Toni Braxton (album)

Toni Braxton is the debut studio album by American singer Toni Braxton, released on July 13, 1993, by LaFace Records and Arista Records. The album was primarily produced by L.A. Reid, Babyface, and Daryl Simmons.

The album has sold 5,135,000 copies in the United States and 10 million copies worldwide. It earned Braxton several awards, including three Grammy Awards (for Best New Artist and two consecutive awards for Best Female R&B Vocal Performance in 1994 and 1995). She also won two American Music Awards (for Favorite Soul/R&B New Artist and Favorite New Adult Contemporary Artist) in 1994 and another one in 1995 (for Favorite Soul/R&B Album).

Background
Braxton and her four sisters—Traci, Towanda, Trina, and Tamar—signed with Arista Records as the Braxtons in 1989. The following year, the group released their debut single, "Good Life". Though the song was commercially unsuccessful, it attracted the attention of record executive Antonio "L.A." Reid and record producer Kenneth "Babyface" Edmonds, who were shopping around for talent for their new label LaFace Records. Instead of signing the quintet, they opted to offer Braxton a contract as a solo artist. With only one year to finish at Bowie State University, where she was studying to become a music teacher, she relocated to Atlanta to pursue a singing career.

Release
The first single, "Another Sad Love Song", peaked at numbers seven and two on the Billboard Hot 100 and Hot R&B/Hip-Hop Songs charts, respectively. The album's second single, "Breathe Again", reached the top five of both the Hot 100 and R&B charts and at number two on the UK Singles Chart. Other singles were released from Toni Braxton in 1994, including "You Mean the World to Me", "Seven Whole Days", and the double A-side "I Belong to You"/"How Many Ways".

In Japan, the album was released as Love Affair, also a song on the album. The Japanese edition contains the same track listing as the standard version; the only difference is the Obi strip and the bonus lyrics booklet written in Japanese.

Critical reception
Toni Braxton received mixed to positive reviews from music critics. Ron Wynn from AllMusic said that the album showcased Braxton as "an elegant and earthy songstress, nicely balancing those seemingly divergent sentiments [...] Braxton's husky, enticing voice sounds hypnotic, dismayed, and disillusioned [...] but she's never out of control, indignant, or so anguished and hurt that she fails to retain her dignity." Los Angeles Times critic Connie Johnson wrote: "Sounding like an unlikely hybrid of Phyllis Hyman, Anita Baker and Tracy Chapman, Braxton's sultry, earthy delivery makes her a standout in today's R&B arena." Similarly, People found that "when Braxton slides into her lower register she echoes Anita Baker, and when she skips around the higher notes there's also a hint of Whitney Houston. The influences are there, but Toni Braxton is most definitely her own woman. On this sophisticated, stylish and soulful album, she slates her case."

Mitchell May, writing for the Chicago Tribune, noted that "Braxton wisely lets the mood of a tune dictate her approach, allowing her to supply an emotional depth that perhaps even the songwriters didn't know was there." He also found, however, that "the disc loses steam around midpoint." In a mixed review, Rolling Stone journalist John McAlley felt that "Braxton has got chops and spunk... And, yes, there are a handful of songs in which she gets to do the do. But there's not a poet in the house among LaFace's family of writer-producers – no Smokey Robinson, no Linda Creed. And for all its polish, too much of the music on Toni Braxton mistakes melodrama for passion and set pieces for soul." Marisa Fox of Entertainment Weekly found much of the album "generic" and concluded that Braxton "can sing, but there's nothing in her songs or delivery to set her apart from any number of wine-cooler R&B divas." Village Voice critic Robert Christgau gave the album a "neither" rating in his Consumer Guide book.

Accolades
The album earned Braxton several awards, including three Grammy Awards (for Best New Artist and two consecutive awards for Best Female R&B Vocal Performance in 1994 and 1995). She also won two American Music Awards (for Favorite Soul/R&B New Artist and Favorite New Adult Contemporary Artist) in 1994 and another one in 1995 (for Favorite Soul/R&B Album).

Commercial performance
Toni Braxton debuted at number 36 on the Billboard 200 for the week ending July 31, 1993. Following Braxton's appearance at the American Music Awards of 1994, the album rose from number seven to number one in its 31st week on the chart, on the issue dated February 26, 1994, becoming the first number-one album for LaFace Records. It spent a second non-consecutive week atop the Billboard 200 for the week ending March 19, 1994, following the 36th Annual Grammy Awards. The album has sold 5,135,000 copies in the United States and 10 million copies worldwide.

Personnel
Credits adapted from the liner notes of Toni Braxton.

Musicians

 * Toni Braxton – lead vocals (all tracks); background vocals (tracks 1–6, 8–12)
 * Kayo – bass (tracks 1, 5–7, 10)
 * Babyface – keyboards (tracks 1–3, 5, 7, 10, 12); background vocals (track 7)
 * L.A. Reid – drums (tracks 1–3, 5–7, 10, 12)
 * Debra Killings – background vocals (tracks 1, 7)
 * DeRock – percussion (tracks 2, 3, 10)
 * Vance Taylor – keyboards (tracks 3, 5, 10); acoustic piano (track 7)
 * Pamela Copeland – background vocals (tracks 3, 4)
 * Tammy Davis – background vocals (track 3)
 * Keisha Jackson – background vocals (track 3)
 * Tim & Ted – drums, keyboards (track 4)
 * Skip Pruitt – saxophone (track 4)
 * Tim Thomas – background vocals (track 4)
 * Tye-V – background vocals (track 4)
 * Bo Watson – keyboards (tracks 6, 7); synthesizer programming, vocal arrangement, rhythm arrangement (track 6)
 * McArthur – guitar (track 6)
 * Tomi M – guitar (track 6)
 * Trina Broussard – background vocals (track 7)
 * Valerie Davis – background vocals (track 8)
 * Rex Rideout – keyboards, programming (track 11)
 * Ernesto Phillips – guitar (track 11)
 * Orlando Phillips – bass guitar (track 11)

Technical

 * L.A. Reid – production (tracks 1–3, 5, 7, 10, 12); mixing (tracks 1–7, 12); executive production
 * Babyface – production (tracks 1–3, 5, 7, 10, 12); executive production
 * Daryl Simmons – production (tracks 1–3, 5, 7, 10, 12)
 * Jim "Z" Zumpano – engineering (tracks 1–7, 10, 12)
 * John Rogers – engineering (track 1)
 * Barney Perkins – mixing (tracks 1, 7); engineering (track 7)
 * Dave Way – mixing (tracks 2–5, 12)
 * John Frye – mixing assistance (tracks 2–6, 12); additional MIDI programming (tracks 2, 3, 10, 12); engineering assistance (track 6)
 * Tim & Ted – production (track 4)
 * Ron Horvath – engineering (track 4)
 * Phil Tan – engineering (track 4)
 * Thom Kidd – engineering (track 4)
 * Ted Bishop – engineering (track 4)
 * Brad Gilderman – engineering (track 5)
 * Randy Walker – technician (track 5)
 * Bo & McArthur – production (track 6)
 * Jason Schablik – engineering assistance (track 6)
 * Jon Gass – mixing (track 6)
 * Fil Brown – engineering (track 7)
 * Steve Schwartzberg – engineering (track 7)
 * Matt Westfield – engineering (track 7)
 * Sean Young – engineering (track 7)
 * Milton Chan – mixing assistance (track 7)
 * Vassal Benford – production (track 8)
 * Victor Flores – engineering, mixing (track 8)
 * Vincent Herbert – production, mixing (track 9)
 * Ben Garrison – engineering, mixing (track 9)
 * Ernesto Phillips – production, mixing (track 11)
 * Toni Braxton – co-production (track 11)
 * Bill Plummer – engineering (track 11)
 * Bob Rosa – mixing (track 11)
 * Dana Vlcek – mix engineering assistance (track 11)
 * Herb Powers Jr. – mastering
 * Constance Armstrong – album coordination
 * Davett Singletary – project coordination

Artwork

 * Susan Mendola – art direction
 * Daniela Federici – photography