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Crack of Dawn is a Canadian band from Toronto, Ontario, which formed in the mid-1970s,[1] performing R&B, funk, and soul music. The band is noted as the first Black Canadian band to sign with a major record label.[2][3]
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Crack of Dawn has the distinction of being the first Black Canadian band to sign with a major label, having joined Columbia in 1975. After the band's first break up, many members began solo careers or joined other groups. Rupert Harvey had a solo career under the stage name "Ojiji" and co-founded the reggae band Messenjah and Carl Harvey became lead guitarist for the ska and reggae band Toots and the Maytals.[2] Ricketts began a solo career in R&B, though he later relocated to Jamaica and switched to reggae, recording under the stage name "Glen Ricks". Ricketts's son Glenn Lewis saw mainstream success as a neo soul singer in the early 2000s.[9]
According to music journalists, Channel Orange has an unconventional musical style,[26] with influences from psychedelic,[27] pop-soul,[28] jazz-funk,[29] and electro-funk genres.[30] HipHopDX categorized it as an alternative R&B album,[31] while Evan Rytlewski from The A.V. Club called it a neo soul record[32] and Time Out New York's Hank Shteamer described it as progressive 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 by electronic keyboard, muted percussion,[35] fluctuating backing tracks,[36] shifting synthesizers,[27] vamps, vibrant guitar,[10] and hazy electronic effects such as dub reverb.[36] Tiny Mix Tapes wrote that first half's "spacious" production recalls the "electric soul influence" of Shuggie Otis,[37] 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".[38] Chris Richards of The Washington Post compared its melodic sensibilities to those of Gaye and Wonder, and its loose song structures to those of D'Angelo, Maxwell, and Erykah Badu.[39] Time magazine's Melissa Locker noted melodramatic elements such as "haunting melodies" similar to The-Dream's 2007 album Love/Hate.[26]
Channel Orange has themes of unrequited love,[32] sex,[3] and existential longing.[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 Caramanica of The New York Times found 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 from Pitchfork said 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 of class disparity,[26] drug dependency,[12] and the tension between spirituality and secularity, a prevalent theme in soul music.[35] Music journalist Sasha Frere-Jones noted "a combination of decadence and spiritual ache similar to Prince's".[55] 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.[35] Jason Lipshutz of Billboard viewed that Ocean examines love in the context of money, drugs, and sex.[3]
"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 of Elton John's 1973 song "Bennie and the Jets" and addresses young, wealthy characters' ennui and fears of the financial crisis with dry humor.[36][60] "Pilot Jones" employs magic realism and escapist imagery,[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] impressionistic textures, experimental beat patterns, refracted sound effects, and vocal improvisation expressing the narrator's "high".[57] "Crack Rock" depicts a crack addict,[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] a non-sequitur chorus,[6] and Ocean's occasionally fractured breathiness conveying an addict's voice.[8]
"Pyramids" is cited by writers as the album's centerpiece.[3][6][35] Brice Ezell from PopMatters wrote 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 from synth-funk to slow jam styles,[36] the song has a lyrical conceit that uses Ancient Egyptian and Biblical imagery,[60] and contrasts the legendary fall of Cleopatra with the circumstances of a latter-day working girl,[3][36] who dances at a strip club called the Pyramid to support her man's gaudy aspirations.[3][63] The new 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", a funk rock song,[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 of figures, 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 journalist Alexis Petridis asserted 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 and universal meaning.[3] Its lyrics allude to philosophical conundrums, extraterrestrial life, Japanese manga comics,[38] and cotton candy.[28] The playful "Forrest Gump" likens the titular film character to an adolescent crush,[3] with homoerotic, tongue-in-cheek lyrics,[6] and allusions to scenes in the film.[22] It has a bright, Motown-inspired chorus,[64] a simple rhythmic cadence, gently strummed guitar, wistful vocals, and a perkily whistled coda.[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 film ATL, 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] gradual fades,[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]
Reviewing in July 2012 for The Daily Telegraph, Neil McCormick 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."[27] The album was called "an expansive, slow-burning classic that repays patience and close attention" by Killian Fox in The Observer,[46] while musicOMH critic 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] For AllMusic, Andy Kellman wrote that Ocean's "descriptive and subtle storytelling is taken to a higher level" than on Nostalgia, Ultra,[4] while Mike Powell from Spin considered his tempered singing to be a sign of "exceptional wisdom and repose".[49] 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."[119] 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".[120]
When 20-year-old piano player Alicia Keys released her breakthrough single, Fallin', back in 2001, no one had really anticipated its chart-slaying, classic-becoming potential. On paper, the song was just a run-of-the-mill neo-soul piano ballad about falling in and out of love. But what Keys brought to the table amid gossamer piano melodies and basic drum programming was the edgy attitude manifested through her slow-burning delivery -- a masterful exercise in restraint. It sure didn't hurt either that its message was also straightforward and universally relatable ("I keep on fallin'/In and out of love with you/Sometimes I love ya/Sometimes you make me blue"). In a lot of ways, it shared sonic traits with Macy Gray's I Try, another neo-soul hit released a few years prior. 2ff7e9595c
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