Brandy Albums (5)
What The Critics Say
Human's release marked the longest wait between Brandy albums, if only by a few months, and it's easy to understand why. After Afrodisiac's June 2004 release, Brandy dropped her manager, left Atlantic, broke off an engagement, was a judge on America's Got Talent, got into a car accident that caused the death of a driver, and signed with Epic (possibly in that order). Issued a few months prior to facing a wrongful death lawsuit filed by the husband of the woman who died in the accident, Human is easily the most platitudinal Brandy album, but it is no less compelling for it, even when blocking out the complicated context of the singer's personal life. Renewing her alliance with Rodney Jerkins, whose production and co-songwriting work dominate the album's first half, Brandy is clearly in a comfort zone that enables her to open up more than ever. This is demonstrated from the beginning, in "The Definition," where she declares a clean slate with trembling resilience. Through most other voices, optimistic "everyone together now" songs like "Warm It Up (With Love)" and soul-searching adult contemporary ballads like "Human" and "Fall" (written with Natasha Bedingfield) would wilt, but there's no denying Brandy's unforced sincerity. Nothing here will get any party started; Human is nothing if not a serious album, not to mention the least enjoyable release in Brandy's catalog. But it could very well be her most useful one. ~ Andy Kellman, All Music Guide
What The Critics Say
Now over a decade into her music career, Brandy is nothing if not consistent. Afrodisiac nevertheless involves a number of personal and creative changes. Since the making of 2002's Full Moon, she became a mother, split with her husband, picked up new manager Benny "The Actual Fresh Prince" Medina, and swapped out primary producer Rodney Jerkins in favor of Timbaland (not necessarily in that order). And her image has drifted away from the one she cast when she was just starting out; this hasn't transpired without some controversy. It's to be expected, but one still has to wonder what all the fuss is about. First, who doesn't change between the ages of 15 and 25? Second, the development isn't quite as drastic as Janet Jackson's jump from "Escapade" to "Throb," though there's a significant parallel there -- Brandy's provocative pose on the cover of Vibe, which hit stands just before this album, recalls Janet's cupped-breast appearance on the cover of Rolling Stone in 1993. Though the surroundings and circumstances may be new to artist and fans alike, the effectiveness has not suffered for it: Afrodisiac is Brandy's fourth consecutive durable showing, fluffed out with a few innocuous -- if still very listenable -- filler moments, but it is stocked with a number of spectacular -- and emotionally resonant -- singles that wind up making for her most accomplished set yet. To regrettably drag Janet back into this, lead single "Talk About Our Love" is even more exceptional than another recent Kanye West-produced track, Janet's own "I Want You," and is a career highlight for both producer and vocalist. Timbaland provides 60 percent of the tracks; though he has confessed to being worn out by the process of music lately, you wouldn't know it from his inspired work. Whether or not Brandy penned the lyrics, her experiences have clearly engendered a new depth to her songs. Her voice remains a treat to hear, and on a couple tracks she wears a slightly worn scratchiness surprisingly well. Closing track "Should I Go" is about as honest and searching as anyone gets these days, and while it's also noteworthy for allowing Brandy and Timbaland to pay tribute to shared love Coldplay, it's the music industry that's being contemplated, not a romantic relationship. Whatever Brandy decides to do, consider her mark made. ~ Andy Kellman, All Music Guide
What The Critics Say
Brandy built her stardom on a few well-timed singles, but she never really delivered albums that fulfilled her promise as a front-woman. Full Moon, her third album, comes the closest to being a full-fledged, well-rounded album, as well as establishing a personality as a singer. That's not to say this album is as fiercely independent or adventurous as Aaliyah's last album, or even efforts by Blu Cantrell and Toya, but it's the most assured, risky album Brandy has yet recorded, the one that suggests that she is more than an appealing young personality who is as effective on record as she is on made-for-TV movies. Full Moon still has some flaws common to contemporary urban soul records -- namely, it's too lengthy, filled with songs that are just there to ensure that the album runs close to 70 minutes, giving some listeners the impression they're getting more bang for their buck; apart from that, the record can be a little too even-keeled and samey -- but it's professionally performed and expertly pitched at the mainstream, with just enough beats to make it seem fresh, yet those very rhythms are polished but always enough to keep the entire enterprise safe and non-threatening. That, of course, means that Full Moon is perched perfectly between the interesting and the mundane and is in equal parts either. Since she's pushing slightly harder to be mature, it's a little more mature and consistent than her previous albums, but each step forward feels measured and calculated -- not necessarily a bad thing, but something that's noticeable as the album stretches on and on over its 17 tracks. There are plenty of moments here that are seductively smooth and even the filler goes down smoothly, but when it's finished, Brandy seems no more distinctive than she did when it started, so it's no wonder that even its triumphs seem muted. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Shortly after the release of her eponymous debut in 1995, Brandy became a star. Not only did the album sell well, but she starred on UPN's Moesha and Disney's made-for-TV Cinderella, all before she released her second album, Never Say Never, in 1998. Needless to say, there was much more riding on the second record than the debut and, fortunately, she follows through with Never Say Never, delivering an album that rivals her first. Brandy wisely decides to find a middle ground between Mariah Carey and Mary J. Blige -- it's adult contemporary with a slight streetwise edge. As with most adult contemporary albums, the record is bogged down by some filler, but Brandy's delivery has improved and her subdued vocals can make mediocre material sound convincing. Still, what makes Never Say Never a winning record is the quality songs and production. The smooth Monica duet "The Boy Is Mine" and the tripped-out "Top of the World" (which features a rap from Mase) are two examples of what Brandy can achieve when everything's in the right place, and they help make Never Say Never a better, more adventurous record than her debut. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
This teenage R&B singer hit the Top Ten late in 1994 with "I Wanna Be Down," a representative track from her solid debut album. Brandy knows her way around a hip-hop beat, layering tender-tough vocals over spare arrangements like a lower-key Janet Jackson or a more stripped-down Mary J. Blige. Good songs and crisp production make Brandy a moody, moving success. ~ Eddie Huffman, All Music Guide
