enters the Billboard chart this week at #30

Spotify online listen
not yet rated by allmusic

1st studio album
never heard of her
MIA, Janelle Monai and Iggy are who I got out of it
a lot of strange influences here for a Harlem girl
she must have got out alot
rap/hip-hop, but not your normal
only a few tracks potentially offensive

artist website - http://www.azealiabanks.com/

Bio - from allmusic

Raised in Harlem by a single mom while attending Manhattan's Fiorello H. LaGuardia High School of Music and Art, Azealia Banks' backstory reads
like an alternate version of the musical drama Fame, only where the main character discovers her sexuality and becomes a rapper. At a young age
she had aspirations for the limelight, and her mother enrolled her in the school for the performing arts. Her initial focus was on acting and
singing, and by age 10 she was performing off-Broadway with the Tada! Youth Theater in Lower Manhattan. Banks starred in leading roles over the
next several years, including productions of Rabbit Sense, Sleepover, and Heroes, but when she started gravitating toward TV work, the process
of auditioning for commercial spots left her disenchanted with the business. Rap was an appealing alternative. In 2008, at 16, she released the
Ladytron-sampling "Seventeen," which attracted the attention of XL Records. After appearing on Major Lazer's "Can't Stop Now," credited as Miss
Banks, her progress with the label slowed to a halt. She moved to Montreal and recorded two tracks, "L8R" and a cover of Interpol's "Slow
Hands," but it was her next song, a bass-heavy, sexually charged number called "212" that put her in the public eye. Pitchfork, BBC, and NME
gave the track and its accompanying video rave reviews. In 2012, she released the 1991 EP featuring "212" and three other tracks influenced by
house music. Banks relocated to London that same year to work on her debut full-length with Florence + the Machine producer Paul Epworth.

Album Review - from pitchfork

It’s been three years since Azealia Banks sprung up from the New York underground fully formed with "212", her confrontationally profane lead
single. "212" was the seed for all of the triumph and adversity that followed—the prodigious rap skills, the casual genre-bending, and the
bratty disdain for authority. In its wake, Banks charted a career path typical of a budding rap talent. She dropped the promising, beat-jacking
pre-album mixtape (2012’s unrelenting Fantasea) and the compact retail EP of brash originals (2012’s nostalgia tripping 1991). She navigated
through mettle-testing beef with her peers. The tiffs were negligible as long as the music was nourishing, and for a while Azealia’s war on the
rap establishment was excitingly disruptive.

But as work on her Interscope Records debut commenced, Banks hit a tight spot. The deal soured as her new tracks were met with indifference from
label liaisons. Her uncompromising social media demeanor landed her in quaffs both hysterical (See: her merciless ribbing of T.I. and Iggy
Azalea) and injurious (that time she defended her right to call Perez Hilton a gay slur), but vocal criticism of Baauer, Pharrell, and
Disclosure began to cost her profitable collaborators. Her early career goodwill nearly spent, Banks finally caught a break: Interscope let her
out of her deal with the rights to all the songs she’d recorded during her tenure there. Broke With Expensive Taste arrived this month with very
little fanfare, its release announced with a simple tweet. Its lengthy gestation is, of course, its chief foible. Older material accounts for
roughly half the tracklist, and some of it doesn’t mesh well with the fresher, weirder stuff around it. It helps to see Broke With Expensive
Taste, then, as an anthology, The Portable Azealia Banks.

Three songs in, it’s clear why Interscope didn’t know what to do with the thing. Opener "Idle Delilah" bursts in effortlessly crossing elements
of house, dubstep, and Caribbean music. It’s followed by "Gimme a Chance", a bass-heavy post-disco romp that takes a hairpin turn into smooth
merengue halfway through, as Banks flits from rapping and singing in English to perfect unaffected Spanish. "Desperado" borrows a beat from
early 2000s UK garage whiz MJ Cole’s "Bandelero Desperado" as Banks puts on a rap clinic, flaying adversaries in a flow so neat you might miss
the fact that every piece of every line rhymes. Her voice is often the sole unifying force from track to track here, and it’s easy to see a
label’s trepidation about pushing this thing on listeners who haven't followed her every move. "Nude Beach a Go-Go", for instance, a late album
collaboration with Ariel Pink, is every bit the what-the-**** moment it sounds like on paper.

By the end of Broke With Expensive Taste you’ll come to see Azealia Banks as a dance pop classicist underneath the flailing. The capable but
unfussy approach to melody on deep cut confections "Soda" and "Miss Camaraderie" as well as Fantasea holdover "Luxury" and the massive "Chasing
Time" showcase Azealia as a singer who’s studied her Robin S. and Technotronic. Coupled with her bullish rhyme skills, Azealia’s chops as a
house vocalist make for a true rapper-singer double threat. (Credit is due to Drake and Nicki Minaj, but both sound like they picked up singing
on the job.) She’s an angel on the choruses, but for the verses in between, she’s a formidable spitter whose flash and flow are unmistakably

The party line among hip-hop aficionados is that New York rap currently lacks a distinctly New York identity. There’s some truth to it. The
city’s biggest success stories of late involve locals breaking out by spicing Big Apple grit with outside flavors, from A$AP Mob’s Texas screw
fixation to French Montana’s trap circuit traction to Nicki Minaj’s day-glo EDM daze. But the scene in 2014 can’t look like it did in 1994 or
even 2004, and it’s becoming increasingly clear that the Statlers and Waldorfs pining for a new age of rappity boom bap wouldn’t notice a new
New York if it came up and offered them molly in a Brooklyn bar bathroom.

Well, Azealia Banks is it, and Broke With Expensive Taste is a reminder that the corner of Harlem that she claims is walking distance from both
Washington Heights and the Bronx, where you’re as likely to hear hip-hop booming out of apartments and passing cars as freestyle, reggaeton,
house, or bachata. It’s a quick subway jaunt away from the landmark clubs where ball culture persists, as well as perennial dance parties at
Webster Hall and the glut of eclectic Lower Manhattan concert venues. Broke With Expensive Taste glides through all of these, just like the
faithful 1 train sampled on "Desperado". Both album and the artist revel in the freedom of a New York City where divisions between these sounds
and scenes have ever so slowly ceased to exist.

assuming this is a single since there's a Vevo clip:

Track Listing

1. Idle Delilah
2. Gimme a Chance
3. Desperado
4. JFK
5. 212
6. Wallace
7. Heavy Metal and Reflective
8. BBD
9. Ice Princess
10. Yung Rapunxel
11. Soda
12. Chasing Time
13. Luxury
14. Nude Beach a Go-Go
15. Miss Amor
16. Miss Camaraderie