Babyface Albums (11)
What The Critics Say
Covers albums tend to be dashed off as a way to fulfill an artist's last remaining contractual obligation to his or her label. However, Playlist is Babyface's first release for Mercury, following 2005's Grown & Sexy, and he put a lot of heart and soul into the material, all of which connected with him as a youngster listening to '70s AM radio. Most of the sources are anything but cool: James Taylor, Jim Croce, Dan Fogelberg, Dave Loggins, and Bread. (Then again, Bread were sort of like the Coldplay of their day.) Apart from Bob Dylan's "Knockin' on Heaven's Door," everything is suited for Babyface, often to the point where the songs don't sound tremendously different from what he has written during the last several years. While you could go back as far as the first Deele songs for indications that he had more than soul and funk in his background, this album really conveys how much he owes to '70s singer/songwriters. In addition to the eight covers, there are two new songs, both of which fit into the album's scheme sonically while being far from lightweight subject-wise. In "Not Going Nowhere," he talks to one of his sons in the wake of divorce ("I've got a room with your name on the door/Your favorite things you could ever ask for"), and "The Soldier Song" addresses those who have had their lives taken by war ("Hope was all he had to cope/But he never made it home"). ~ Andy Kellman, All Music Guide
What The Critics Say
Not everyone was left convinced by Babyface's previous solo album, 2001's Face2Face. Many critics and fans found it to be a desperate act of some form, containing several stabs at with-it youthfulness that would've sounded out of character on his early albums with the Deele, not to mention something he put together almost 20 years later. He was either tired of doing the expected or was attempting to appeal to more than the thirty- and fortysomethings (or both). Those who were left disappointed by that album will probably be happy to have the Face of old back with Grown & Sexy, a back-to-basics album that sounds a lot more natural in comparison. While this is very familiar territory, few cover it as well. Written with longtime partner Daryl Simmons and produced with relative newcomer Gregg Pagani (LeAnn Rimes, Will Smith), Grown & Sexy doesn't have any songs that immediately jump out and fall in line with the biggest hits, but it does make up for that with its consistency. Mostly light and easygoing, though not without its fair share of female-male drama (and a couple touches of humor), it's capped off by a great dancefloor track in the form of "She's International," showing that he needn't necessarily stick to ballads with acoustic guitars. ~ Andy Kellman, All Music Guide
What The Critics Say
Babyface took his sweet time to deliver the sequel to The Day, a rare flop in his catalog, waiting nearly five years to release Face2Face. He wasn't exactly in seclusion, since he still worked relentlessly as a producer and songwriter, even masterminding the tremendous pop-punk soundtrack for the 2001 film Josie & the Pussycats. All this activity, combined with the subtleness of The Day, is in no way preparation for Face2Face, a gleaming, stylish platter of urban funk and smooth soul that is easily among his very best records. As Babyface's sense of craft deepens, he's become more assured with what he wants to do on his own records. Though he's dabbled in funk since the beginning of his career, the grooves here cut deeper and are flashier than ever before, and the sweet croon of his voice just makes them seem deeper. Then there are the ballads that he's always excelled at -- they're just as good here, but they not only offer good contrast, they sound better in this context, surrounded by such exquisite dance numbers and grooves. Even if Face2Face fails to match the chart heights of, say, "Whip Appeal," Babyface has never been in better form, and from beginning to end, this record captures him at the peak of his powers. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Babyface had long demonstrated a talent for smooth, seductive, laid-back contemporary soul before he recorded his holiday album, Christmas with Babyface. Those years he spent perfecting his style were put to good use -- not only did he turn into a reliable hitmaker, but he developed an alluring, mellow sound that appealed to all generations of listeners, which is exactly what is needed for a successful holiday album. And Christmas with Babyface is exactly that -- a warm, friendly, and inviting holiday record, with enough soul for younger listeners and enough style for old folks. It may not be a classic, but it is a lovely record ideal for romantic winter nights or relaxed holiday parties. ~ Leo Stanley, All Music Guide
'MTV Unplugged NYC 1997'
Release Date 11/25/1997
Tracks 11
Label Epic
See Album Tracklist and Review
What The Critics Say
The Day was the first album Babyface released after being elevated into a virtually guaranteed hitmaker in the mid-'90s through his work with Whitney Houston, Boyz II Men, Madonna, and Mariah Carey, among many others. The album confirms his skill for subtle, inventive songwriting and accessible, polished yet soulful production. Babyface can straddle the line between hip-hop and traditional soul better than nearly any other artist, as evidenced by the hits he has orchestrated for other artists. On his own, he is still compelling -- his voice is as smooth as silk, and nearly as seductive -- but it doesn't quite have the force of personality as his greatest productions. Nevertheless, The Day qualifies as state-of-the-art mid-'90s soul, featuring a handful of terrific songs, and a lot of extremely pleasurable filler. [The 2001 CD reissue adds historical liner notes and three bonus tracks: remixes of "Everytime I Close My Eyes," "This Is For the Lover in You," and "Everytime I Feel the Groove," the last of which was previously unreleased and not found on the original album in any form.] ~ Leo Stanley, All Music Guide
What The Critics Say
In late 1993 Babyface, who was at the top of his game as pop/R&B's hottest writer and producer, released his acclaimed solo album For the Cool in You. The album featured four hit singles, those being the title track, "Never Keeping Secrets," "And Our Feelings," and the song that went on to become his signature tune, "When Can I See You." In early 2001, the album was reissued with three bonus tracks, which do the album a great deal of service and widely expand its musical boundaries. "For the Cool in You" is served up with two additional mixes. One is the Quiet Storm Vocal Mix, which, as the name implies, is a laid-back, mellow quiet storm groove. The other is the album's closer, the Midnight Luv Instrumental Mix, which is a fine, mellow, jazzy way to close off the album. Finally, "When Can I See You" is served up with the Urban Soul Basement Mix, which is a dance-house version of the song. This version may displease some of the song's original fans (it was an acoustic ballad in its original inception), but ultimately serves to expand the musical boundaries of the album. For a record that was originally pop/R&B, the reissue is a jazzier offering that includes house music and makes for a surprisingly good listen from start to finish. Also included are beefed-up liner notes, which include all of the original liner notes' artwork. ~ Jose F. Promis, All Music Guide
What The Critics Say
Babyface has established himself as both a performing and production star in the '90s. His alternately innocent, hurt, and disillusioned vocals are this decade's equivalent of the soul/love songs of the '70s and '80s. He can sing sentimental material, tender tunes, or seem angry and confused. His lyrics get overly coy, but they've struck many responsive chords among women in particular. It's not soul, but it's what many who never heard Sam Cooke think it is. ~ Ron Wynn, All Music Guide
What The Critics Say
On his first album, Babyface sings with just enough earnestness to be soulful and just enough sophistication and slickness to avoid sounding too much like a throwback. [The 2001 CD reissue adds historical liner notes and three bonus tracks: a "Free Style Mix" of "Mary Mack," a "Jazz Lover's Mix" of "Lovers," and a 12" version of "If We Try."] ~ Ron Wynn, All Music Guide
