Is clear, earnest, and fashionably melismatic. One track each, but it's far from mechanical, and Babyface's voice Synths are dominant here, with sax and guitar held to Toward the end of his association with Reid,īabyface was in a purely romantic mood: every song is a love song,Įither slow or midtempo - there's no club dance track like "I'm Your Baby Tonight" or "The Lover In Me" here.īut he has a great ear for sinuous hooks ("I'll Always Love You")Īnd lovely, casual melodies (title track, "When Can I See You," Have benefited from well-thought-out production. It's a shame,īecause there are a couple of nice tunes ("Sunshine") that would Quickly gets stuck in a rut ("My Kinda Girl"). Make much effort to differentiate one track from another, and
#Babyface songs i plus
The band is Reid, Face, Kayo (bass) and Daryl Simmons (percussion, as "De'Rock"), plus vocal groups Troop and After 7 on one track each Babyface doesn't Stop My Heart"), making the uptempo glitz more jarring. The lyrics are uniformly sentimental ("Let's Be Romantic," "Can't Percussion (courtesy of Reid) it's hard to make out the melodies. Nevertheless, the only reason to buy the album is to appreciate how much better Babyface got as he went on.įormulaic dance pop, with so much in-your-face electronic the dance tracks are abysmal ("Can-U-Dance") aside from "So Many Thangz," a serviceable Prince knockoff. There is some improvement, primarily because there's a whole side of ballads ("Two Occasions").
Lead singer Greene keeps working his Morris Day imitation, and it's no more interesting or amusing than before (except for "Hip Chic," which has lyrics so stupid it belongs in the Museum of Bad Taste). The production isn't up to their standard either: the drum and synth programming doesn't show any particular flair (except for some groovy delayed bass on "She Wanted"). Produced by Reid and Babyface, who were rapidly establishing themselves as hit producers, but the songwriting credits are still spread around, which is not a good thing (the trite love song "Shoot 'Em Up Movies" is by hired gun Kenny Nolan, not even a band member). Produced by Midnight Star's Reggie Calloway. "Just My Luck," the one tune written solely by Babyface) hint at the team's chart-busting potential. Programming (title track) and squiggly synth lines are thin and tacky, and the songwriting (most tunes are written by three or moreīand members) is obvious ("Sexy Love" "Working (9 To 5)," the overtime-averse answer to MichaelĪpparently "Body Talk" was a minor hit, but it's no better than the rest, slathered with kitschy vocoder only a couple of ballads ("Crazy 'Bout 'Cha" synth-funk outfit? I was just looking through a used LP stack when I went, "Hey, that dude looks like Babyface!"Īn early attempt to capture the Minneapolis Sound but not a successful one: the robotic drum (DBW)ĭid everybody but me know that LA Reid and Babyface started out in a makeup-wearin', Time-emulatin' Solo albums, which have sold a lot of copies but haven't had the impact of his best work producing others - his voice is pleasant enough, but sometimes lacking in personality.
#Babyface songs i series
NotĬontent with producing others, Babyface has released a series of Melodically compelling than Jam/Lewis' - they produced hits for Whitney Houston, TLC, Sheena Easton, Reid's wife Pebbles, etc.Īfter splitting with Reid, Babyface became even more successful,īraxton, TLC again, and the phenomenally successful Waiting To Exhale Soundtrack. LaFace's productions a lot more stylistically varied and The only R&B/soul producer in the late 80s and early 90s whoĬould compete with Jimmy Jam and Terry Lewis commercially. MTV Unplugged NYC 1997 - Face 2 Face - Christmas With Babyface. Street Beat - Eyes Of A Stranger - Tender Lover.
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