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The production is great balancing a slower, somber sound on the verses and bridges articulating guilt with a more upbeat chorus about realizing the damage they have caused one another. A song about how the two have cheated on each other in a tit-for-tat situation, there is something really good about this one. Hurt You – Yes, this relationship is definitely dysfunctional. There seems to be a story developing that you can tell is not going to end well.ģ.
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The two are in a relationship that is full of fighting, but they decided that the best way to reconcile their differences is between the sheets: So if you really wanna fight/We can take it the bed tonight/And if you really wanna scream/I can make you scream tonight. This song seems to continue the story from the first song. While he doesn’t sound bad, when Braxton picks up the bridges and the heavy load in the chorus, you start wishing that she was soloing on this one. Sweat – With an intro that would immediately make older music lovers think of Maze, this is a sultry production that serves to highlight Braxton’s voice a little more than it does Babyface’s. The production has that signature Babyface sound that is ubiquitous to much of his music and the team’s vocals are lush without going overboard, playing well off each other.Ģ. Still, since we know from the album title that this relationship is going to end in divorce, perhaps this is the best way to go. The rollercoaster aspect doesn’t really come through. Both of Babyface’s verses focus on the fact that he is angry at Braxton (for a slight real or imagined) and her bridges focus on the fact that she loves him one minute and hates him the next. Most of the song seems to focus on the fact that Braxton and Babyface seem to have a dysfunctional relationship. Roller Coaster – A song that is supposed to be about the ups and downs of love, but there is a major title/content conflict here. Can it live up to the legacy the two had set earlier in their careers with other collaborations?ġ. R&B music, which had seen a significant decline in listenership through the 2000’s is beginning to make a resurgence and it seemed like it was the perfect time for the now veteran artists to make a reappearance with an album of duets all centered around relationships. They had an excellent collaborative style throughout Braxton’s first two albums and have maintained a friendship even as out of each other’s immediate influence over the years.įast forward to 2014 and the music world is a very different place. It made sense that Braxton’s first single was a duet between the two that was featured on the Boomerang soundtrack. When his record label signed a young artist named Toni Braxton (along with her sisters), it was clear that she had the kind of sultry voice that would allow her to sing just about anything. Babyface, while having been in the business since the early 80’s, was starting to come into his own as a singer/songwriter/producer. With Janet and Michael dominating the pop charts, these two seemed like a match made in heaven for what was becoming the golden age of R&B and black artists. If you take a trip back to the 90’s, there were no to greater musical forces in R&B than that of Toni Braxton and Babyface. Toni Braxton & Babyface * Love, Marriage & Divorce * R&B * February 4, 2014