Brandy, Human Full Album Zip Hitl __TOP__
Full Moon opens with "B Rocka Intro", a shortened and rearranged version of "What About Us?" that starts with a robot voice. The title of the intro references producer Rodney Jerkins's nickname for Brandy. The first full song on the album is title track "Full Moon", producer Mike City's only contribution to Full Moon. A piano-dominated up-tempo song with a "lulling drumbeat and heavy bass," Norwood characterized it as urban contemporary, explaining that "Full Moon" is "pop and R&B at the same time [but] has a lot of elements to it." Lyrically, the song deals with a love at first sight during a full moon night. "I Thought", a Jerkins-crafted adamant break-up song about female empowerment, features electro bass lines and crunchy drums. Jerkins described it as an "anthem [and] a flip off" of Brandy's previous single "The Boy Is Mine." "When You Touch Me" is a ballad that revolves around the planning of a rendezvous. Initially conceived by Big Bert, it was significantly polished by Jerkins. Singer-producer Teddy Riley with whom Jerkins worked on Michael Jackson's Invincible (2001) during the creation of Full Moon appears on the talk box segment of the song.
Brandy, Human Full Album Zip Hitl
Since its release, Full Moon has garnered retrospective recognition from musicians, vocalists and music producers, particularly within the R&B and urban contemporary gospel genres. Regarded as "the blueprint of modern R&B," the album is credited with "continuing Norwood's artistic progression and introducing a new facet of herself, destroying the image of a teenager in exchange for that of a grown woman," with Billboard calling it "the one to cement her as an R&B trailblazer" as well as the "gold standard for modern R&B vocalists". Music analyst Khaaliq Crowder wrote in a retrospective review published in blog Leeky Crowder that with Full Moon "Brandy abandoned the old image to successfully present a fully developed new one. She no longer used boxer braids nor did it carry the image of the girl-next-door, the singer of "Have You Ever?" returned in 2002 with long, sleek straight hair and heavy makeup, adding warm, sultry mannerisms to her music on songs like "Like This" and "Come a Little Closer"."
Returning from yet another hiatus, Norwood's fourth album Afrodisiac was released in June 2004, amid the well-publicized termination of her short-lived business relationship with entertainment manager Benny Medina. Norwood ended her contract with his Los Angeles-based Handprint Entertainment after less than a year of representation following controversies surrounding Medina's handling of the lead single "Talk About Our Love", and failed negotiations of a purported co-headlining tour with R&B singer Usher. Despite the negative publicity, Afrodisiac became Norwood's most critically acclaimed album, with some highlighting the "more consistently mature and challenging" effect of Timbaland on Norwood's music, and others calling it "listenable and emotionally resonant", comparing it to "Janet Jackson at her best." A moderate seller, the album debuted at number three on the Billboard 200, and received certifications in the United States, Europe and Japan. "Talk About Our Love" reached number six in the United Kingdom, but subsequent singles failed to score successfully on the popular music charts. Later that year, she guest-starred as Gladys Knight in the third-season premiere of American Dreams, in which she performed "I Heard It Through the Grapevine".
Havoc and Bright Lights marked a rebirth for Alanis Morissette, the first album she recorded as a newlywed mother. Delivered a full eight years later, Such Pretty Forks in the Road is the second act of the story, an album about learning how to find contentment at middle age. Morissette wrestles anxieties, origin stories, addictions, parenthood, and partnership throughout the record, searching for reasons and a diagnosis, achieving a sense of peace with having her sense of calm being disturbed on occasion. Appropriately for an album that's decidedly focused on an inward journey, Such Pretty Forks in the Road simmers, never boils. Hooks force themselves into the center stage on "Reasons I Drink" -- the rare tune here that could be called catchy -- but otherwise melody takes a back seat to mood. This doesn't necessarily mean Morissette's words are pushed into the spotlight. Such Pretty Forks in the Road is lacquered in immaculate gloss, a sound that accentuates the interior journey of the songs without quite inviting exploration. A close listen reveals all the troubles rolling around Morissette's mind, but the nice thing about Such Pretty Forks in the Road is how its smooth, placid surface makes the record feel like an album-length guided serenity meditation.Side A1. Smiling2. Ablaze3. Reasons I Drink4. Diagnosis5. Missing The Miracle6. Losing The Plot