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1. Toni Braxton And Babyface Divorce
2. Toni Braxton And Babyface Album
3. Toni Braxton And Babyface Dating

• With an all-time total of 16 Grammy Awards between them, multi-platinum superstars Toni Braxton and Kenny 'Babyface' Edmonds have finally teamed up for their first album of duets together, The album celebrates the strong bond that has been in place between the two artists ever since Babyface and Toni's duet on her smash 1992 debut, 'Give U My.
• – Toni Braxton, Babyface Heart Attack Arranged By [Additional String Arrangement] – Demonte Posey Backing Vocals [Additional] – Kameron Glasper Other [Additional Plugin Wizardry] – Paul Boutin Piano [Additional] – Davy Nathan.

On Love, Marriage & Divorce, Toni Braxton and Babyface, creative partners going back to the early '90s, rekindle their musical relationship. Both endured broken marriages, and presumably it's those experiences that inform the material here -- a succinct collection of 11 songs, eight of which are duets. The emphasis is on divorce, indicated from the very beginning on 'Roller Coaster,' where Babyface enters with 'Today I got so mad at you, it's like I couldn't control myself.' The set finishes with the bittersweet 'The D Word,' seemingly a Sade homage, in which Babyface confesses 'You still own my heart, forever and ever and ever.' Moments that deviate from issues of romantic strife are few. The duo don't seem nearly as connected to them. 'Sweat,' a slinking groove, is like the 'Love During War' to Robin Thicke's 'Love After War,' while 'Heart Attack,' near the album's end, is a retro-disco move that seems more like a throw-in than a crucial part of the album. The sequence of songs plays out like scenes on shuffle. Either that, or the relationship is extremely up and down; the singers sometimes sound as if they are addressing ex-lovers from other relationships. 'Reunited' is a blissful ballad, but it's followed by the embittered 'I'd Rather Be Broke,' where Braxton asserts, 'Just because your money's strong don't mean you can do the things that you do.' Babyface is civil and clear-headed on 'I Hope That You're Okay,' claiming he 'can't go through the motions anymore,' but Braxton follows with a solo spotlight, 'I Wish,' that seems drawn from a different situation: 'I hope she creeps on you with somebody who is 22/I swear to God, I'm gonna be laughing at you every day.' As a narrative, the album can be hard to follow, but it's not as if breakups have a simple arc with a steady, unwavering decline. While most of these songs are ballads, Babyface rarely pulls out his acoustic guitar -- a saving grace for those who tired of hearing it throughout the '90s. This is a solid addition to both artists' discographies. The romantically content won't want to go anywhere near it.

BROKEN BELLS

“After the Disco”

(Columbia)

Broken Bells 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. Mr. 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

TONI BRAXTON AND BABYFACE

Love, Marriage & Divorce

Toni Braxton And Babyface 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.”

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?”)

Subtle perfectionism doesn’t apply very easily to marriage or divorce, but there is a place in the world for an album representing the best Toni Braxton and Babyface can do with the subjects. The title promises something with its bluntness — R&B could use more of that — but it is also strangely categorical and nondescript, like a heading on a legal-size file. And the album is, in fact, mostly business.

They alternate verses over gauzy medium-tempo, light-funk tracks, Babyface in his light tenor, Ms. Braxton in her emotive, petulant voice. They both own up to mistakes and confessing fantasies; unlike Gaye, they depict anguish in a supremely organized, deeply clichéd way. There are very few details of a real person’s daily life. They are singing from a great height.

“I’m sick and tired of going through changes,” sings Ms. Braxton. “I love you, I hate you, I don’t want, but want to, back and forth and back — what should we do?” That song is called “Roller Coaster,” and that pale cliché serves as the song’s main metaphor. The next song, “Sweat,” is about make-up sex; it contains, if you can believe it, a merry-go-round metaphor. In the smooth, retrograde R&B ballad “Reunited”— thanks for the title, Peaches & Herb — she sings “when you walked out of my life, everything fell apart.” But she wants her man back. And so she demands: “Tell me we’ll fall in love again.” Is it that simple — the reuniting, or the falling apart?

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There are sure musical touches in all this lofty mistiness: the minor-to-major shifts in “The D Word,” and the featherweight intensity of “Where Did We Go Wrong,” which is Babyface songwriting at its near-best, the union of early ‘70s post-folk adult-contemporary and R&B. Rather than stake out different positions in these narratives, they’re singing one song. They’re showing, in effect, that two halves of a divorced couple basically feel the same, which is often a variation on can’t-live-with-you/can’t-live-without-you. The approach, always, is neatly formatted; it leaves no trace. Divorce and marriage — and even love — deserve more. BEN RATLIFF

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.

Cooking master boy episode 53 sub indo film real. 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 “Voice From on High,” a devotional Bill Monroe tune, and in short order the elder Mr. Cooder was offering to produce an album.

Anyone familiar with “Rambling Boy” (Decca), a 2008 release by Charlie Haden, the eminent jazz bassist and patriarch, 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.)

Toni Braxton And Babyface Album

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 recorded in Tanya’s house, 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.

Toni Braxton And Babyface Dating

The album’s center of gravity, always, is the Hadens’ vocal blend, which isn’t seamless or airless but rather a series of alert, intuitive micro-negotiations in the realm of intonation and timbre. At times you notice how much is actually happening, moment to moment, in that blend. Those moments provide the best argument for hearing the Haden Triplets in real time; try this Tuesday night, when they play a free concert in the David Rubenstein Atrium at Lincoln Center. NATE CHINEN