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Tamar Braxton – Winter Loversland (2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 30:09 minutes | 348 MB | Genre: Soul, R&B, Pop
Studio Masters, Official Digital Download | Front Cover | © Epic – Streamline Records

Thirteen years passed between Tamar Braxton’s first and second solo albums, but Winter Loversland — released in November 2013 — followed the latter by only a couple months. It’s a brief Christmas album, only 30 minutes in length, in which Braxton covers a lot of familiar ground (“Santa Claus Is Coming to Town,” “Silent Night,” etc.) yet puts forth maximum effort. In some cases, the amount of energy exerted is greater than what’s required — most audibly so on an a cappella update of “The Chipmunk Song (Christmas Don’t Be Late)” that features Trina Braxton and dollops of melisma. “Sleigh Ride” and “Santa Claus Is Coming to Town” get traditional vocal arrangements with contemporary beats, while some songs — like “Have Yourself a Merry Little Christmas,” including an undeniably stunning closing note, and a serious “Santa Baby” — are played straight. A medley of “Away in a Manger” and “Little Drummer Boy,” apart from what sounds like light fingersnaps, is all vocals as well, more an impressive showcase for Braxton’s talent and versatility than anything else. Braxton co-wrote the album’s lone original, a ballad titled “She Can Have You.” Nearly suitable for everyday listening, it’s basically a breakup song with Christmas mentioned three times. ~ Andy Kellman

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Tamar Braxton – Love and War (2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 48:23 minutes | 573 MB | Genre: Soul, R&B, Pop
Studio Masters, Official Digital Download | Front Cover | © Epic – Streamline Records

The sophomore solo album from the television star and R&B vocalist. Tamar just so happens to be the younger sister of Soul diva Toni Braxton. In early 2012, she made a decision to return to the studio. Twelve years had passed since her major label debut, Tamar, but it finally felt right to delve into making music again. The artist had already endured the changing tides of the business and its tumultuous nature. This time, she wasn’t going to bend for anyone or hold anything back. “This is the first record where my music has truly reflected who I am,” she affirms. “One night when I was in the studio, everything clicked. I found the sound I’d been looking for within myself for years. I never had a chance to go as deep as I did. I’m not trying to be something I’m not. I have to be me. The vocals just poured out of me.”

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Tamar Braxton – Calling All Lovers (Deluxe) (2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 56:22 minutes | 657 MB | Genre: Soul, R&B, Pop
Studio Masters, Official Digital Download | Front Cover | © Epic – Streamline Records

Tamar Braxton’s return to music in 2013 could not have gone much better. Love and War debuted at number two, featured a number one R&B hit and two additional singles that either scraped or peaked near the Top Ten. Three Grammy nominations resulted. Follow-up Calling All Lovers is wrapped up like it offers even more theatrics. Braxton isn’t smiling in any of the photos contained in the booklet, which is made to look like a newspaper titled Tamartian Times. (Braxtonian Beacon was likely never considered; “Tamartian” is a nod to her followers). The album starts in scattered fashion with some neo-reggae, a retro-modern midtempo groove that evokes breakbeat-driven early-’90s productions, and a church-ified ballad. After those three songs, the album stabilizes, sliding between a number of plush ballads and sophisticated but bumping slow jams. Heartache prevails during the first half and crests with “Never,” an authoritative and elegantly paced kiss-off of an inappreciative lover. The latter half is mostly about devotion and awe, while the back-to-back “Love It” (all booming bass, tapping keyboards, and rattling percussion) and “Must Be Good to You” (light and springy disco-funk) turn it up several degrees with Braxton offering firm declarations of her sexual power. Calling All Lovers doesn’t merely offer more than what its packaging suggests. It might not feature a single as big as “Love and War,” but it tops that song’s parent album. ~ Andy Kellman

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