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Brooklyn's Don Diva

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Album Review

You'd think seven years — turbulent years that involved a bout with near-total deafness and in-public temper issues that led to some time behind bars — would allow Foxy Brown more than enough time and experiences to make Brooklyn's Don Diva anything but a reheated version of 2001's Broken Silence, but that is what it most resembles, as opposed to a bold step forward or a reclamation of her power. A couple tracks and a few stray lines aside, these verses could have been dashed off by the MC at just about any earlier point in her career — a shame since the hypnotizing likes of "Too Real," featuring snaking and skanking production from Statik Selektah (and a verse from AZ), and "Star Cry" hint at how potent the album could've been, given the soul-searching tension between anger, sadness, and swaggering combativeness. During the latter, she temporarily rejects her possessions and fame, fights back tears through "I'm just like y'all, but I probably hurt more/After 13 years I feel I deserve more." But these moments are few and far between, moderately satisfying only for those who have been eager to get their hands on a new Foxy Brown album since the 2005 single "Come Fly with Me" (unfortunately not included here). Retraced steps, backed by an assembly line of knockoff production work, are the rule.

Customer Reviews

Foxy Brown-Brooklyn's Don Diva

7 year absence, its been a while for Foxy fans. The female rapper has dealt with one legal issue after another, whether it be beating up neighbors with cell phones, to attacking manicurists, she's been through it all. Now she's back and ready to prove she is Brooklyn's Don Diva. Brooklyn's Don Diva: Dark dense production, as bass bumps and claps create the sparse feel, leaving Brown to deliver some fire. Lyrically it has a few stingers, but more about her return and braggery. Its a decent intro. 2.5/5 We Don't Surrender: Queens rapper, Graph delivers a solid verse, filled with NY swagger and confidence. Foxy brings some decent verses, over an uptempo production of brassy horns and dramatized strings. 3.5/5 We're On Fire: Synth line retreads, as lurking strings bounce. The hook sounds horrid here, Mavado bringing a reggae like hook that is irritating, while Brown delivers mediocre rhymes, but tries too hard to show off her reggae flow and it ends up being detrimental to the track. 3/5 Dreams Of F***ing A DBoy: Production was mediocre, as Jay Rush delivers a soulful hook. It works well, but overall the track is just decent, merely average material. 3/5 When The Lights Go Out: Raunchy and sexually driven cut, Foxy delivers some sexual lyrics throughout this uptempo club vibing track. Its light and feel good, with Kira lightly glazing the hook, while Foxy moans between rhymes, the track is a solid track. 4/5 Never Heard This Before: Dwele's hook is average, along with the track. Brown spits various braggadacio over this light rolling production. Overall it is pretty bland and not too interesting. 2.5/5 Too Real: Production is classy and smooth, gives off a slight vibe of Biggie's "Big Poppa" production wise. Foxy really spits on this one, bringing some realness to the track, as the lyrics are filled with Brooklyn grit. AZ only adds to the fire with a worthy guest verse. 3.5/5 Star Cry: Moody bassline, piano pounds make this a worthy production, for Foxy to absolutely kill. She speaks on the mixed emotions inside, as they really show up lyrically. The hook explains the pain and toughness of the industry, as well as other issues. Brown's reflection on this is excellent and a good listen. 4.5/5 Why: The soul sampling hook is badly used here and really ruin the hook. The production overall just isn't likeable, annoying and bland, and lyrically it isn't impressive either, so this would be filler. 1.5/5 She Wanna Rude Bwoy: Reggae influenced, Foxy brings some decent lyricism, while DeMarco utilizes the T-Pain vocoder and sounds horribly bad. Luckily he makes up for it with a heavy dancehall accented verse. The track is a decent reggae ode. 3/5 The Quan: Bass pumps, as a singular reggae like guitar runs throughout. Lady Saw brings a reggae hook, but the track is just too sparse and would have worked better with better and fuller production. Brown is mediocre, and the track is filler. 2/5 Bulletproof Love/One Love: How We Get Down: Production was decent, pounding keys and bassline, as Graph and Prinz assist Foxy with this Brooklyn banger. When Brown brings out the inner b****, she delivers fire, as evident here. Street banger and one for Brooklyn, it works well. 3.5/5 We Set The Pace: Another reggae influenced track, it sounds better than the previous "She Wanna Rude Bwoy" as Morgan Heritage & Spragga Benz both add nice vibes to the track. Brown uses her reggae flow and it has moderate success, as the track is pretty chill and enjoyable. 3/5 The Quan (Hip Hop Mix): The hip hop mix here sounds much better, fuller and banging. The track works better than the original and is a worthy hip hop remix, compared to the ill advised reggae version. 3/5 Foxy's long awaited, fourth album should satisfy die hard fans that have been waiting all 7 years to hear Brown. Sounds very similar to her '01 release of Broken Silence, so you could call it part two. The highlights here are "Star Cry" and "When The Lights Go Out", one being an emotion revealing track of struggle, the latter being a raunchy banger for Brown. Those are the more poppy or glitzy tracks, as "How We Get Down" is a NY banger and one for the streets, and "Too Real" has a nice chill feel to it. Moments like these are sprinkled throughout, among the mediocre filler and reggae sounding cuts. Brown overly does the whole reggae flow, as a lot of tracks feature reggae vocals. It almost sounds like she was overly influenced by Lil Kim's jamaican/reggae attempt of "Put Ya Lighters Up", however Brown does have a solid track in "We Set The Pace". Overall the album is mediocre, could have sounded much better with her Brooklyn swag on more tracks, instead she goes for reggae attempting tracks that are hit or miss and filler. If she spit more about the pain and emotions going through her, evident on "Star Cry" or the banging feel of "How We Get Down", the album would have been much more satisfying, this will settle for now, but one might hope for more. Rating 6.5 out of 10

foxy is RAP's DON DIVA

this album is definitely FIYAH! this is definitely fOXY on her ILL NA NA game. the album is hot to def. you gotta add this to your collection if you a music fan. she ate up every verse on every song. werk fOXY

Boogie is back

foxy is back and she bringing the heat like always


Born: September 6, 1979 in Brooklyn, NY

Genre: Hip-Hop/Rap

Years Active: '90s, '00s, '10s

Before she had released any material at all, Foxy Brown appeared on several 1995-1996 platinum singles, including her first credit, LL Cool J's "I Shot Ya," as well as Total's "No One Else" remix of Jay-Z's "Ain't No...," Toni Braxton's "You're Makin' Me High" remix, and Case's "Touch Me, Tease Me." The incredible success led to a major-label bidding war at the beginning of 1996, and by March, Brown had signed with the Def Jam label as another in the ranks of young and hard female rappers. The Brooklyn...
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Brooklyn's Don Diva, Foxy Brown
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