanasieff with his clever use of sampling and playing keyboard notes. As a result, the song became a "slinky, slow jam R&B sound, that fit Mariah like a glove." "The Roof," one of the album's European releases, truly enhanced the album's palette. The song incorporated bits from Mobb Deep's "Shook Ones (Part II)" into its sound, and was produced by Carey, Poke & Tone and Cory Rooney. The song's lyrics were heavily praised, described as "some of Carey's best work, with a slinky and overtly sexy melody."

"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 albums slower ballads, was another song written solely by Carey and Afanasieff. Though not a single, the song received notice for it's jazzy sound, making it comparable to some of Carey's older work such as "Vanishing" and "The Wind," except being "less straight-forward, with more of a swing and even a touch of class." The next two tracks on the album, "Breakdown" and "Babydoll," were described as "the album's backbone, its real declaration of independence." The songs were the "real R&B" tracks on the album, both integrating different production and artistry. "Breakdown," featured song-writing from Carey and Puffy, including rap verses from Wish and Krayzie Bone from Bone Thugs-n-Harmony, as well as assistance with the song's production. Author Chris Nickson wrote the following regarding the song, "Breakdown showed Mariah treading forcefully into territory that was new for her and making it her own; it had a melody that simmered under her vocal, and a groove that was irresistible." For "Babydoll," Carey teamed up with producer and recording artist, Missy Elliott. The track was recorded in Atlanta, where Elliott resided, and included background vocals from long-time friend, Trey Lorenz. "Babydoll" was depicted as "a vocally driven piece," with some "inventive drum programming" provided by Rooney. Other songs which incorporated both R&B influence into exquisite balladry were, "Whenever You Call" and "Close My Eyes," both sharing very personal meaning to Carey. While both standard ballads in comparison to what Carey had done in the past, Nickson had the following to say regarding the latter ballads.

"While up to to the standard of anything Mariah had ever done before, [they] suffered in comparison. But even here you could here 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."

"Fly Away (Butterfly reprise)" was a song Carey wrote with famed house music producer, David Morales, with whom she created the track. When Carey wrote the concept for "Butterfly," she intended it to be a house record; however after writing the lyrics and making the record with Morales, she knew the song needed another side, it needed to "become a ballad." Carey expressed a desire to feature her concept both on the house record, alongside the ballad that would become "Butterfly." Morales took Carey's lyrics, concept and melody and added a "thumping house beat, propelling some inventive keyboard and vocal work, showing yet another new facet of Mariah." For the album, Carey recorded a version of Prince's The Beautiful Ones, featuring Dru Hill's lead singer Sisqó. The song was one of the last tracks to be recorded, as well as being the only non-original song on the album. The song's vocals were praised and called a "vocal outing" and were described as "sliding into each other." The album came to a close with "Outside," a wonderful ballad that was written by Carey, Afanasieff and Rooney. Regarding the song, Nickson closed off the album's review, writing,

"Sparing, pleading, this was Mariah stripped to the basics, lyrically and musically, finishing it all as she started: stronger, prouder, a new woman, a natural woman who'd come into her won."

Critical reception

Professional ratings

Review scores
Source	Rating
Allmusic
Robert Christgau
Entertainment Weekly	(B-)
Rolling Stone
Slant
TopTenReviews

The album received generally positive reviews from music critics, who praised Carey's musical transformation and direction, calling the album "more mature and subtle than anything Carey had ever recorded." Stephen Thomas Erlewine from Allmusic gave the album a very positive review, complimenting it for its mature sound as well as its powerful and well-crafted balladry, writing, "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." Additionally, Erlewine went on to proclaim Butterfly as one of Carey's best records and finished writing, "Carey is continuing to improve and refine her music, which makes her a rarity among her '90s peers." Nathan Brackett, senior editor of Rolling Stone gave Butterfly praise, complimenting the album's producers, as well as Carey's "more controlled" vocals. While recognizing the album's positive facets, Brackett noticed a connection in between much of Carey's lyrics and her separation from Mottola. Rich Juzwiak from Slant awarded the album a near-perfect score of 4.5 stars, calling it "elegant" and praising Carey's mature vocals. Juzwiak continued to commend Carey's vocals, and particularly praised "Breakdown," calling it one of the album's features. Regarding Carey's breathy vocals, he wrote, "The relatively high and thin register that she sings in when not belting (and that's often) is sometimes cited as a sign of a waning vocal prowess. But it could be the most important of Butterfly's changes, as it marks the first time that Mariah the vocalist seems consistently real. She's not a robodiva and she isn't even on autopilot. She's utterly soulful."

David Browne from Entertainment Weekly gave Butterfly a positive review, awarding it a B-. Browne commented on Carey's vocals, writing, "In Breakdown, she demonstrates she can match the staccato, lite-reggae phrasing of her guests, two members of Bone Thugs-N-Harmony." Additionally, Browne commended Carey's "slushy vocals," as well as her restrained and mature "vocal prowess." However, Browne commented negatively on Carey's outlook on a "more mature" sound, writing, "Oddly, Carey's attempt at musical maturity ends up backfiring. The very-slow-jam grooves have an intimacy lacking in her previous work. But the arrangements — especially the oozing vocal harmonies on many tracks — mute the impact of her lyrics. How are we supposed to connect with Carey's renewal when we can barely understand what she's singing? The softer Carey sings, the less singular her phrasing becomes — it's as if she's so accustomed to power singing that she has to relearn nuance. 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 his consumer guide for The Village Voice, critic Robert Christgau gave the album a "dud" rating, indicating "a bad record whose details rarely merit further thought".

Chart performance

Carey performing "Butterfly" in Germany, during her Adventures of Mimi Tour promo-tour

Butterfly entered the U.S. Billboard 200 at number one, with 236,000 copies sold in its first week. The album remained atop the chart for one week, in the top twenty for twenty-one weeks and on the chart for fifty-five weeks (making one re-entry). Butterfly sold more in both its fourteenth week and fifteenth week of release than in its opening week, peaking at 283,000 copies in its fifteenth (when it was at number 8). The album also reached number three on Top R&B/Hip-Hop Albums. In Canada, the album debuted at number one, and was certified double-platinum by the Canadian Recording Industry Association (CRIA), denoting shipments of over 200,000 copies of the album.

In Europe, the album experienced moderate success, peaking within the top-five in most European countries. In the United Kingdom, Butterfly debuted and peaked at number two, being certified gold by the British Phonographic Industry (BPI), denoting shipments of over 150,000 copies. In France, the album peaked at number six, where it was certified double-gold by the Syndicat National de l'Édition Phonographique (SNEP), denoting shipments of over 300,000 copies. Sales of the album in France are estimated at 292,000. In Europe, the album received a platinum certification by the International Federation of the Phonographic Industry (IFPI), denoting shipments of over one million copies throughout Europe. The album experienced success in Australia, debuting at number one on the charts, and receiving a double-platinum certification from the Australian Recording Industry Association (ARIA).

As with many of Carey's previous records, Butterfly became a large success in Asia, topping the charts in Japan, where it was certified the Million Award by the Recording Industry Association of Japan (RIAJ). Sales in Japan are estimated at well over one million copies. In Hong Kong, Butterfly finished as one of the twenty best-selling foreign albums of 1997, receiving a platinum certification by International Federation of the Phonographic Indutry. In the United States, Butterfly was certified five-times platinum by the Recording Industry Association of America (RIAA), denoting shipments of over five million copies. Billboard estimates the album's sales at over 3,719,000 copies in the United States.

To date, Butterfly has sold over fifteen million copies worldwide.

Singles

Five singles were released from Butterfly; some where featured as airplay-only singles while others were released in only certain territories. "Honey" was released as the album's first single on August 26, 1997. The song became Carey's twelfth number one single on the Billboard Hot 100, while reaching the top-five in Canada, New Zealand, Spain and the United Kingdom. The song was certified platinum by the Recording Industry Association of America (RIAA), for shipments of over one million units in the United States, as well as receiving a gold certification in Australia. "Honey" was well-received, with critics complimenting its catchy sound and clever fusion of pop and R&B sounds. "Butterfly" served as the albums second single, however, was released as an "airplay-only" single due to Carey's conflict with Sony. Nonetheless, Carey has expressed sentiments towards the song, calling it the "best ballad she ever recorded," one that remains one of her favorites. Though not being released commercially by Sony Music, "Butterfly" reached number sever on the Hot 100 Airplay, as well as the top-twenty in New Zealand.

"Breakdown" was the third single released from the album. The song received a limited-release throughout certain countries, such as the United States where it peaked at number four on the Hot R&B/Hip-Hop Songs. Aside from the US, "Breakdown" achieved a steady peak of number four on the New Zealand singles chart, in addition to cracking the top-forty in Australia. While not one of Carey's best known hits, "Breakdown" remains one her most praised songs, receiving acclaim for assisting Carey's transition in the R&B market. In a review for the album, Slant 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, "The Roof" was released in Europe. "The Roof" 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 video received heavy rotation on MTV and Vh1, due to the album's popularity. "My All," 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 Syndicat National de l'Édition Phonographique (SNEP). In the United States, the song finished at number seventeen, on the Billboard Year-End chart, remaining Carey's highest charting single of 1998. Carey re-recorded a Spanish version of "My All," titled "Mi Todo," while also becoming one of her most remixed songs.

Promotion

Main article: Butterfly World Tour

In order to promote Butterfly, Carey made slew of live television and award show appearances. On November 12, 1997, Carey visited The Oprah Winfrey Show where she covered a highly publicized interview, regarding her split from Tommy Mottola. Aside from the interview, Carey sang a live rendition of "Butterfly," as well as her old classic hit, "Hero." Additionally, Carey was featured as a musical guest on an episode of Saturday Night Live, where she performed "Butterfly" for a second time, as well as the Spanish-inspired guitar arpeggios, "My All." Carey performed "My All" at the 1998 Blockbuster Entertainment Awards, as well as The Rosie O'Donnell Show, where she visited twice, and performed "Close My Eyes" live for the first time. Aside from the Blockbuster Awards, Carey performed "Honey" at the 1998 World Music Awards. In Europe, Carey made several television appearances to promote Butterfly. In the United Kingdom, Carey performed "My All" on the Des O'Connor Show and Top of the Pops, alongside "Honey." In Germany, she sang Butterfly on Wetten, dass..? and performed on Japanese television.

Carey filming the music video for "I Still Believe, shortly after wrapping up her "Butterfly World Tour"

Originally, Carey had planned not to tour, as she received mixed response in the US with her Music Box Tour and already had successfully visited Europe and Asia with her Daydream World Tour. However, after the album's release, fans began heavily requesting Carey to tour, especially throughout Asia and Australia. As per Butterfly's continued success and persistent requests from fans, Carey embarked on the Butterfly World Tour, her third head-lining tour. The tour dated eleven shows, four in Japan's largest stadium, Tokyo Dome, one in Taiwan, five in Australia and one in the United States. The tickets for her shows in Japan sold-out, with all 200,000 tickets being sold in under one hour. The rest of the tour was also very successful, selling-out each of it's eleven dates. As her most extensive tour up until that point, Carey performed a sold-out show at the 50,000 capacity Aloha Stadium in Hawaii, where she filmed her concert video, Around the World. The video filmed bits of Carey's shows in Japan, Australia and Hawaii, and edited them together into one tour-compilation DVD. The tour became a critical and commercial success, with fans and critics alike raving about the tour's quality and Carey's vocals.

Awards and accolades

Butterfly was declared "one of Carey's best records to date," and received many prestigious awards throughout the industry. Aside from achieving commercial success, in terms of sales and chart accomplishments, the album helped Carey reach a new plateau in musical technique and artistry. At the Billboard Music Awards, 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 1998 Grammy Awards for Best Female R&B Vocal Performance and Best R&B Song, while "Butterfly" was nominated for Best Female Pop Vocal Performance. The album won a Japan Gold Disc Award in the "International Pop Album of the Year" category. For Butterfly, Carey won the American Music Award Favorite Soul/R&B Female Artist in 1998. Additionally, the album won the BMI Pop Awards for "Songwriter of the Year" and the "Songwriter" awards for "Honey," "Butterfly" and "My All". At the Soul Train Music Awards in 1998, Carey won the awards for "Entertainer of the Year" and "Soul Train Lady of Soul," which were presented to her by Aretha Franklin

Butterfly was nominated at the 1998 NAACP Image Awards, in the "Outstanding Female Artist" category. At the Blockbuster Entertainment Awards, Carey was named the "Song-writer of the Year," and received the "Song of the Year" award. Carey received recognition at the 1998 World Music Awards, where she won two of night's top awards. She received the "World's Best-selling R&B Artist," as well as the "World's Best-selling Recording Artist of the 90's." Carey expressed resentment towards the Grammys, having been shut out again from any wins. However, during this period, Carey was in the midst of her tour, something she claimed help her cope with the loss. According to author Marc Shapiro, "she was on tour, her fans loved her, and at least she didn't have to sit through the whole awards ceremony and then come away empty-handed. 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 voted in by various rock critics, Butterfly was selected as one of the 1001 Albums You Must Hear Before You Die.

Legacy

Butterfly was one of Carey's best-received albums, hailing as one of the most impressive releases of the year. According to Marc Shapiro, the album saw Carey grow as an artist, as well as a "giant creative step forward." Due to the success of her previous album, Daydream, Carey's confidence had grown as an artist, allowing her to take control and "delve deeper into the Hip-Hop world." With "lush ballads" like "Fourth of July," Carey let listeners know that although she matured as a song-writer and producer, "she had not forgotten her roots." Butterfly became an extremely influential album among pop and R&B singers alike, proving itself to be a "creative and classic work." "Butterfly," which Carey reportedly wrote to Tommy Mottola, was held endeared as her "most heartfelt ballad," a song she felt transformed her career and vocal mystique. The album's lead single "Honey," paved the way for Carey as an R&B artist, and helped broaden her artistry and audience. Butterfly's extended popularity, and it's world tour becoming an instant sell-out in Japan, paved the way for Carey's following compilation album, Number 1's, which became the best-selling album in Japan by a non-Asian artist.

Reaction to "Honey" video

The lead single from the album, "Honey," gained worldwide attention for pushing Carey farther into Hip-Hop and R&B than ever before. Aside from the attention surrounding the song, it was really the music video that garnered much speculation. For the first time in her career, the video featured Carey dressed provocatively, giving viewers a "taste of the freer Mariah." The video was directed by Paul Hunter, who filmed it in Puerto Rico and credited Carey for the video's concept. serving a James Bond-theme, Carey was cast as "the very sexy agent M," who escapes a large mansion, where she has been held captive. During the time of the video's release, Carey and Mottola were in the midst of their divorce, leading many to speculate on the video's nature and intention. Tabloids and critics were linking the video's theme to Carey's marriage, writing how Mottola would lock Carey in their mansion, and not grant her leave. While Carey denied the allegations, many found the proof to be overwhelming. Carey's writing partner of six years, Walter Afanasieff, felt the video was undeniably about Mottola. Afanasieff claimed, "the most incredibly coincidential thing that you could out out. Everything in the video is "F**k you Tommy."

Track listing

No.	Title	Writer(s)	Producer(s)	Length
1.	"Honey1"	Mariah Carey, Sean Combs, Kamaal Fareed, Steven Jordan, Stephen Hague, Bobby Robinson, Larry Price, Malcolm McLaren	M. Carey, Sean Combs, Stevie J, The Ummah	5:00
2.	"Butterfly"	M. Carey, Walter Afanasieff, Dan Shea	M. Carey, W. Afanasieff	4:35
3.	"My All"	M. Carey, W. Afanasieff	M. Carey, W. Afanasieff	3:52
4.	"The Roof2"	M. Carey, Jean Claude Oliver, Samuel Barnes, Albert Johnson, Kejuan Muchita, Cory Rooney	M. Carey, Poke & Tone	5:14
5.	"Fourth of July"	M. Carey, W. Afanasieff	M. Carey, W. Afanasieff	4:22
6.	"Breakdown" (featuring Bone Thugs-n-Harmony)	M. Carey, Anthony Henderson, Charles Scruggs, Stevie J.	M. Carey, Sean "Puffy" Combs, Stevie J.	4:44
7.	"Babydoll"	M. Carey, Missy Elliott, C. Rooney, Stevie J.	M. Carey, C. Rooney	5:07
8.	"Close My Eyes"	M. Carey, W. Afanasieff	M. Carey, W. Afanasieff	4:21
9.	"Whenever You Call"	M. Carey, W. Afanasieff	M. Carey, W. Afanasieff	4:21
10.	"Fly Away (Butterfly Reprise)"	M. Carey, Elton John, Bernie Taupin, David Morales		3:49
11.	"The Beautiful Ones" (featuring Dru Hill)	Prince	M. Carey, C. Rooney	6:59
12.	"Outside"	M. Carey, W. Afanasieff, C. Rooney	M. Carey, W. Afanasieff	4:47

International edition

No.	Title	Writer(s)	Producer(s)	Length
13.	"Honey (So So Def Radio Mix)" (featuring Da Brat and JD)	M. Carey, B. Robinson, L. Price, M. McLaren, Freddie Perren, Alphonzo Mizell, Berry Gordy	M. Carey, S. Combs, J. Dupri, Stevie J, M. Seal, The Ummah	3:59
14.	"Honey (Def Club Mix)"	M. Carey, B. Robinson	M. Carey, S. Combs, D. Morales, Stevie J, The Ummah	6:17

Latin American edition

15. "Mi Todo" (M. Carey, W. Afanasieff, Manny Benito) – 3:52

¹ Sampled from the Treacherous Three's "The Body Rock" & the World Famous Supreme Team's "Hey DJ"
² Sampled from Mobb Deep's "Shook Ones"

Charts and certifications

Charts

Chart	Peak position
Australian Albums Chart	1
Austrian Albums Chart	5
Belgian Flandres Albums Chart	6
Belgian Wallonia Albums Chart	2
Canadian Albums Chart	1
Dutch Albums Chart	1
Finnish Albums Chart	12
French Albums Chart	6
German Albums Chart	7
Hungarian Albums Chart	20
Italian Albums Chart	2
Japanese Albums Chart	1
New Zealand Albums Chart	4
Norwegian Albums Chart	5
Spanish Albums Chart	5
Swedish Albums Chart	4
Swiss Albums Chart	3
UK Albums Chart	2
U.S. Billboard 200	1
U.S. Billboard R&B/Hip hop Albums	3

Certifications

Country (Provider)	Certification (sales thresholds)
Australia (ARIA)	2x Platinum
Belgium (IFPI)	Gold
Canada (CRIA)	2x Platinum
Europe (IFPI)	Platinum
France (SNEP)	2x Gold
Hong Kong (IFPI)	Platinum
Japan (RIAJ)	Million
Netherlands (NVPI)	Gold
New Zealand (RIANZ)	Platinum
Poland (ZPAV)	Gold
Spain (PROMUSICAE)	Platinum
Switzerland (IFPI)	Gold
United Kingdom (BPI)	Gold
United States (RIAA)	5x Multi-Platinum

References

• Nickson, Chris (1998). Mariah Carey revisited: her story. St. Martin's Press. ISBN 978-0312195120.
• Shapiro, Marc (2001). Mariah Carey: The Unauthorized Biography. ECW Press. ISBN 978-1550224443.