The best song, though, is “O.V.E.Rr.,” a tale of two lovers who keep coming back to each other. Missy Elliott appears on and co-produces “Do It,” throwing back to her more understated work with the ’90s soul group 702 that ran counter to her more futurist solo catalogue. Braxton’s voice-with all its brilliant depth-suitably overpowers her co-stars' presence, hinting at the chasm in their maturity and experience. “I’ll get you straight up fiendin’,” he later retorts like a guy who has heard “ He Wasn’t Man Enough” and is trying very hard.
“I’m a little older and I really kinda like it that way,” she declares. The title track features a back-and-forth between Braxton and an unbilled male vocalist in the role of a younger beau. On the excellent “Gotta Move On,” Braxton analyzes post-breakup life over an immaculately crafted musical backdrop and backing vocals courtesy of H.E.R.
The album’s best moments move with a sleek sophistication that defines some of her greatest hits. On a record that trades in retro sounds, this gooey disco jam it’s one of the few moments that sounds dated and stale. It adds up to a short collection that shows the familiar voice, style, and swagger of Braxton to be well preserved, even though things get off to an inauspicious start with “Dance.” It’s a track that aspires to the great tradition of danceable hits about dancing- Jessie Ware made an album of these recently-as Braxton tries to groove the pain of a break-up away. Though long-time collaborators Babyface and Antonio Dixon once again assist in production, Braxton asserts more agency than her previous album, 2018’s Sex & Cigarettes, by writing and producing a significant amount of the record. With Spell My Name, Braxton upholds her position as an originator of the sound of 1990s R&B.