Full Moon (Brandy album)

In June 1998, Norwood released her second album Never Say Never. Boosted by the success of its number-one lead single "The Boy Is Mine", a duet with singer Monica, it facilitated Norwood in becoming a viable recording artist with cross-media appeal.[2] In total, the album sold sixteen million copies worldwide and spawned seven singles, including Norwood's second number-one song, the Diane Warren-penned "Have You Ever?".[3] Also in 1998, Norwood made her big screen debut in a supporting role in the slasher sequel, I Still Know What You Did Last Summer,[4] which garnered her both a Blockbuster Entertainment Award and an MTV Movie Award nomination for Best Breakthrough Female Performance.[5] The following year, she co-starred with Diana Ross in the telefilm drama Double Platinum about an intense, strained relationship between a mother and daughter.[5] Both Norwood and Ross served as executive producers of the movie, which features original songs from Never Say Never and Ross's Every Day Is a New Day (1999).[5]

Norwood suffered a nervous breakdown in November 1999 – the result of her then-hectic and unhealthy lifestyle and a failed relationship in which she had experienced emotional abuse.[6] Frightened by the idea that a yet-to-be-made third album would not be able to live up to the success of her previous albums, Norwood went on a lengthy hiatus to reflect and take some introspective looks.[6] "I needed to rejuvenate, get my creative juices flowing, balance my life with some privacy, to find my confidence, find my love of music again," she told Jet magazine in 2002.[7] In mid-2000, she started refocusing herself on her musical career, contributing songs to albums such as Urban Renewal (2001) and the Osmosis Jones soundtrack (2001), which introduced a scratchy, evocative edge to Norwood's voice, now having a deeper and warmer tone with a textured lower register and notably stronger head voice.[8][9]

Norwood titled the album of the full moon in honor of its title track and in reference to the previous three years of her life.

Norwood recognized the album's creative focus was based on her own technical achievement and sonority, she stated that the album's concept was based on developing the relationship between a man and a woman: "It's definitely the concept for the album - me falling in love, then going through some turbulence and then, right at the end, I meet the person I really want to be with - so it's a wonderful concept and it's an incredible experience that I had. I found out a lot about myself. love , and I'm just happy that it's reflected in my music."[10][11] Norwood decided to name the album in honor of its title trackand in reference to the previous three years of his life: "I made a complete circle and I feel complete. All of this is reflected in my music. That’s why I named [my album] Full Moon . It’s a concept album , it’s autobiographical . Everything I've been through in the past three years is reflected [in it]." [12] Although the sound of the album was described as "futuristic", the vocalist stated that the concept of futurism happened by chance and was not taken into account throughout the composition of the music and writing of the lyrics [13]

The album's cover artwork was photographed by Haitian Marc Baptiste, it features in the center of an image of Norwood up to just beyond the shoulders, similar to the passport model. In it, the interpreter uses lip gloss consistent with the natural color of her lips and adopts long, "lustrous" straight hair , in addition to "heavy" makeup , credited to Rea Ann Silva. In his neck is a visible collar of leather white placed over the hair. The name of the album, stylized in capital letters, appears in the lower left corner and, just above it, is the image of a full moon. Conversely, the artist's logo was placed in the upper right corner, which consists of the small letter " b " inside what appears to be a silver ring . Right in front of the logo is the singer's mononym. Additional photos for the album artwork were taken by Jonathan Mannion and Mathew Rolston.[14]

Brandy reteamed with Rodney Jerkins (pictured) and his team to work the majority of Full Moon.[7]

In fall 2000, Norwood finally began conceiving ideas for a third studio album with the Atlantic label.[7] While Rodney Jerkins, the main producer of her previous album Never Say Never, and his Darkchild crew, including Fred Jerkins III and LaShawn Daniels, had been working on several new songs for the singer's upcoming project in hopes of recreating the winning chemistry of Never Say Never,[15] Norwood wanted to make sure she was gaining more creative control over the project and thus, arranged meetings with all her writers and musicians to discuss the lyrical topics and sounds she wanted for the album.[7] "I was involved from A to Z," she said. "Every song on the album was inspired by my life [...] I wanted to talk about how I feel on so many levels. I wanted to be in touch with all of my emotions and share them. I've taken three years off for myself and got a chance to find things I like to do, things I don't like and things I want to change about myself."[7]

While Jerkins maintained his status as the album's executive producer, contributing most to its track listing with his team that also consisted of regular songwriters Nora Payne and Kenisha Pratt, Norwood also worked with frequent collaborators Mike City and Keith Crouch, as well as Warryn "Baby Dubb" Campbell, Stuart Brawley, Jason Derlatka, and Jerkins' cousin Robert "Big Bert" Smith, with whom she became romantically involved during the project.[7] In addition, she also recorded with Pharrell Williams and Chad Hugo from The Neptunes. With Norwood fearing that the pair's material would not fit the concept of the album and break her type of production unit, it was left unused.[16] Rapper Ja Rule, singer Babyface and production duo Soulshock & Karlin were reportedly also involved into the project but none of their songs eventually made the album's final track listing.[15][17][18]

Though Norwood has acknowledged that the creative focus of the album was very much on its technical realization and its sound,[19] she declared Full Moon a concept album based on the development of a male-female relationship: "It's definitely the concept for the album – me falling in love, then going through some turbulence, and then, at the end, I find the person that I really want to be with – so it's a great concept and it's a great experience that I had. I found out a lot about myself. I found a lot out about love, and I'm just happy to have that reflect in my music."[20] Norwood decided to name the album after its title track and in reference to the previous three years of her life, stating: "I have done a complete circle and I feel whole. All of that's reflected in the music. That's why I entitled [my album] Full Moon. It's a concept album, it's autobiographical. Everything that I've gone through in the last three years is reflected."[21] The album was originally set to be released on November 20, 2001, but plans were scrapped.[15]

Full Moon opens with "B Rocka Intro", a shortened and rearranged version of "What About Us?" that starts with a robot voice.[22] The title of the intro references Jerkins's nickname for Brandy.[23] 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",[23] 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."[24] Lyrically, the song deals with a love at first sight during a full moon night.[24] "I Thought", a Jerkins-crafted adamant break-up song about female empowerment,[23] features electro bass lines and crunchy drums.[25] Jerkins described it as an "anthem [and] a flip off" of Brandy's previous single "The Boy Is Mine".[15] "When You Touch Me" is a ballad that revolves around the planning of a rendezvous.[21] Initially conceived by Big Bert, it was significantly polished by Jerkins.[26] 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.[26]

The "hand-clapping, funky" song "Like This" sees Brandy continue to discuss her intimate desires with her lover.[23] On "All in Me", a "futuristically funked-out" song built on keyboards and a sped up breakdown,[23] the singer pleads with her lover to have faith in her, promising him she will provide whatever he needs.[21] Producer Rodney Jerkins decided on the inclusion of a 2-step groove section during the middle of the song, following a gig in London months before where he was inspired by artists like Craig David and Artful Dodger.[21] "Apart", produced by Keith Crouch, blends neo soul sensibilities, airy pop, and modern R&B with Middle Eastern music.[15][27] Lyrically, it has the protagnoist lamenting for her partner's attention, resulting in her decision to leave him for the better.[22] "Can We" is a lightweight hip-hop track coated in a batter of futuristic elements on which Brandy requests her partner to clarify their problems, while committing to working through them.[27] "What About Us?" is an offbeat, aggressive high-tech uptempo song, seemingly "set amid a steel factory's sonic churns, whirs and crunches".[28] Brandy described it as "edgy, sexy" and a "little bit ahead of its time ..."[22]

On post-break song "Anybody", another "edgy, eclectic offering",[29] Brandy reminds a lover he is supposed to keep their hurtful relationship a secret.[28] "It's Not Worth It" finds Brandy trying to hold her relationship together after it has deteriorated to shambles.[21] Initially penned in 1999, Jerkins built the song around Michael Jackson's ad-libbed vocals, resulting from a joint recording session for Jackson's 2001 studio album.[30] "He Is", the next song, is a jazzy love song with "a classy piano and sparse drum track" produced by Warryn Campbell.[31] Speaking about God in third person, Brandy was unaware the song was conceptualized as a gospel song by its writers.[32] "Love Wouldn't Count Me Out" is a "sweeping" hymn that has the singer seeking understanding in the midst of romantic trial,[27] while album closer "Wow" is an upbeat ballad that has Brandy singing about the joy of finally finding the perfect lover over a "sun kissed groove".[29][33] International editions of Full Moon contain the cover versions "Another Day in Paradise" and "Die Without You", both being duets with her younger brother Ray J, as well as the beat-heavy, hand-clapping song "I Wanna Fall in Love".[33]

Professional ratings

Aggregate scores
Source	Rating
Metacritic	60/100[34]
Review scores
Source	Rating
AllMusic	[35]
Entertainment Weekly	A−[8]
The Guardian	[36]
NME	4/10[37]
PopMatters	8/10[23]
Q	[34]
Robert Christgau	[38]
Rolling Stone	[39]
The Rolling Stone Album Guide	[40]
Slant Magazine	[27]

Full Moon was met with generally mixed reviews. At Metacritic, it received an average score of 60 out of 100.[34] Album of the Year rated the album 62 out of 100, based on their assessment of the critical consensus.[41] In his review for Entertainment Weekly, journalist Craig Seymour gave Full Moon an A− rating, saying that "where [Rodney] Jerkins' herky-jerky stylings come off cold on Jacko's latest, they embolden 23-year-old Brandy as she learns the difference between teen heartbreak and grown-up betrayal, [suggesting] maturity and the high price that often comes with it."[8] Stephen Thomas Erlewine from AllMusic was critical with the album's length of over 70 minutes but considered it Norwood's most assured, risky album yet, stating: "Full Moon comes the closest to being a full-fledged, well-rounded album, as well as establishing a personality as a singer [...] There are plenty of moments here that are seductively smooth and even the filler goes down smoothly."[35] He gave the album four out of five stars.[35]

Slant Magazine writer Sal Cinquemani rated the album three stars out of five and compared it to Janet Jackson's 1986 album Control, commenting: "For the most part, Full Moon is certainly a forward-minded album, lifting Brandy's typically schmaltzy brand of pop-R&B to a new, edgier plateau [...] The all-grown-up Miss Moesha seems to be making her final transition from sitting up in her room to sitting on top of the world."[27] J. Victoria Sanders from PopMatters considered Full Moon "an achievement" and added: "As she proclaims her womanhood with throaty whispers and assertive wails, [...] this grown-up Brandy [...] 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."[23] Washington Post writer Britt Robson called the album a "refreshingly sexy" record "of honest growth and modest virtues" as well as "of slight refinements and logical maturation".[42] John Aizlewood from The Guardian found that "without Jerkins, Brandy stumbles more easily. At 73 minutes Full Moon is far too flabby, but there's nothing here to derail her."[36]

Billboard praised Full Moon for its ballads and the leading single but was unsatisfied with the album as a whole, stating that "those expecting more from the same [as 'What About Us?'] will be disappointed, it's a fairly paint-by-numbers affair."[43] Similarly, People found that "the rest of Full Moon can't sustain the bizarre brilliance of 'What About Us?'. While much of the CD brandishes a similar edge, with electronic wizardry made for headphone listening, it showcases the producing team more than its singer. Brandy has one of the more distinctive voices around, so it's a shame that she so often gets lost in the beat-heavy mix."[31] Devon Thomas, writer for The Michigan Daily, was generally disappointed with the album. He said that "heavily producer-driven, the album follows the template that catapulted her sophomore album to multi-platinum status. The tradition (or condition) continues on her junior outing, [which] exhibits the same ole Jerkins production we've heard time and time before, just slightly altered (or 'updated') and equipped." Critical with mainstream R&B in general, he further summed: "We know it'll be another hit, another platinum plaque for the Moe-ster, but will this album go down on any 'Best of the Decade' lists? Highly unlikely."[44] Rolling Stone dismissed the album as "frantic, faceless, fake-sexy R&B",[39] while Piers Martin from NME declared it a "velvet-lined bucket of slush".[37] In his Consumer Guide, Robert Christgau gave the album a "dud" rating.[38]

In the United States, Full Moon debuted on top of the US Billboard Top R&B/Hip-Hop Albums chart and at number two on the Billboard 200 in the issue dated March 13, 2002, marking Brandy's highest debut on both charts yet.[45] It also debuted and peaked at number eleven on the Billboard Top Internet Albums chart.[46] Selling approximately 155,000 copies in its first week of release, the album fell short of the O Brother, Where Art Thou? soundtrack (2000) by less than 4,000 copies.[47] Spending thirty weeks on the latter chart, the album shifted about 700,000 copies within the first three months of its US release,[48] and was eventually certified platinum by the Recording Industry Association of America (RIAA) for selling over 1.6 million units.[49][50] With the album's promotion officially ending only six month into its release due to Brandy's pregnancy, domestic sales were not up to par with the first two albums Brandy and Never Say Never (1998), both of which had gone 4× or 5× platinum in the US, respectively.[51][52]

In Canada, the album reached number eight on the Canadian Albums Chart.[53] On July 19, 2002, it was certified gold by the Canadian Recording Industry Association (CRIA) for shipments of 50,000 copies in the country.[54] In the United Kingdom, Full Moon became Brandy's first top ten album, debuting and peaking at number nine on the UK Albums Chart, with first-week sales shy of 25,000 units.[55] Upon its release, it was immediately certified gold by the British Phonographic Industry (BPI), indicating shipments of 100,000 copies.[56] Full Moon also became Brandy's second album to top the UK R&B Albums Chart.[57] In Japan, Full Moon debuted at number 15 on the Oricon Albums Chart, becoming her second top 20 entry on the chart.[58] It was eventually certified with gold by the Recording Industry Association of Japan (RIAJ) for shipments of more than 100,000 units.[59] Elsewhere, Full Moon entered the top ten of the German and the Swiss Albums Chart, reaching number eight and seven respectively, becoming Brandy's first top ten entries in both countries yet.[60][61]

Full Moon became Norwood's second consecutive album to earn a Grammy Award nomination in the Best Contemporary R&B Album category at the 45th awards ceremony,[62] while also garnering a Best R&B Album/Solo nod at the 2002 Soul Train Music Awards.[62]

Musicians Ambré, Chris Brown, Jacob Latimore, Lil Mo, Mary Mary, PJ Morton, Keke Palmer, Kierra Sheard, and Tank referenced the album and its vocal work as influential.[63][64][65][66] The vocal work on the album sparked the idea of Norwood gaining the subjective nickname the "vocal bible".[67][68][69] Norwood herself has ranked Full Moon among her favorites in her album discography numerous times.[70][71][72]

Songwriter Sean Garrett credits the vocal work on the album for his approach to writing, saying "I take a lot from what [Brandy] and Rodney did on the Full Moon album. I was extremely impressed with it and I always try to outdo that album."[73] B.Slade spoke of the album, commenting Full Moon single-handedly changed the vocal game. "It has been the template for vocal choices and background vocal arrangements [for years]."[74] R&B singer Melanie Fiona, especially admired the singer's work on that album, dubbing Norwood the "Harmony Queen".[75] Neo soul singer India.Arie often cites the album, particularly the song "He Is" as being the template for a wide array of singers.[76] Canadian R&B singer Keshia Chanté credited the album for inspiring her writing for her album Night & Day, while American singer Luke James referred to Full Moon as the "bible" of 2000s contemporary R&B, calling it the "blueprint of how to do vocals".[63] British soul performer Daley included a cover version of the album cut "When You Touch Me" on his Daley, Unplugged tour;[77] the song was also paid tribute to in gospel form by Sunday Best artist Y'anna Crawley.[78] German pop singer Rüdiger Skoczowsky, who cites Brandy as one of his main vocal inspirations,[79] included a cover of "Love Wouldn't Count Me Out" on some of his live shows.[80]

Notes

• ^{^[a]} signifies a vocal producer
• ^{^[b]} signifies an additional producer

Production

• Official website
• Full Moon at Metacritic