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Channel Orange
Studio albumby
Frank Ocean
ReleasedJuly 10, 2012(2012-07-10)
Recorded2011–2012
Studio
  • EastWest(Hollywood)
  • Henson(Hollywood)
  • Record Plant(Hollywood)
  • Manhattan Sound Recording (New York)
  • San Ysidro (Beverly Hills)
  • Studio for the Talented and Gifted (Los Angeles)
  • Westlake(Los Angeles)
Genre
Length62:18
LabelDef Jam
Producer
Frank Oceanchronology
Nostalgia, Ultra
(2011) 		Channel Orange
(2012) 		Endless
(2016)
SinglesfromChannel Orange
  1. "Thinkin Bout You"
    Released: April 17, 2012
  2. "Pyramids"
    Released: June 8, 2012
  3. "Sweet Life"
    Released: July 6, 2012
  4. "Lost"
    Released: December 17, 2012
  5. "Super Rich Kids"
    Released: March 17, 2013

Channel Orangeis the debut studio album by AmericanR&Bsinger-songwriterFrank Ocean.It was released on July 10, 2012, byDef Jam Recordings.After releasing his mixtapeNostalgia, Ultrathe previous year, Ocean began writing new songs withMalay,a producer and songwriter who then assisted him with recordingChannel OrangeatEastWest Studiosin Hollywood. Rather than rely onsamplesas he had with his mixtape, Ocean wanted to approach sound andsong structuredifferently on the album. Other producers who worked on the album includedOm'Mas KeithandPharrell Williams.Its recording also featured guest appearances fromOdd FuturerappersEarl SweatshirtandTyler, the Creator,vocalist/songwriterAndré 3000,and guitaristJohn Mayer.

Noted by writers as musically unconventional,Channel Orangedraws onelectro-funk,pop-soul,jazz-funk,andpsychedelicstyles, as well as nonmusical sounds such as film dialogue andambient noisethat function as interludes. Vocally, Ocean uses a free-formflowas well as alternating falsetto and tenor registers throughout the album. His songwriting explores themes of unrequited love, decadence,social class,and drugs through the use of surrealistic imagery, conversational devices, and descriptive narratives depicting dark characters. He titled the album as a reference to the neurological phenomenongrapheme–color synesthesia,through which he had perceived the color orange during the summer he first fell in love.

To preventChannel Orangefromleakingonto the Internet, Ocean and Def Jam released the album digitally one week earlier than its publicly announced date. It was promoted with five singles, including Ocean's highest charting single "Thinkin Bout You"(number 32 on the USBillboardHot 100) and a supporting concert tour in July 2012.Channel Orangedebuted at number two on the USBillboard200and sold 131,000 copies in its first week, eventually selling 621,000 copies in the US by September 2014. Critically, it was the best-reviewed album of 2012 and the year's top-ranked album in numerous critics' lists, including the AmericanPazz & Jopand the BritishHMV Poll of Polls.At the2013 Grammy Awards,Channel Orangewas nominated forAlbum of the Yearand wonBest Urban Contemporary Album.Since then, it has featured in several professional lists ranking the best albums from the 2010s as well as all time.

Background

[edit]

Frustrated withDef Jam Recordings' inactivity in his recording career,Frank Oceanreleased his debut mixtapeNostalgia, Ultraonline for free in February 2011.[1]It showcased the singer's original tracks, repurposed songs by other recording acts,[2]and featured musical and lyrical elements unconventional inR&B.[3]Although it lacked conventional promotion, the mixtape attained a following among listeners and received critical acclaim.[1]Ocean and Def Jam eventually mended their relationship,[1]and while a planned contracted edition ofNostalgia, Ultranever materialized, the label released two of its songs as singles, including theBillboardcharting"Novacane".[4]An agreement was then reached to release a tentative follow-up album for 2012.[1]

Writing

[edit]

Ocean started writing songs forChannel Orangein February 2011 with songwriter and producerMalay,his friend and creative partner since their start in the music industry as songwriters.[5][6]They originally met in Atlanta and worked for the same publishing company, through which they reconnected after Malay moved to Los Angeles.[5]Ocean spent more time with Malay, introducing him to his Odd Future collective, while connecting creatively through their respective songwriting, which led to their partnership forChannel Orange.[5]For the album, Ocean wrote his lyrics to complement Malay's ideas for the music.[5]Occasionally, they wrote songs together by improvising musical ideas from Malay's keyboard and guitar playing.[5]Channel Orangewas written in two weeks, according to the singer.[7]

Ocean (photographed in 2011) mused over past experiences and pure fantasy when writing the album.[8]

Although Ocean hadcreative freedomfor both projects, he felt more confident as a songwriter forChannel Orangeand typed his lyrics on a laptop rather than composing in his head as he had done forNostalgia, Ultra.[9]Since transitioning from writing for other artists, he had been influenced by his "gloriously painful love life" when writing songs.[10]For his lyrics, Ocean used both his past personal experiences and imagination to compose narratives for songs.[8]He was inspired to write the song "Crack Rock" by stories he heard sitting in onNarcotics AnonymousandAlcoholics Anonymousgroups mentored by his grandfather, who also dealt with substance abuse in his youth.[8]In an interview forThe Guardian,Ocean expressed uncertainty about his penchant for darker subject matter, but speculated that "those were the colours I had to work with on those days.... I mean, 'experience' is an interesting word. I just bear witness."[8]

In June 2012,[4]news outlets and music journalists from pre-release listening events forChannel Orangeraised questions about certain songs' lyrics and Ocean's sexuality.[11][12]The lyrics addressed a male object of love and deviated from the heterosexual perspective of his past songs.[11]Scrapping his original plan of including it in the album's liner notes,[13]Ocean published aTextEditfile as anopen letterthrough hisTumblrblog on July 4.[14]Originally written in December 2011, it recounted his unrequited feelings for a man when he was 19 years old, citing the experience as his first love.[14]Ocean's disclosure was received with support from Def Jam and praise from other recording artists and cultural commentators.[11]He also remarked on writingChannel Orangeafter years of emotional struggle with the experience, stating in the letter, "I wrote to keep myself busy and sane. I wanted to create worlds that were rosier than mine. I tried to channel overwhelming emotions."[14]

During their writing sessions, Malay noticed Ocean's use ofgender pronounsin his lyrics, but attributed it to Ocean's poetic license rather than his sexuality.[5]In an interview after Ocean's open letter, Malay called him "the new hybrid of what anMCused to be in the '80s or '90s... the true storyteller "and said of the lyrics," I don't think anyone during any given point during the creative process knew what was happening... when he's singing maybe from a female perspective or whatever, it's a story, it's a world that he created. It's not necessarily his personal—like something that he's experiencing. Maybe it is and it's a metaphor the way he did it ".[5]They finished writingChannel Orangein two to three months.[5]Ocean said of the album's development in an interview forRap-Up,"It succinctly defines me as an artist for where I am right now and that was the aim. It's about the stories. If I write 14 stories that I love, then the next step is to get the environment of music around it to best envelop the story and all kinds of sonic goodness."[15]

Recording and production

[edit]
The exterior ofEastWest Studiosin Hollywood, where the album was mainly recorded

Once the songs were written, Ocean ordered them into what ultimately became the album's track listing and began recording them in that order.[5]He recorded most of the album atEastWest Studiosin Hollywood, near where he was renting a home at the time.[10]The studio complex featured recording equipment from the 1960s.[10]Other recording locations includedHenson Recording Studiosand theRecord Plantin Hollywood,Westlake Recording Studiosand Studio for the Talented and Gifted in Los Angeles, Manhattan Sound Recording in New York City, and San Ysidro in Beverly Hills.[16]He originally planned to rent recording equipment and the Beverly Hills mansion alone rather than rent a studio for $1,600 a day.[17]He had a maid at the mansion and enjoyed amenities such as a pool and a sauna, but ended up recording only three songs there— "Lost","Pyramids",and" Analog 2 ", a collaboration with fellowOdd FuturememberTyler, the Creator.[17]

Ocean recorded his vocals alone for several months, striving intensively for high performance standards, before rejoining Malay for the album's production.[5]Ocean produced most ofChannel Orangeand was assisted by Malay,[6]who also played guitar, bass, keyboards, and brass instruments.[16]He described his own contributions as "behind the scenes" to Ocean's "diligent" work ethic.[5]Ocean wanted to experiment sonically and approachsong structuredifferently than he had before.[18]For inspiration, he and Malay listened to older records to either use as musical references or set a mood at the studio, listening to music byStevie Wonder,Marvin Gaye,Sly and the Family Stone,Pink Floyd,andJimi Hendrix.[5]They also put up posters of Pink Floyd andBruce Lee,and projected inaudible old movies in the studio's background.[19]

Their production also emphasized instrumentation and was a departure for Ocean afterNostalgia, Ultra's reliance onsamples.[6]In the studio, they reworked the musical ideas from their writing sessions, incorporated live production, and ornamented their songs musically.[5]Ocean enlisted Los Angeles-based producerOm'Mas Keithto help him rework the songs. They added live drums to "Crack Rock", "Monks", and "Sweet Life",which was originally produced as a digital track.[19]Originally written by Ocean for singerBridget Kelly,"Thinkin Bout You"had been recorded as an earlytakeby him and posted on his Tumblr account in July.[20][21]Ocean and Malay's final mix of the song for the album added a strings intro.[22]For "Bad Religion", engineerJeff Ellistried to compensate for the few string players they had by arranging seating for a large string section in EastWest's Studio 1 and using a pair of old stereoribbon microphonesto capture the sound. They sat players in different seats each time they played along with the track in order to mix all of the takes together and give the impression of a larger ensemble.[19]

Pharrell Williams(2014) contributed as a producer,programmer,and keyboardist on the album.

In the wake ofNostalgia, Ultra,other artists took interest in Ocean and contacted him about working together, leading to collaborations onChannel Orange.[5]He previewed songs at different stages of completion to get feedback from guest artists, some of whom he cited as his "creative heroes",[13]including record producerPharrell Williams,[5]who co-wrote and co-produced "Sweet Life" with Ocean.[23]Ocean and Malay previewed songs to rock musicianJohn Mayer,which inspired his guitar playing for both "Pyramids" and "White".[5]For the latter track, they used the instrumental of the song of the same name from Odd Future's 2012 albumThe OF Tape Vol. 2,recorded atmospheric instrumentation by Mayer and other musicians, andtrackedit to the original instrumental.[5]

Ocean reached out to rappersAndré 3000andBig Boiof hip hop duoOutkastto appear on "Pink Matter". However, André 3000 did not want to reunite with Big Boi as a duo on another artist's album.[24]The former ended up rapping alone and playing guitar on the song.[10]Ocean told him to tell any kind of story with his verse for "Pink Matter". As André 3000 recalled, "when I got the track, I just started writing to it and I was just, I'm just happy to be a part of that whole movement and his whole movement because he has become a whole 'nother kind of icon in today's age."[25]

Ocean and MalaymixedChannel Orangeat Studio for the Talented and Gifted, and engineerSpike Stentmixed parts of the album at The Mix Suite in Los Angeles.[16]It wasmasteredbyVlado MelleratMasterdiskin New York City.[16]Malay said that he and Ocean focused on sonic "intricacies" such as interludes and skits on tracks when mixing the album, which he referred to as their "art project".[5]Ocean said that he admires "the anonymity that directors can have about their films" and explained his use of interludes on the album, saying that "the work is the work. The work is not me... Even though it's my voice, I'm a storyteller."[10]

Music

[edit]

According to music journalists,Channel Orangehas an unconventional musical style,[26]with influences frompsychedelic,[27]pop-soul,[28]jazz-funk,[29]andelectro-funkgenres.[30]HipHopDXcategorized it as analternative R&Balbum,[31]while Evan Rytlewski fromThe A.V. Clubcalled it aneo soulrecord[32]andTime Out New York's Hank Shteamer described it asprogressive soul.[33]Sputnikmusic's Sobhi Youssef remarked that, although its production "pull[s] from a spectrum of popular modern and classic influences", they are used "within the 'constraints' of R&B without any singular genre taking over the record."[34]Songs on the album are characterized byelectronic keyboard,muted percussion,[35]fluctuatingbacking tracks,[36]shifting synthesizers,[27]vamps,vibrant guitar,[10]and hazyelectroniceffects such asdubreverb.[36]Tiny Mix Tapeswrote that first half's "spacious" production recalls the "electric soul influence" ofShuggie Otis,[37]whileJody Rosenobserved "chord changesstraight out of [Stevie] Wonder'sInnervisions,airy vamps that nod to [Marvin] Gaye'sHere, My Dear,[and] snarling guitars that recallPrince'sPurple Rain".[38]Chris Richards ofThe Washington Postcompared its melodic sensibilities to those of Gaye and Wonder, and its loose song structures to those ofD'Angelo,Maxwell,andErykah Badu.[39]Timemagazine's Melissa Locker noted melodramatic elements such as "haunting melodies" similar toThe-Dream's 2007 albumLove/Hate.[26]

Less melodic andhook-oriented thanNostalgia, Ultra,[35]Channel Orangefeatures subtle melodies andarticulation,[40]spatial arrangements,[41]and mid-tempodrum beats,[27]although the more ruminative songs feature slower tempos.[4]Robert Christgauasserted that, without its predecessor's reliance on samples, "Ocean resists making a show of himself—resists the dope hook, the smart tempo, the transcendent falsetto itself."[42]Ocean, abaritone,[43]sings with casually expressive vocals,[4]free-formflow,[44]conversationalcrooning,[45]and alternating falsetto andtenorregisters.[6]

Similar toNostalgia, Ultra,[46]Channel Orangehas interludes that feature sounds oforgans,waves,tape decks,[26]car doors,[47]channel surfing,white noise,[48]and dialogue.[49]They exhibit an analog sound quality, and some end abruptly.[20]Writers interpret them to represent the limited attention span of listeners,[48]moments in Ocean's life,[41]the distortion inside his mind,[50]nostalgic ephemera,[51]or a synesthesia-inspired theme.[37]Jesse Cataldo ofSlant Magazineviewed that the segues, along with the other songs' disparate lengths, give the album the feel of a mixtape.[51]According to Hayley Louise Brown fromClash,the songs are "interwoven by theambient noiseofmiddle America– video games, TV commercials, aeroplanes and car doors ".[52]

Lyrics

[edit]

The songs are confessional yet guarded, alive to all sorts of musical and lyrical possibilities, working in a number of genres within the space of a single composition, alert to both dream imagery and realistic observations of the world around him. As a Hollywood transplant, Frank Ocean is into make-believe – and the question of how you create and deconstruct make-believe.

—Ken Tucker(2012)[53]

Channel Orangehas themes ofunrequited love,[32]sex,[3]andexistentiallonging.[51]Allusions to Ocean's own experience with unrequited love are featured in several songs,[54]including "Thinkin Bout You", "Bad Religion", and "Forrest Gump".[36]Jon CaramanicaofThe New York Timesfound the album to be "rife with the sting of unrequited love, both on the receiving and inflicting ends", with "lovers who tantalize but remain at arm's length."[10]Ryan Dombal fromPitchforksaid Ocean exhibits "a timeless philosophy... one of hard-won acceptance and the acknowledgement that love and sex and loss will always draw legends to them."[20]The album also explores decadence,[8]the trappings ofclass disparity,[26]drug dependency,[12]and the tension between spirituality and secularity, a prevalent theme insoul music.[35]Music journalistSasha Frere-Jonesnoted "a combination of decadence and spiritual ache similar to Prince's".[55]Greg Kotwrote that Ocean presents "a dialogue between his self-gratifying lust and more selfless conscience", with Prince-like "psychedelic-gospel inflections" and Marvin Gaye-likeoverdubbingof Ocean's vocals, which give the impression of voices in conversation with one another.[35]Jason Lipshutz ofBillboardviewed that Ocean examines love in the context of money, drugs, and sex.[3]

Ocean's songwriting uses descriptive narratives,[39]densemetre,[41]surrealistic imagery, empathic sentiments,deadpanhumor,[20]overt metaphors,[50]and conversationaldevices.[10]John Calvert ofThe Quietuswrote that his lyrics treat love as "innocent", and feature "flying-as-love" metaphors and "respectful euphemisms" for sex such as a flight on a "fighter jet".[6]Embling ofTiny Mix TapesregardedChannel Orangeas a "songwriter's album" and views that, although "the emotions, mood, and melodies are broad enough to draw listeners in", Ocean's lyrics are "apocryphal, allowing for personal interpretations".[37]Ocean's narratives generally depict dark,[36]broken characters,[10]and a Southern California setting,[35]with references to its sunny, coastal environment in both the lyrics and melodies.[6][29]Randall Roberts of theLos Angeles TimescategorizedChannel Orangeas aconcept albumabout "the twentysomething experience in Los Angeles",[41]while Greg Kot interpreted the California setting to be "a state of mind in Ocean['s] world: numb, deceptively luxurious and self-satisfied, where the denizens live disconnected from one another and the world."[35]

Songs

[edit]
"Sierra Leone"
Thepolyphonicsong features faded synths, sweeping strings,[56]and percussion buried in themix.[3]It is composed as acharacter sketchof a young parent,[57]who sings his infant daughter to sleep.[38]
Problems playing this file? Seemedia help.

The opening track "Start" is a snippet of ambient sounds,[35]bits of silence, and flickers of noise,[3]including aPlayStationbooting up.[34]The low-keytorch song"Thinkin Bout You" features soothing synthcycles,[6]sparse keyboards,[35]muffled electronic percussion,[38]and lyrics addressing a lover withwhite liesin the verses and thoughts of eternal love in the chorus.[6][20]"Fertilizer" is based onJames Fauntleroy's 2010 song of the same name,[37]repurposed on the album as anAM radiojingle and interlude about "bullshit".[3]"Sierra Leone" incorporateschillwaveandquiet stormstyles,wind chimesounds,lo-fibeats,[6]andpolyphonysimilar to Prince's 1985 song "Paisley Park".[58]Its lyrics address sex, conception, early parenthood,[57]and childhood dreams.[3]It recounts the narrator's lust for a girl as a teenager,[41]and compares their relationship to the vicissitudes of Sierra Leone such as diamonds andcivil war.[59]Ocean's singing exhibits quickly descendingchord successionand is overdubbed against his spoken vocals.[3][6]

"Sweet Life" and "Super Rich Kids"depict decadent,[35]alluring rich people,[10]and are tied together by "Not Just Money", a spoken interlude with a woman discussing the importance of money on happiness.[3]"Super Rich Kids" references the thumping piano line ofElton John's 1973 song "Bennie and the Jets"and addresses young, wealthy characters' ennui and fears of thefinancial crisiswith dry humor.[36][60]"Pilot Jones" employsmagic realismandescapistimagery,[6]and depicts an emotional dependency between drug addicts, who confuse friendship with sexual love in their support of each other.[61]The swooning song contains hazy electronic blips,[3][4]impressionistictextures, experimentalbeat patterns,refracted sound effects, and vocal improvisation expressing the narrator's "high".[57]"Crack Rock" depicts acrackaddict,[36]likens love to the highs and lows of drug use,[50]and broadly addresses corruption, broken homes, gun violence,[3]and government indifference to rising crack-related deaths.[6]It has fleeting multi-tracked harmonies,[39]anon-sequiturchorus,[6]and Ocean's occasionally fractured breathiness conveying an addict's voice.[8]

"Bad Religion"
The confessional song incorporatesgospelandbaroque popstyles,[62]and stringdynamicscorresponding to Ocean's vocal intonation.[55]His lyrics touch on the conflict between pleasure and godliness, a common trope in R&B.[61]
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"Pyramids" is cited by writers as the album's centerpiece.[3][6][35]Brice Ezell fromPopMatterswrote that it denotes "the vital midpoint of the overarching narrative", where "the wittier tone of the record's front half gives way to an emotionally dense second half."[60]Veering fromsynth-funktoslow jamstyles,[36]the song has alyrical conceitthat usesAncient EgyptianandBiblicalimagery,[60]and contrasts the legendary fall ofCleopatrawith the circumstances of a latter-day working girl,[3][36]who dances at astrip clubcalled the Pyramid to support her man's gaudy aspirations.[3][63]Thenew wave-styled "Lost" is about a perplexed addict,[56]who hopes for a better life for him and his drug-cooking girlfriend.[35][36]"Monks", afunk rocksong,[61]is about finding nirvana and deals with topics such as casual sex and devout religion in a narrative that shifts from an exciting concert to a metaphorical jungle.[3][45]"Bad Religion" features melodramatic, orchestral music and a series offigures,including strings, handclaps, marching band snare drums,[55]and mournful organ chords.[35]The lyrics follow an emotional confession to a taxi driver by a narrator brooding over a secretive intimate relationship.[36]Music journalistAlexis Petridisasserted that the song "repurpos[es] the battle between religion and lust that's been at the heart of soul music since it ceded from gospel".[36]

"Pink Matter" is a bluesy lament with themes of sex and betrayal,[38]as its narrator struggles between pleasure anduniversal meaning.[3]Its lyrics allude to philosophical conundrums,extraterrestrial life,Japanesemangacomics,[38]and cotton candy.[28]The playful "Forrest Gump" likens thetitular film characterto an adolescentcrush,[3]withhomoerotic,tongue-in-cheeklyrics,[6]and allusions to scenes in the film.[22]It has a bright,Motown-inspired chorus,[64]a simplerhythmic cadence,gently strummed guitar, wistful vocals, and a perkily whistledcoda.[6]The skit "End" depicts an exchange between Ocean and a woman as they make love in the backseat of a car with his 2012 song "Voodoo" playing over the stereo. She says to him, "You're special. I wish you could see what I see", repurposing a line from the 2006 filmATL,and Ocean leaves the car in response, walks home through the rain, and sets his keys down with a sigh.[65]The lighthearted, lovelorn "Golden Girl" has up-tempo synths,[66]gradualfades,[67]and Tyler, The Creator rapping in a low-pitched, demonic voice.[68]It is about a girl that provides salvation and peace of mind for the narrator, who likens her to an island.[69]

Title and packaging

[edit]
The album is titled after Ocean's visualization of orange colors during summer months due tosynesthesia.Above is a possible association of months with colors by a person subject to the phenomenon.

Ocean titled the album in reference to his experience withgrapheme–color synesthesia,a neurological phenomenon in which an individual's perception of numbers and letters is associated with the experience of colors.[70]He discussed the phenomenon with Pharrell Williams, who had also experienced it and similarly referenced it for the title of his side projectN.E.R.D.'s 2008 albumSeeing Sounds.[70]The title also alludes to the first time that Ocean fell in love, as it was summer and he perceived everything to be orange. Ocean's mother called it "a perfect summertime album" after attending a listening session.[70]

According to Malay,Kanye Westhelped Ocean during the album's final stages by providing "a mentorship situation" and connecting him with his "visual people".[5][nb 1]Malay recalled how he and Ocean were "somewhat oblivious to how quickly everything happened" and Ocean's name "continuing to get bigger and bigger" as they completed the album.[5]To downplay himself from being "the focal point" of the album, Ocean did not want his name on the cover and had Everest, hisBernese Mountain Dog,credited as the executive producer instead.[10]

The album artwork was designed by Thomas Mastorakos, Aaron Martinez, and Phil Toselli, with photography by Dave Eggar. The front cover features an orange background superimposed by the title – "channel" rendered in lower-caseCooper Blackfont and "orange" rendered in all upper-caseSans-serif,with the former overlaid by an image of colored spots from a camera flash.[72]The cover was revealed on June 23, 2012, via online media outlets.[73]In November 2013, it was ranked at number nine onComplexmagazine's list of "The 50 Best Pop Album Covers of the Past Five Years", with contributing journalist Dale Eisinger writing in an accompanying essay: "Ocean took a simple route with the cover… Employing the classic Cooper Black font — a staple of his Odd Future crew and hip-hop history, alike — next to a more modern, Sans-Serif font shows just how smart this dude is, looking back to the past, while clearly aware of his surroundings."[72]

Marketing and sales

[edit]

To preventChannel Orangefromleakingonto the Internet, Ocean planned to release it digitally one week earlier than its publicly announced date.[13]He was inspired by West andJay-Z,who prevented their 2011 albumWatch the Thronefrom leaking by announcing several misleading release dates.[13]On June 8, Ocean announced a July 17 release date and released atrailerfor the album directed byNabil Elderkin.[74]On July 9, he made his television debut onLate Night with Jimmy Fallonand performed "Bad Religion" with backing from the show's house bandThe Rootsand a strings section.[75]The show announced the album's actual release date and vendor,[76]Universal Music Group,[77]who made it available on July 10 as a digital download oniTunes.[78]Ocean said at the time, "I haven't even held one in my hands... The [CDs] are done, but when we sent them in, they were locked down at the manufacturer. They haven't left. They never went on trucks [to stores] because that's where things leak."[79]

Retail giantTarget(Miami location pictured) refused to stock the album in response to its preemptive release.

Channel Orangewas sold exclusively through iTunes until July 17, when it was released to other digital retailers.[80]Although its wide physical release was scheduled for July 17,[81]Universal encouraged physical retailers to start selling it immediately after they receive shipments of the album.[77]Retail companyTargetdid not approve of its early release to iTunes and chose not to stock the album. Ocean's manager Christian Clancy responded in a message on Twitter that he found it "interesting" that Target "also donates to non-equal rights organizations", suggesting their decision was influenced by Ocean's coming out. Target representatives dismissed Clancy's claims as "absolutely false" in a subsequent statement toMTV News,saying that the company "supports inclusivity and diversity in every aspect of our business. Our assortment decisions are based on a number of factors, including guest demand."[82]

In its first week of release,Channel Orangesold 131,000 copies and debuted at number two on the USBillboard200on July 18, 2012. The majority of its first-week sales were digital copies from iTunes, while approximately 3,000 of the sales were physical copies.[83]Digital copies sold for $2.99 atAmazonwere excluded fromNielsen SoundScan's sales data, asBillboard's chart policy disqualified albums sold for less than $3.49 from charting.[84]The album sold 54,000 copies in its second week, excluding discounted copies sold by Amazon.com, whichBillboardestimated to be approximately 15,000 copies.[85]Channel Orangealso debuted at number two on theBritish albums chartwith first-week sales of 13,000 copies.[86]It was the first album to chart within the top 20 in the United Kingdom solely on digital sales.[87]In Canada, the album debuted at number three on first-week sales of 6,700 copies.[88]

Five singles were released from the album— "Thinkin Bout You" on April 17, 2012,[89]"Pyramids" on June 8,[90]"Sweet Life" on July 6,[2]"Lost" on December 17,[91]and "Super Rich Kids" on March 17, 2013.[92]"Thinkin Bout You" became Ocean's highest charting single in the US, peaking at number 32 on theBillboardHot 100.[93]Ocean performed the song on the2012 MTV Video Music Awardson September 6, 2012.[94]and the following week,Channel Orangesold almost 14,000 more copies.[95]Ocean also performed "Thinkin Bout You" and "Pyramids" onSaturday Night Liveon September 15, the latter of which featured John Mayer on guitar.[96]By September 2016, the album had sold 686,000 copies in United States.[97]

Touring

[edit]

Ocean embarked on a 14-date North American tour in July 2012 supporting the album.[74]Announced on June 8,[98]the tour had sold out by July 9.[99]On its number of shows, Ocean explained that he wanted to provide quality over quantity and said that "it's not about let's do a million things right now. It's about let's just do our best to do the best things right now."[18]Malay joined him as the tour's musical director and said that it would expand on the production of Ocean's previous concerts forNostalgia, Ultra.[5]Their stage setup featured a guitarist, bassist, drummer, two pianos, and a DJ setup behind television monitor props,[100]which showed ever-changing images.[101]

Ocean performing atLollapaloozaon August 4, 2012.

Along with songs fromNostalgia, UltraandChannel Orange,Ocean performed "Made in America",his unreleased songs" Summer Remains "and" Voodoo ", and covers of Prince's"When You Were Mine"(1980),Beyoncé's "I Miss You"(2011),[102]andSade's "By Your Side"(2000).[103][104]Reviewers of the shows noted Ocean's low-key stage presence and observed crowd screams and audience memberssinging-alongto songs.[104][105][106]After his performance at the9:30 Clubin Washington, D.C., Ocean reflected on the tour and wrote on his Twitter account, "This tourlife takes some getting used to. I get to zone out and be someones hero or deviant fantasy or whatever for a hour [sic] and some change every night though. That's special, and the women still scream in the front row. "[103]Ocean cancelled his tour-closing show atSaint Andrew's Hallin Detroit on August 1 due to illness.[107]

After the tour, Ocean was slated to perform at several music festivals,[17]includingLollapalooza,where he headlined the second day of the festival.[108]During an August performance atØyafestivalenin Norway, Ocean lost his voice and ended his set early.[109]He later withdrew from his European tour dates altogether,[110]including English rock bandColdplay'sMylo Xyloto Tour,[111]on which he would have been the opening act during the tour's European leg in August and September.[17][112]Although he did not specify his reason, Ocean issued a statement to organizers of theWay Out West Festivalin Sweden, saying that "Let me start by saying I feel like an asshole right now, but a tough decision had to be made in regard to my schedule over the next months... Sorry as fuck, I'll be back if you'll have me."[111]He returned to perform at theAll Tomorrow's Partiesfestival in New York City on September 21.[113]

Critical reception

[edit]
Channel Orangeratings
Aggregate scores
SourceRating
AnyDecentMusic?8.9/10[114]
Metacritic92/100[115]
Review scores
SourceRating
AllMusic[4]
The Daily Telegraph[27]
The Guardian[36]
The Independent[58]
MSN Music(Expert Witness)A−[42]
NME7/10[56]
Pitchfork9.5/10[20]
Rolling Stone[38]
Spin9/10[49]
USA Today[116]

Channel Orangewas met with widespread critical acclaim. AtMetacritic,which assigns anormalizedrating out of 100 to reviews from professional critics, the album received anaveragescore of 92, based on 46 reviews.[115]According to the website's editor Jason Dietz, it was the "best-reviewed major album" of 2012, as well as "one of the best-reviewed albums of the past decade".[117]AggregatorAnyDecentMusic?gave it 8.9 out of 10, based on their assessment of the critical consensus.[114]

Reviewing in July 2012 forThe Daily Telegraph,Neil McCormicksaid Ocean has drawn on a variety of musical ideas and pushed the boundaries of the electronic, beat-driven sounds currently dominating popular music. He summarizedChannel Orangeas "accessible enough for broad popularity yet operating in a pioneering realm closer to the avant-garde."[27]The album was called "an expansive, slow-burning classic that repays patience and close attention" by Killian Fox inThe Observer,[46]whilemusicOMHcritic Laurence Green described the music as "a cherry-picking of life's cacophony repainted into the most enchanting of collages".[118]Slant Magazine's Jesse Cataldo hailed it as a "mosaic work... so textured, complex, and mature that Ocean's recent coming out feels like a footnote".[51]ForAllMusic,Andy Kellman wrote that Ocean's "descriptive and subtle storytelling is taken to a higher level" than onNostalgia, Ultra,[4]while Mike Powell fromSpinconsidered his tempered singing to be a sign of "exceptional wisdom and repose".[49]FellowSpinwriter Barry Walters identified the album as a key release of alternative R&B, alongside others by contemporariesDrake,the Weeknd,andMiguel,while adding that "Ocean's singer-songwriter candor combined with arrangements that stretch fromEDMtoprog-rockand progressive soul could be the tipping point for a type of rock/R&B crossover that's taken place under different labels since Jimi Hendrix gotExperienced."[119]Statejournalist Fintan Walsh said Ocean's lyrics capture "the modern youth" just asBrian Wilson'sPet Soundsalbum had in 1966, callingChannel Orange"a masterful, dynamic and evocative collection of conversations between his inner-self and the listener".[120]

Some reviewers were more qualified in their praise. InRolling Stone,Jody Rosenpreferred the album's more structured songs and argued that Ocean sometimes seems to be "less a songwriter than a purveyor of formlessgrooves".[38]Priya Elan ofNMEsaid the "inventive and spirited" album's music occasionally sounds overindulgent.[56]Writing forMSN Music,Robert Christgau believed Ocean's musical compositions are more consistent here than onNostalgia, Ultrabut questioned the singer's topical fascinations with the "haut-mondedemimonde",finding the lyrics less relatable and interesting.[42]

Accolades

[edit]

At the end of 2012,Channel Orangewas named the year's best album by numerous publications, including theChicago Sun-Times,Chicago Tribune,Billboard,Entertainment Weekly,The Guardian,theLos Angeles Times,The Sydney Morning Herald,Now,Paste,PopMatters,Slant Magazine,Spin,andThe Washington Post.[121]It was named "Album of the Year" inHMV'sPoll of Polls,an annual survey of British journalists from national print and online publications.[122]It was also voted the best album of 2012 in thePazz & Jop,an annual poll of American critics published byThe Village Voice.In an essay for the poll, the newspaper's Eric Sundermann deemed the victory unsurprising as Ocean "dominated most music discussions this past year" and had an equalizing effect on listeners of all music genres.[123]Overall, it was the "top-ranked" album in year-end lists, according to Metacritic.[117]

Channel Orangealso earned Ocean several industry awards. It won him the Album of the Year award at the2012 Soul Train Music Awards[124]and Outstanding Music Artist at the 2013GLAAD Media Awards.[125]At the2013 Grammy Awards,it garnered the singer nominations forAlbum of the Year,Best New Artist,andRecord of the Year(for "Thinkin Bout You" ),[126]winning forBest Urban Contemporary Album.[127]Ocean agreed to perform at the awards show only if they let him play the song he wanted,[19]"Forrest Gump".[128]

Since then,Channel Orangehas appeared on decade-end and all-time critics' lists. In 2013, it was ranked 147th onNME's "The 500 Greatest Albums of All Time".[129]The following year, it was included in the book1001 Albums You Must Hear Before You Die.[130]In 2019,The Guardianranked it 12th in a list of the 100 best albums from the 21st century,[131]while on rankings of the 2010s' top albums,Uproxxplaced it 13th[132]andPitchforkplaced it 10th.[133]In 2020,Rolling Stoneranked the album at number 148 on the magazine's revision to "The 500 Greatest Albums of All Time"list.[134]Two years later, they also ranked it at number 13 on their "100 Best Debut Albums of All Time" list.[135]

Track listing

[edit]

Credits are adapted from theAmerican Society of Composers, Authors and Publishers(ASCAP)[136]andTidal.[137]

Channel Orangestandard edition
No.TitleWriter(s)Producer(s)Length
1."Start"
0:45
2."Thinkin Bout You"
  • Ocean
  • Taylor
3:20
3."Fertilizer"
  • Ocean
  • Malay
0:39
4."Sierra Leone"
  • Breaux
  • Ho
2:28
5."Sweet Life"
  • Ocean
  • Williams
4:22
6."Not Just Money"Rosie Watson
  • Jonathan Ikpeazu
0:59
7."Super Rich Kids"(featuringEarl Sweatshirt)
  • Ocean
  • Malay
  • Keith
5:04
8."Pilot Jones"
  • Breaux
  • Taylor
  • Ocean
  • Malay
  • Keith
3:04
9."Crack Rock"
  • Breaux
  • Ho
  • Ocean
  • Malay
  • Keith
3:44
10."Pyramids"
  • Breaux
  • Ho
  • Ocean
  • Malay
  • Keith
9:52
11."Lost"
  • Breaux
  • Ho
  • Micah Otano
  • Edwin Paul Shelton II
  • Ocean
  • Malay
  • Keith
3:54
12."White" (featuringJohn Mayer)
1:16
13."Monks"
  • Breaux
  • Ho
  • Ocean
  • Malay
  • Keith
3:20
14."Bad Religion"
  • Ocean
  • Malay
  • Keith
2:55
15."Pink Matter" (featuringAndré 3000)
  • Ocean
  • Malay
  • Keith
4:28
16."Forrest Gump"
  • Breaux
  • Ho
  • Ocean
  • Malay
  • Keith
3:14
17."End"
  • Breaux
  • Ho
  • Ocean
  • Malay
2:14
CD edition
No.TitleWriter(s)Length
17."End" / "Golden Girl" (featuringTyler, the Creator)
  • Breaux
  • Ho
  • Williams
  • Okonma
8:43

Notes

  • "Start" features additional vocals by Raymond Buck
  • "Not Just Money" features uncredited vocals by Rosie Watson[138]
  • "Pilot Jones" features additional vocals byOm'Mas Keithand Juliet Buck
  • "Crack Rock" features additional vocals by Om'Mas Keith
  • "Lost" features additional vocals byStacy Bartheand Danielle Miranda-Simms
  • "Monks" features background vocals byLalah Hathaway
  • "Forrest Gump" features additional vocals by theCrimson Tide Cheerleaders
  • "Golden Girl" begins at 3:44 of track 17 in CD releases[139][140]

Sample credits

Personnel

[edit]

Credits are adapted from the album's liner notes.[16]

Musicians

[edit]

Production

[edit]
  • Wil Anspach – assistant engineering
  • Calvin Bailif – engineering
  • Matt Brownlie – assistant engineering
  • Chad Carlisle – assistant engineering
  • Andrew Coleman – engineering
  • Brendan Dekora – assistant engineering
  • Nabil Elderkin– photography
  • Jeff Ellis– additional mixing, engineering
  • Doug Fenske– engineering
  • Matty Green – assistant mixing
  • Adam Harr – assistant engineering
  • Ghazi Hourani – assistant engineering
  • Om'Mas Keith – engineering, production
  • Ryan Kennedy – assistant engineering
  • Miguel Lara – assistant engineering
  • Peter Mack – assistant engineering
  • Malay – mixing, production
  • Aaron Martinez – album art
  • Thomas Mastorakos – album art
  • Vlado Meller– mastering
  • Paul Meyer – assistant engineering
  • Frank Ocean – mixing, production
  • Pharrell – production
  • Mark Santangelo – assistant mastering
  • Phillip Scott III – engineering
  • Mark "Spike" Stent– mixing
  • Pat Thrall – engineering
  • Phil Toselli – album art
  • Marcos Tovar – engineering
  • Vic Wainstein – engineering

Charts

[edit]

Certifications

[edit]
Certifications forChannel Orange
Region Certification Certified units/sales
Australia (ARIA)[186] Platinum 70,000^
Canada (Music Canada)[187] Gold 40,000^
Denmark (IFPI Danmark)[188] 5× Platinum 100,000‡
New Zealand (RMNZ)[189] 5× Platinum 75,000‡
United Kingdom (BPI)[190] Platinum 300,000‡
United States (RIAA)[191] Gold 686,000[97]

^Shipments figures based on certification alone.
‡Sales+streaming figures based on certification alone.

Release history

[edit]
Release dates and formats forChannel Orange
Region Date Label(s) Format(s) Ref.
Worldwide (iTunesexclusive) July 10, 2012 Def Jam Digital download [77]
Sweden July 16, 2012 CD [192]
United Kingdom Mercury [193]
Canada July 17, 2012 Def Jam [194]
Germany Island [195]
United States Def Jam [196]
Worldwide Digital download [77]
Netherlands July 19, 2012 Island CD [197]
Australia July 23, 2012 Universal [198]
France [199]

See also

[edit]

Notes

[edit]
  1. ^West had also experienced synesthesia as a youth and used it as an inspiration when creating his short filmCruel Summerin 2012.[71]

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Further reading

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