“The great thing about M is she’s a ‘Honey,’ as much as she is a ‘Hero,’” says Daniel Moore, Mariah Carey’s musical director.
Moore, who initially joined Carey’s team as a keyboardist in the mid-2010s, has since become one of her primary songwriting partners, particularly on introspective album tracks like “Portrait.” He describes their creative process as organic and melody-driven. “Usually, she just starts singing the melody,” Moore explains, “then I try to find chords that match. We kind of go back and forth on what feels like a verse, what feels like a chorus.”
Throughout her career, Carey has used her albums to explore personal themes, from her family history in “Close My Eyes” to the complexities of her biracial identity in “Outside.” Moore confirms the profound authenticity of these lyrics. “When I first worked with her on Caution, she told me upfront that on those deep cuts, the lyrics are hers,” he says. “She has a diary where she writes all of the lyrics down. It’s her personal thoughts and whatever she’s feeling at the moment.”
For their first collaboration, 2018’s “Portrait,” Carey wrote the poignant lines, “Where do I go from here? How do I disappear?” Moore notes, “Only she knows that part of her life. I don’t think it would feel as authentic if it didn’t come solely from her.”
This partnership also produced “Here For It All,” the emotional centerpiece of her new album. The track begins as a soulful ballad reminiscent of early songs like “Vanishing” before transforming into a triumphant gospel anthem. Moore reveals the song originated during the pandemic in Carey’s “Butterfly Lounge” studio sessions. “Those kind of felt like jam sessions,” he recalls. “It was like, no more rules, no more ‘It has to be three minutes and 30 seconds to make the radio.’”
Moore remains in awe of Carey’s spontaneous genius, sharing a story from his predecessor, Big Jim Wright. After finishing the recording of “Circles” for The Emancipation of Mimi, Carey was about to leave the studio when she returned from the restroom with a new idea. “She sang, ‘da-ra-da-ra-ra-ra,’” Moore recounts. “And that’s where ‘Fly Like A Bird’ came from. It was just in the moment. That’s who she is.”
While Carey maintains a core group of trusted collaborators like Jermaine Dupri and Bryan-Michael Cox, she often brings new talent into her circle. Her collaboration with Dev Hynes on the 2018 track “Giving Me Life” came about after she reached out as a fan of his work as Blood Orange. “We were just vibing,” Carey says of their session, which resulted in the song’s expansive, guitar-driven outro.
This affinity for rock-infused sounds is not surprising, given her famously unreleased 90s alt-rock album, recorded under the band name Chick and titled Someone’s Ugly Daughter. When asked about its whereabouts, Carey confirms its status remains in limbo. “It’s half in the archives, half outside the archives,” she says.
Reflecting on the album’s edgy title, she jokes about its modern-day appeal, particularly in relation to her daughter’s taste in music. “I feel like I need to get her a T-shirt,” Carey muses, before reconsidering. “Well… not ‘Someone’s Ugly Daughter,’ she can’t have that. I’ll wear it! I’ll wear the shirt.”
