Toni Braxton Albums (6)
What The Critics Say
Libra marks Toni Braxton's departure from Arista, her longtime label. It was a stormy relationship that ended with the fast death of 2002's fine More Than a Woman. Only one Neptunes-produced single was spun off from it, which peaked somewhere in the eighties of the Hot 100. Half a year after the album's release, Braxton was off Arista and on the Universal-distributed Blackground, but Libra didn't surface until fall of 2005. (Granted, Braxton's no stranger to protracted gaps in her release schedule.) Libra offers no surprises. It's lean and balanced, just like all other Braxton albums, though too many songs are tepid and merely functional for background listening, so it winds up a safe distance from the likes of the self-titled debut and Secrets. "Take This Ring," produced by Rich Harrison, adds some unexpected rambunctiousness, yet it's about one-tenth as exciting as Amerie's like-sounding "1 Thing" (also Harrison's work). Beyond the obvious single choices -- produced by big names like Scott Storch and Bryan-Michael Cox -- two songs handled by the Underdogs' Antonio Dixon ("Sposed to Be" and "Finally") are as sublime and plush as any other pair in Braxton's catalog. Although this is her spottiest album to date, her fans shouldn't have any trouble appreciating it. ~ Andy Kellman, All Music Guide
What The Critics Say
If there's any problem with More Than a Woman, Toni Braxton's fourth album, it's that it's so consistent, so much a continuation of its predecessor, The Heat, that it may be hard to pinpoint distinctive characteristics. Unlike that album, it lacks a single as undeniable as "He Wasn't Man Enough," yet much of this album is in a similar sexy spirit. It also doesn't have any ballads as seductive as "Un-break My Heart." In fact, few of the songs stand out, yet that doesn't mean they're bland or generic. They're simply cut from the same cloth and fit well together, particularly since they're given a nice, stylish production that's rarely flashy. The same could be said for Braxton's performance, since it's assured and sensual but never strutting. And that may be the problem with the record for some -- it's confident but not brassy, never overwrought. Unlike many diva dance-pop albums of 2002, it never tries too hard, so it was easy to overlook it, but it was easily one of the most satisfying listens of its kind released that year, and another fine record by Toni Braxton. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Snowflakes is hardly a traditional Christmas record. Of its nine proper songs (the two final songs are instrumental and remix variations of two cuts that came before), there are only two standards -- "Have Yourself a Merry Little Christmas" and "The Christmas Song" -- unless you want to count Vince Guaraldi's "Christmas Time Is Here," familiar through Merry Christmas, Charlie Brown. The rest has been co-written by Braxton and a variety of collaborators, then polished by her, Keri Lewis, and Antonio "L.A." Reid. Not surprisingly, the end result is something that's very similar to a proper Toni Braxton record, only with an appropriately hushed tone and the sultriness replacing the overt sexiness. Some of the originals are pretty good -- particularly the two opening cuts, "Holiday Celebrate" and the Shaggy duet "Christmas in Jamaica" (it's always a good idea to front-load holiday records) -- and the rest that don't make much of an impact are nevertheless pleasant and add to the mood. And that pretty much summarizes the record -- it's not remarkable, but it's nice, providing a nice, romantic soundtrack for an evening of cuddling in front of the tree and a roaring fire. Which is all that you could ask for, really. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Toni Braxton went through a lot in the years separating her star-making Toni Braxton and her 2000 comeback The Heat. Yes, she became a star, but she also went through a painful bankruptcy that delayed her sequel for years. Fortunately, you wouldn't be able to tell that there was so much behind-the-scenes drama from The Heat -- it's a confident, assured, sexy effort that reaffirms Braxton's status as one of the finest contemporary mainstream soul singers. She may not be as street-smart as Mary J. Blige, nor does she push the boundaries of the genre the way TLC does, but she has a full, rich voice that instantly lends her songs a sense of maturity and sensuality, especially since she never, ever oversings or misjudges her material. And, while that material can occasionally be a little generic, much of The Heat is built on solid ballads and smoldering, mid-tempo dance numbers. Producers as diverse as Babyface, Rodney Jerkins, Daryl Simmons, Teddy Bishop, and David Foster are responsible for various tracks on the album, which is typical for a big-budget, superstar release like this, but rarely are the tracks quite as consistent and cohesive as they are here. The skittering beats of "He Wasn't Man Enough" and "Gimme Some" are every bit as effective as the simmering title track or ballads "I'm Still Breathing" and "Spanish Guitar" -- or "Just Be a Man About It," an instant classic telephone breakup song, with Dr. Dre playing the wayward lover breaking the news to Ms. Braxton. True, The Heat slightly runs out of momentum toward the end, but there aren't many dull spots on the record -- it's all stylish, sultry, seductive, appealing urban contemporary soul that confirms Braxton's prodigious talents. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Toni Braxton's second album, Secrets, follows through on the promise of her eponymous debut. Like her first album, the majority of Secrets was co-produced by Babyface and his partner L.A. Reid, while the material is divided between songs written by outside songwriters like R. Kelly, Tony Rich, and Diane Warren and originals by Braxton and Babyface. Braxton and Babyface's collaborations are the highlights of the album, combining rich melodies and gorgeous choruses with subtle, clever lyrics that are never laced with clichés. Nearly equalling the original numbers are contributions by Tony Rich ("Come On Over Here") and R. Kelly ("I Don't Want To"); with these tracks, both musicians demonstrate why they are considered two of the top songwriters in '90s R&B and soul. Secrets does have a couple of weak moments. The numbers produced by David Foster are too predictable in their slick commercial appeal, but Braxton manages to infuse the songs with life and passion that elevates them beyond their generic confines. And her vocal talent is what unites Secrets and makes it into a first-rate contemporary R&B collection. Braxton is a singer who can cross over into the smooth confines of adult contemporary radio without losing or betraying the soul that lies at the foundation of her music, and her talent burns at its brightest on Secrets. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Toni Braxton is both an elegant and earthy songstress, nicely balancing those seemingly divergent sentiments on her self-titled debut disc. Braxton's husky, enticing voice sounds hypnotic on "Breathe Again," dismayed on "Another Sad Love Song," and disillusioned on "Love Shoulda Brought You Home." But she's never out of control, indignant, or so anguished and hurt that she fails to retain her dignity. It's a sign of how great the Babyface/L.A. Reid production team was that they didn't settle for a defining mood; they presented Braxton with enough diverse emotional settings to hold the interest of urban contemporary males and females. ~ Ron Wynn, All Music Guide
