Songs
The album's first track and lead-single "Please" is produced by Scott Storch and it's an arresting danceable ballad recalling the glory moments of her early days. The second track, the ballad "Trippin' (That's the Way Love Works)", is sang in a rapping way, with fast talking where the melody isn't lost and harmonizing is inserted at the right moments. The album's third track "What's Good" is a decidedly traditional ballad, Isley Brothers-esque throwback and uses a clip from Joe Sample's "In My Wildest Dreams". The fourth track "Take This Ring" produced by Rich Harrison, is an upbeat heavily percussion driven record. An aggressive song that is balanced by well managed vocal arrangements lead by unapologetic lyrics. It was compared to Amerie's 1 Thing, also produced by Harrison. It has drum-and-bass-heavy accusational fire.
"Suddenly", which only appears on the European edition of the album, is a relatively jazzy track. It's easily comparable to How Could an Angel Break My Heart" and it features the trumpeter Chris Botti. "I Wanna Be (Your Baby)" is a ballad written by Babyface and Daryl Simmon. "Sposed to Be" is a "tranquil song" with a finger snapping groove. The self-recriminating "Stupid" was compared to the work of Anita Baker. "Finally" makes lyrical references to past hits like "Breathe Again". "Shadowless" is an acoustic guitar ballad in which she sings about a love lost and a plea to win it back.
Read more about this topic: Libra (Toni Braxton Album)
Famous quotes containing the word songs:
“Music is so much a part of their daily lives that if an Indian visits another reservation one of the first questions asked on his return is: “What new songs did you learn?””
—Federal Writers’ Project Of The Wor, U.S. public relief program (1935-1943)
“People fall out of windows, trees tumble down,
Summer is changed to winter, the young grow old
The air is full of children, statues, roofs
And snow. The theatre is spinning round,
Colliding with deaf-mute churches and optical trains.
The most massive sopranos are singing songs of scales.”
—Wallace Stevens (1879–1955)
“When we were at school we were taught to sing the songs of the Europeans. How many of us were taught the songs of the Wanyamwezi or of the Wahehe? Many of us have learnt to dance the rumba, or the cha cha, to rock and roll and to twist and even to dance the waltz and foxtrot. But how many of us can dance, or have even heard of the gombe sugu, the mangala, nyang’umumi, kiduo, or lele mama?”
—Julius K. Nyerere (b. 1922)