brandy album download Brandy album download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66ab2005cd7b84e0 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Human. 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. Two Eleven. Brandy could have released another adult contemporary-oriented set, or linked with the dance-pop producers who have boosted many of her fellow artists. Instead, she made a modern R&B album. Even Two Eleven's most upbeat and commercial song, "Put It Down" -- a blocky, bass- heavy number featuring Chris Brown and production from Bangladesh and Sean Garrett -- was aimed more at urban radio than mainstream Top 40 stations. It became the singer's first Top Five R&B/Hip-Hop single in ten years, and it sticks out on an album dominated by aching ballads and grown slow jams. She took something of a risk by breaking from her norm and working with numerous songwriters and producers -- a large cast that includes Rico Love, the Bizness, MIDI Mafia, Warryn Campbell, Mario Winans, and Frank Ocean. It paid off. Much of what resulted teems with assurance and empowered, shot-calling sexuality. "Slower," produced by Switch and co-composed by Chris Brown, slips and slides with a dazzling backdrop. Brandy scuttles between relaxed and rapid modes to equally stimulating effect, following "Come here, let mama bring you up to speed" with "I know you wanna beat it up, but I'm sorry, that ain't really my thing." A piano ballad sheathed in synthetic tom rolls, gauzy guitar, and heavily treated background vocals, "Paint This House" carries some awkward and corny metaphorical/literal cross-ups but is too gorgeously arranged -- make that sculpted -- to be taken as anything other than an album high point. On the slow-motion "Do You Know What You Have," Brandy gets a booming, atmospheric beat from Mike Will, fresh from Juicy J's "Bandz a Make Her Dance." In a seductively challenging manner, the singer repeatedly asks, "Do you know what you got here?" That's a good question. Months after scores of music fans went bananas over an opportunistic resuscitation of a deceased peer's studio scraps, Brandy, a superior vocalist ignored or disregarded by many of those same people, released one of her best albums. She should not be taken for granted. Full Moon. 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. Afrodisiac. 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.