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Forward, Children is a PopMatters Pick and aids a worthy cause: education. Hiss Golden Messenger offer up a welcome serving of musical communion, and in the service of others, during a time when we all need consolation and reassurance. Dream-folk's Clara Engel sets the stage with an opener on Hatching Under the Stars that's a masterclass in minimalist expansion. Who could blame him for turning his camera off? It's a sketch of our times. As she proclaims her womanhood with throaty whispers and assertive wails, there are glimpses of that girl-next-door little lady in the baggy jeans that used to just talk about her "Baby".īut this grown-up Brandy, the one with the leather outfit and the brand new family, has one thing in common with the cherubic girl she used to be: she still sings with relaxing humility and style - qualities the music world is in dire need of right about now. Despite it's few low points, Full Moon is an achievement. By far, the strongest song on the album is "He Is", another refreshing love song with a classy piano and sparse drum track. But the best part of Brandy, the singer and the young woman, is that she can sometimes transform a mere song into an experience. The same is true for the tired subject matter of "Apart", which lacks some of the complexity and heft of her ballads. Not only does her alto ride the simple music perfectly, but the crystalline lilt of her voice overshadows generic lyrics and saves the songs from mediocrity. Much like the hand-clapping, funky "Like This", the blend of genres doesn't detract from the effectiveness of her newfound vocal maturity or the yearning she evokes as she croons. That said, with the exception of "Can We", few of her up-tempo songs rival the confidence and command she exudes on the album's first single, "What About Us". It's catchy, but slightly weak for its message, even though the new and improved Brandy - christened "B Rocka" by Jerkins - proves that she's finally comfortable enough with her voice to riff when she's in the mood. The same is true for "All in Me", a you-can-depend-on-me love song that infects with its delicate keyboards and sped up breakdown. Her voice on this song, like many of the others, is slightly computerized without sounding overdone. The title track is a club-ready song, with a lulling drumbeat and heavy bass. It appears to be the apex of Brandy's growth as an artist and as a woman, and as she comes into her femininity, her third release proves that there can be few things as stunning to listen to as a woman becoming herself. And "Full Moon" is the perfect metaphor for her transformation. Those jeans have been traded in for leather pants. Now, four years later and in her early 20s the braids are gone in favor of a slick, layered perm. With the piercing tang that only Brandy can deliver, she beat the sophomore jinx by singing love songs without a touch of smut and just a bit of grown woman sensibility. So, when she offered the next step in her evolution into adulthood with Never Say Never init was almost expected. She was simply a little girl unfolding her soft voice on mostly Rodney Jerkins-produced tracks. She was demure and charming, always humble and grinning, her parents never too far from the limelight she attempted to share with her little brother, Ray J who has his own interesting Usher-like thing going on now, but isn't quite as good a singer.īrandy never had the same just-below-the-surface sensuality of Aaliyah or the hands-on-her-hips sassiness of Monica. All along, though, Brandy was still simply herself. Later, she managed to land a starring role in Theathen Moeshasigned a modeling contract and continued to act in a few other movies along the way. Her trademark, instead, was to sing candy-coated caramel songs about typical things year-old girls think about - cute, fine boys. The Missouri native was too innocent and sweet-looking to be gasp sexy. With a bright smile and the shoulder-length braids she came to be infamous for, rocking a floppy cap and baggy jeans, she was just modest enough to be endearing.