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  1. Há 5 dias · This LaFace Records roster includes both past and present artists. Popular LaFace Records bands and artists are all listed here with information such as what genre the bands fall under and what albums they're known for.

    • Reference
  2. Há 1 dia · The album's release through LaFace Records in April 2006 was a substantial success throughout the world, particularly in Australia. The album reached the top ten in the US, the top five in the UK, No. 1 in Germany, and was No. 1 in Australia for two non-consecutive weeks.

  3. en.wikipedia.org › wiki › Toni_BraxtonToni Braxton - Wikipedia

    Há 4 dias · After attracting the attention of producers Antonio "L.A." Reid and Kenneth "Babyface" Edmonds and being signed to LaFace Records, Braxton released her self-titled debut studio album in 1993. The album reached number one on the Billboard 200 chart and sold 10 million copies worldwide.

  4. Há 5 dias · At age 12 he moved with his mother and brother to Atlanta, and two years later he secured a recording contract with LaFace Records. The album Usher was released in 1994, with the 15-year-old singer moving beyond his choirboy background by proclaiming that “it’s only a sexual thing” on the slow-groove single “Can U Get wit It.”

    • The Editors of Encyclopaedia Britannica
  5. Há 2 dias · LaFace and Arista Records released the song as the album's lead single on October 31, 1994, and it gained both critical acclaim and commercial success. Music critics praised Austin's work and TLC's new musical direction, and commercially "Creep" became the group's first number one on the United States Billboard Hot 100 .

  6. Há 5 dias · The 'Yeah!' hitmaker was handed his prize by producing duo Baby Face and L.A. Reid, who co-founded the label LaFace Records, which signed Usher when he was a teen.

  7. Há 2 dias · Securing A Record Deal And Breaking Records MEGA Weeks later, she landed her first gig with a short-lived R&B group signed to LaFace Records, paving the way for her multiplatinum solo career.

    • 2 min
    • Kelly Coffey-Behrens