Earlier this month, it was reported that Adele and Simon had finalised their divorce nearly two years after their split.
According to a divorce judgement obtained by TMZ on Wednesday, the former couple have agreed that neither party would be required to pay spousal support.The singer, 32, and businessman, 46, have agreed to have joint legal and physical custody of their son Angelo, eight.The romantically content won't want to go anywhere near it.Adele won't pay ex-husband Simon Konecki any spousal support and former couple have agreed to have joint custody of their son Angelo as they finalise divorce This is a solid addition to both artists' discographies. 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. "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.
Either that, or the relationship is extremely up and down the singers sometimes sound as if they are addressing ex-lovers from other relationships. The sequence of songs plays out like scenes on shuffle. "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 duo don't seem nearly as connected to them. 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. 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. On Love, Marriage & Divorce, Toni Braxton and Babyface, creative partners going back to the early '90s, rekindle their musical relationship.
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