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Channel Orange (stylized as channel ORANGE) is the debut studio album by American R&B singer-songwriter Frank Ocean. It was released on July 10, 2012, by Def Jam Recordings. After releasing his mixtape Nostalgia, Ultra the previous year, Ocean began writing new songs with Malay, a producer and songwriter who then assisted him with recording Channel Orange at East West Studios in Hollywood. Rather than rely on samples as he had with his mixtape, Ocean wanted to approach sound and song structure differently on the album. Other producers who worked on the album included Om'Mas Keith and Pharrell Williams. Its recording also featured guest appearances from Odd Future rappers Earl Sweatshirt and Tyler, the Creator, vocalist/songwriter André 3000, and guitarist John Mayer. Channel Orange has an unconventional musical style, drawing on electro-funk, pop-soul, jazz-funk, psychedelic music, and nonmusical sounds such as film dialogue and ambient noise that function as interludes. Vocally, Ocean uses a free-form flow as well as alternating falsetto and tenor registers throughout the album. His songwriting explores themes of unrequited love, decadence, 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 phenomenon grapheme–color synesthesia, through which he perceived the color orange during the summer he first fell in love. To prevent Channel Orange from leaking onto 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 US Billboard Hot 100) and a supporting concert tour in July 2012. Channel Orange debuted at number two on the US Billboard 200 and 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 American Pazz & Jop and the British HMV Poll of Polls. At the 2013 Grammy Awards, Channel Orange was nominated for Album of the Year and won Best Urban Contemporary Album. It has been featured in several lists of the best albums of the 2010s and of all time. Although Ocean had creative freedom for both projects, he felt more confident as a songwriter for Channel Orange and typed his lyrics on a laptop rather than composing in his head as he had done for Nostalgia, Ultra. He was inspired to write the song "Crack Rock" by stories he heard sitting in on Narcotics Anonymous and Alcoholics Anonymous groups mentored by his grandfather, who also dealt with substance abuse in his youth. I just bear witness." He also remarked on writing Channel Orange after years of emotional struggle with the experience, stating in the letter, "I wrote to keep myself busy and sane. In an interview for The 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 wanted to create worlds that were rosier than mine. I tried to channel overwhelming emotions." In an interview after Ocean's open letter, Malay called him "the new hybrid of what an MC used 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". Ocean said of the album's development in an interview for Rap-Up, "It succinctly defines me as an artist for where I am right now and that was the aim. 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." Other recording locations included Henson Recording Studios and the Record Plant in Hollywood, Westlake Recording Studios and Studio for the Talented and Gifted in Los Angeles, Manhattan Sound Recording in New York City, and San Ysidro in Beverly Hills. 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 fellow Odd Future member Tyler, the Creator. 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 by Stevie Wonder, Marvin Gaye, Sly and the Family Stone, Pink Floyd, and Jimi Hendrix. Ocean enlisted Los Angeles-based producer Om'Mas Keith to help him rework the songs. They added live drums to "Crack Rock", "Monks", and "Sweet Life", which was originally produced as a digital track. For "Bad Religion", engineer Jeff Ellis tried to compensate for the few string players they had by arranging seating for a large string section in East West's Studio 1 and using a pair of old stereo ribbon microphones to 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. For the latter track, they used the instrumental of the song of the same name from Odd Future's 2012 album The OF Tape Vol. 2, recorded atmospheric instrumentation by Mayer and other musicians, and tracked it to the original instrumental. 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." 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. Even though it's my voice, I'm a storyteller." 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." while Jody Rosen observed "chord changes straight out of [Stevie] Wonder's Innervisions, airy vamps that nod to [Marvin] Gaye's Here, My Dear, [and] snarling guitars that recall Prince's Purple Rain". 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. Greg Kot wrote that Ocean presents "a dialogue between his self-gratifying lust and more selfless conscience", with Prince-like "psychedelic-gospel inflections" and Marvin Gaye-like overdubbing of Ocean's vocals, which give the impression of voices in conversation with one another. Embling of Tiny Mix Tapes regarded Channel Orange as 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". 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." 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. I wish you could see what I see", repurposing a line from the 2006 film ATL, and Ocean leaves the car in response, walks home through the rain, and sets his keys down with a sigh. Ocean titled the album in reference to his experience with grapheme–color synesthesia, a neurological phenomenon in which an individual's perception of numbers and letters is associated with the experience of colors. 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. 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-case Cooper Black font and "orange" rendered in all upper-case Sans-serif, with the former overlaid by an image of colored spots from a camera flash. In November 2013, it was ranked at number nine on Complex magazine'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." 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 never went on trucks [to stores] because that's where things leak." Retail company Target did not approve of its early release to i Tunes 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 to MTV 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." In its first week of release, Channel Orange sold 131,000 copies and debuted at number two on the US Billboard 200 on July 18, 2012. The majority of its first-week sales were digital copies from i Tunes, while approximately 3,000 of the sales were physical copies. 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." Along with songs from Nostalgia, Ultra and Channel 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), After his performance at the Club in 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." Although he did not specify his reason, Ocean issued a statement to organizers of the Way Out West Festival in 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." Channel Orange was met with widespread critical acclaim. At Metacritic, which assigns a normalized rating out of 100 to reviews from professional critics, the album received an average score of 92, based on 46 reviews. Reviewing in July 2012 for The Daily Telegraph, Neil Mc Cormick said Ocean has drawn on a variety of musical ideas and pushed the boundaries of the electronic, beat-driven sounds currently dominating popular music. He summarized Channel Orange as "accessible enough for broad popularity yet operating in a pioneering realm closer to the avant-garde." Fellow Spin writer Barry Walters identified the album as a key release of alternative R&B, alongside others by contemporaries Drake, the Weeknd, and Miguel, while adding that "Ocean's singer-songwriter candor combined with arrangements that stretch from EDM to prog-rock and 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 got Experienced." State journalist Fintan Walsh said Ocean's lyrics capture "the modern youth" just as Brian Wilson's Pet Sounds album had in 1966, calling Channel Orange "a masterful, dynamic and evocative collection of conversations between his inner-self and the listener". Some reviewers were more qualified in their praise. In Rolling Stone, Jody Rosen preferred the album's more structured songs and argued that Ocean sometimes seems to be "less a songwriter than a purveyor of formless grooves". Writing for MSN Music, Robert Christgau believed Ocean's musical compositions are more consistent here than on Nostalgia, Ultra but questioned the singer's topical fascinations with the "haut-monde demimonde", finding the lyrics less relatable and interesting. At the end of 2012, Channel Orange was named the year's best album by numerous publications, including the Chicago Sun-Times, Chicago Tribune, Billboard, Entertainment Weekly, The Guardian, the Los Angeles Times, The Sydney Morning Herald, Now, Paste, Pop Matters, Slant Magazine, Spin, and The Washington Post. It was also voted the best album of 2012 in the Pazz & Jop, an annual poll of American critics published by The 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. part may be reproduced in any form without explicit written permission. Different types of Scaffolding used for various types of construction. 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