Toni Braxton And Babyface Album
- Broken Bells, Toni Braxton and Babyface, and the Haden Triplets have new albums.
- More Toni Braxton And Babyface Album images.
Again working heavily with L.A. Reid and Babyface, Braxton released her second album, Secrets, in the summer of 1996. Her show, Toni Braxton: Revealed.
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BROKEN BELLS “After the Disco” (Columbia) straighten out their priorities on their second album, “After the Disco.” James Mercer, the Shins’ singer and songwriter, and Danger Mouse, the producer whose real name is Brian Burton, staked out a concept on their first album as Broken Bells, the 2010 “Broken Bells”: They delivered downhearted lyrics using a very particular palette. Broken Bells determinedly reconstructed an analog era steeped in wistful memories, using sliding synthesizer lines, Kraut-rock bass tones and primitive drum machines.
Unfortunately, they got so busy showing off their allusions that the solid songs were buried in gimmicks. “After the Disco” keeps the concept and fixes the mix. The album is still an exercise in style.
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Mercer and Danger Mouse, who between them play nearly all the instruments, flaunt their vintage equipment (or convincing counterfeits) and echoes of 1970s and ‘80s hitmakers like E.L.O., the Bee Gees, a-ha and the Eagles. It’s more or less the same sonic terrain as the first album; nearly every instrumental timbre, from the rhythm section to simulated horn arrangements, is rounded off.
But this time Broken Bells focus on the songs, not the sounds. The change is the sum of a lot of tweaks, the most important of which is that Danger Mouse’s production constantly keeps Mr.
Mercer’s voice in the foreground. He sings about varieties of desperation and loneliness, about withdrawals and breakups, about longing and resignation. The songs are full of characters — some in the first person — who are lost, aimless and uncertain; the singer offers reassurance if he can. “I saw that look on your face/ You don’t need me now,” Mr. Mercer sings in “The Changing Lights.” “And sometimes you wonder if it’s all/ Just another mistake.” The pop structures, meanwhile, are comfortingly crisp verse-chorus-verse and the settings are, at best, subliminally familiar without being too blatant about their sources. At times, Broken Bells stray over that line; the chorus of “Holding on for Life” is a little too Bee Gees for its own good, and “Control” doesn’t steer clear enough of “Hotel California.” Yet the album is full of lovely little touches, like the fluttering flutelike sound that agitates the plaintive “Leave It Alone,” or the gauzy sway of “Lazy Wonderland.” Broken Bells are still as openly self-conscious as they were on their debut album; “We prefer good love to gold/ And the remains of rock and roll,” Mr. Mercer sings in the album’s closing song.
But this time they don’t flaunt their cleverness; they let a listener discover it after the songs sink in. JON PARELES Photo. TONI BRAXTON AND BABYFACE Love, Marriage & Divorce (Motown) Toni Braxton and Kenneth Edmonds (know as Babyface) were never married to each other; he worked with her intensely on her first few albums in the 1990s — and sporadically thereafter — as a songwriter and producer. Together they made studies in medium darkness and patient, put-together brooding and obsession: “Breathe Again,” “Another Sad Love Song,” “You’re Makin’ Me High.” They each had divorces. His last album of original music as a singer was nine years ago. Her last album was in 2010, but last year she announced that she would retire from music; Babyface lured her back with the promise of making a record called “Love, Marriage & Divorce.”.
Advertisement So the album is a reuniter, a reanimator, if not purely autobiographical. There are few great marriage records, other than those by Ashford and Simpson. To sing about marriage is often to sing about something else, some idealized measure of peace or stability. There are a few more great divorce records.
Marvin Gaye’s “Here, My Dear,” from 1978, is one. It both describes anguish and is anguished. (What does actual anguish sound like, rather than the representation of it? It sounds like a mess. Gaye’s record was rambling, looping, petty, vain, like a man talking to himself. He sang things like “you have scandalized my name.” And “anger will make you sick.” And “why do I have to pay attorney fees?”).
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THE HADEN TRIPLETS “The Haden Triplets” (Third Man) The Haden Triplets — Petra, Tanya and Rachel Haden — are 43, and have been blending their voices, in a family tradition traceable to the Ozarks, since roughly the age of 3. The overlap in their artistic lives since then suggests an ongoing conversation, but not necessarily one with much purposeful forward motion. So if their self-titled debut album seems like an overdue, common-sense inevitability, it also has the spark of an unexpected grace, something you knew better than to expect. As in other conservation-minded projects, the chief catalyst here was Ry Cooder, whose son, the drummer Joachim Cooder, happened to be performing a show with the Haden Triplets, and asked him to join. They all played a devotional Bill Monroe tune, and in short order the elder Mr. Cooder was offering to produce an album.
Toni Braxton And Babyface Video
Anyone familiar with “Rambling Boy” (Decca), a 2008 release by Charlie Haden, the, will have some idea of the prevailing spirit here. “Single Girl, Married Girl,” a Carter Family song, opened Mr. Haden’s album with his daughters’ sweet harmonies; the same song appears as the second track on “The Haden Triplets,” in a more relaxed tempo and key. (“Voice From on High” is the other repeat tune.) But this album stands on its own, as a study in sisterly rapport and a slice of rustic Americana that has nothing to do with any vogue in the style. (This is true even through it’s being released on Jack White’s Third Man Records.) A collection of heirloom songs that the girls grew up singing, it was, with Ry Cooder on guitars and mandolin, Joachim Cooder on drums, and Rene Camacho on acoustic bass. A f There’s a beauty in plainness here, one that suits the lyrical thrust of a tune like “Memories of Mother and Dad” or “Tiny Broken Heart.” Still, this isn’t an album of brittle austerities: “Slowly” involves a lilting two-step up until the coda, a wink and a nod to the Byrds. “Raining Raining” opens with a delicate patter of pizzicato on violin (Petra) and cello (Tanya), before moving on to a mournful melody both played and sung by Tanya.