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Frank Ocean was a name popping up everywhere after he dominated the music charts with his first studio album, Channel ORANGE, 12 years ago. The project successfully debuted at No.2 on Billboard's Global 200 Album charts.
Frank's Channel ORANGE was extremely well received, critically, and went on to win him his first Grammy for "Best Urban Contemporary Album" at the 55th Grammy Awards Ceremony.
Plans for this album reportedly began after Frank independently released his acclaimed underground mixtape nostalgia, ULTRA, via his Tumblr account back in 2011.
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According to the rapper, before Channel ORANGE, his record label, Island Def Jam, was not willing to push or promote Ocean's solo material and only green-lit the LP after his mixtape began to garner a buzz online.
Breaking down Frank Ocean's debut studio album Channel ORANGE
Frank Ocean teams up with producer Malay, to assist with the production of this album. A majority of this LP's composition successfully draws its inspiration from R&B and alternative hip-hop music, which is also the reason why the rapper is known for pioneering the subgenre.
Frank's Channel ORANGE is deeply introspective and dives into personal and intimate themes, recounting instances of love, heartbreak, faith, failure, and success. Not long after this album's release, Ocean uploaded his now-famous confession on Tumblr where he professes his love for a man in a post resembling a personal diary entry.
Disclaimer: This review is rated explicit. Reader's discretion is advised.
Start
(Production Credits: Malay)
Frank Ocean introduces Channel ORANGE with a track titled Start, which features muffled vocals from the rapper's friend Raymond Buck. The song starts with the sound of a TV being switched on before Ocean turns on a gaming console.
This is evident from PlayStation 2's intro tune that suddenly fills the track as it cuts to sounds from a video game the rapper appears to be playing.
Thinkin Bout You
(Production Credits: Shea Taylor)
Listeners are then introduced to the Grammy-nominated love song Thinkin Bout You, where Frank sings to an ex-lover, portraying a fragile show of strength before ultimately confessing that he still has strong feelings for them.
The vocal performances on this track are exceptional, with Ocean's ability to draw his audience into a world of reflection as he wonders if his ex-partners feel the same way about him, as seen on lines like:
"Yes, of course, I remember, how could I forget? how you feel? / You know you were my first time, a new feel / It won't ever get old, not in my soul, not in my spirit, keep it alive / We'll go down this road 'til it turns from color to black and white"
Fertilizer
(Production Credits: Malay)
Frank then delivers the first interlude of the album that follows in suit with Start's production, as we hear the rapper flip through various TV channels. The track then stops as the bouncy composition of Fertilizer carries the remaining portion of the record.
The production on this track and vocals appear to be inspired by tunes used in commercials, with the rapper humorously advertising manure as an effective way to deal with people's "bulls--t".
"Fertilizer / I'll take bulls--t if that's all you got / Some fertilizer / Fertilizer" - Frank Ocean sings on 'Fertilizer'.
Sierra Leone
(Production Credits: Malay and Om’Mas Keith)
In Sierra Leone, Frank tells the fictional story of a version of himself that gets his lover pregnant and exceptionally recounts a tale of maturity.
The rapper appears as a careless teenager at the start of the record, only for his personality to change after the birth of his daughter, and toward the end, Ocean becomes a more responsible individual.
"Our daughter's reaching for your ni--le 'cause it's time for her to eat / Tonight I'll lay her in the cradle if it's time to go to sleep / I'll sing a Lennon lullaby, she can have a pretty dream / Baby girl, if you knew what I know, knew what I know" - Frank Ocean sings on Sierra Leone's final verse.
Sweet Life
(Production Credits: Malay and Om’Mas Keith)
On Sweet Life, Frank explores themes of wealth and fame by citing the negative impacts of chasing materialistic ideologies or, in his terms, a "sweet life".
The chorus is interesting as we see the rapper acknowledge why living life inside a "bubble" is more fulfilling than accepting that those around you may not be as fortunate. Notable bars from Ocean's Sweet Life include lines like:
"You've had a landscaper and a house keeper since you were born (Yeah) / The starshine always kept you warm / So why see the world, when you got the beach? / Don't know why see the world, when you got the beach?"
Not Just Money
(Production Credits: Jonathan Ikpeazu)
Not Just Money is the album's first skit that features a recording of Ocean's friend's mother, Rosie Watson, giving the rapper advice on life and valuing money. She wishes for Frank to seek happiness in his life, instead of chasing excess, before the audio cuts off.
"It's not just money. It's happiness / It's the difference between happy, being happy and sad / It's the difference between having a home and living on the streets / That's what it is, it's not just money. It's so much more than that" - Mrs. Watson states on 'Not Just Money'.
Super Rich Kids (Feat. Earl Sweatshirt)
(Production Credits: Malay and Om’Mas Keith)
Building on the themes set during Mrs. Watson's lecture on Not Just Money, Frank delivers a bouncy record contrastingly titled Super Rich Kids, where he teams up with Earl Sweatshirt to flex a life of luxury.
The delivery and vocal performances highlight the deeply introspective nature of Ocean's lyricism when it comes to truly attaining fulfillment in his life. Frank builds an interesting story by starting the song off standing on top of a roof, enjoying the highs of his success, but tragically ends the track by jumping off the ledge and taking his own life.
"Sleeve rips off, I slip, I fall / The market's down like 60 stories / And some don't end the way they should / My silver spoon has fed me good / A million one, a million cash / Close my eyes and feel the crash" - Frank Ocean sings on the final verse of 'Super Rich Kids'.
Pilot Jones
(Production Credits: Malay and Om’Mas Keith)
On Pilot Jones, we find Frank longing for intimacy and a strong connection while reminiscing about his life with an ex-lover. The rapper draws comparisons between an airline pilot and his partner by citing how she used to control and steer their relationship, similar to how a pilot directs the flight of a plane.
He introduces themes of drugs and vices in this song by referencing being addicted to her love when comparing this feeling to getting high on Marijuana. He also refers to his ex-lover as both, the dealer and the stoner, on lines like:
"I just don't know why I keep on tryin' to keep a grown woman sober / See, there you go reachin' up your blouse / And no, I don't want a child / But I ain't been touched in a while / By the dealer and the stoner / With the sweetest kiss I've ever known, ever known"
Crack Rock
(Production Credits: Malay and Om’Mas Keith)
Crack Rock is a record inspired by the addictions and life stories of Frank's grandfather and his associates. The rapper explained, during an exclusive interview with The Guardian in 2012, how attending AA meetings with his grandfather and hearing addicts recount their troubled experiences led to him writing this song.
Ocean also dives into the impact the "War on Drugs" had on those around him, citing instances of police brutality and racism, as seen on lines like:
"F--kin' pig get shot, three hundred men will search for me / My brother get popped and don't no one hear the sound / Don't no one hear the rounds (Sound) / Don't no one hear the shells (Shells)"
Pyramids
(Production Credits: Malay and Om’Mas Keith)
Frank Ocean then delivers the album's longest track, with a runtime of almost 10 minutes, titled Pyramids. This electric record finds the rapper telling a semi-fictionalized story about an ex-lover whom he believes lost her status after leaving Frank, only to resort to stripping and pr*stitution to support herself and her new partner.
Ocean draws comparisons between this individual and Cleopatra, citing how, unlike the renowned Queen of Egypt, his ex-partner has lost all her glory and "significance" after resorting to a conspicuous line of work.
"For now, let's call her Cleopatra, Cleopatra / I watch you fix your hair / Then put your pan-ies on in the mirror, Cleopatra / Then your lipstick, Cleopatra / Then your six-inch heels, catch her / She's headed to the pyramid" - Frank Ocean sings on 'Pyramid'.
Lost
(Production Credits: Malay and Om’Mas Keith)
On Lost, Frank sings from the perspective of a drug kingpin who uses his girlfriend as a mule in his trafficking ring. The record highlights how his partner gets "lost" in the fast-paced lifestyle Ocean provides her, citing her addiction to lavish gifts and wealth.
The song finds Frank's character hoping for his partner to eventually move away from this lifestyle, with Lost ending on the realization that their greed for this expensive life will always get in the way.
"She's at a stove / Can't believe I got her out here cookin' dope / I promise she'll be whippin' meals up for a family of her own some day / Nothin' wrong, no, nothin' wrong / With a lie" - Frank Ocean sings on 'Lost'.
White (Feat. John Mayer)
(Production Credits: Tyler the Creator)
White is a pure instrumental track, with Frank bringing John Mayer on board for a solo guitar performance, which fills the record with electric energy. This marks John's second appearance on this album with the musician handling the outro guitar solo on Pyramid.
Monks
(Production Credits: Malay and Om’Mas Keith)
On Monks, the rapper draws comparisons between his fans and Buddist Monks. He even suggests a direct comparison between him and the spiritual leader, Dalai Lama, during his second verse.
The entire song revolves around Frank's attraction for a woman he meets at one of his concerts when he sings:
"African girl speaks in English accent / Likes to f--k boys in bands / Likes to watch Westerns / And ride me without the hands / Show me her passport / She's on her own tour"
Bad Religion
(Production Credits: Malay and Om’Mas Keith)
Frank explores themes of h*m*s*xuality, faith, and prayer, on Bad Religion, with the rapper highlighting how the distance between him and God exists due to an "unrequited love".
He proceeds to draw comparisons between religion and cults on the song's chorus, where we see Ocean explaining why he believes he's a part of a one-man cult, as seen on lines like:
"If it brings me to my knees / It's a bad religion / Ah-ah, oh, unrequited love / To me, it's nothin' but a one-man cult / And cyanide in my styrofoam cup / I can never make him love me / Never make him love me / No, no, ahh"
Pink Matter (Feat. Andre 3000)
(Production Credits: Malay and Om’Mas Keith)
Frank teams up with Andre 3000 for an electric collaboration on Pink Matter, with Andre also providing a unique guitar instrumental as the backing track. The song appears to majorly revolve around female anatomy, desire, love, and intimacy, amongst others.
Both artists delve into the ecstatic, yet dark, moments of a relationship that brings pleasure to their lives. Although the lyricism on this track is extremely deep, Frank's vocal performance on the chorus stands out for the beautiful inflections that float over a painful cadence.
"Cotton candy, Majin Buu, oh, oh, oh, oh / Dim the lights and fall into you, you, you / My God, giving me pleasure / Pleasure, pleasure, pleasure / Pleasure over matter" - Frank Ocean sings on 'Pink Matter'.
Forrest Gump
(Production Credits: Malay and Om’Mas Keith)
On Forrest Gump, Frank doesn't just reference the classic 1994 comedy-drama of the same name, which starred Tom Hanks as the titular character. The song is interesting as it finds the rapper singing from the perspective of Hank's love interest in the movie, Jennie, who marries him at the end of the film.
Frank's s*xuality is explored on this track, as by speaking through Jennie's lenses, he manages to metaphorically recount instances and feelings from his first love, a man he's publicly spoken about and explained during a post made on his Tumblr account.
"I saw your game, Forrest / I was screaming, Run forty-four! / But you kept running past the end zone / Oh, where'd you go, Forrest? Forrest Gump"
End
(Production Credits: Malay)
Frank Ocean closes out his debut studio album with an ambient track titled End, which samples an intimate scene from the 2006 film ATL.
With Ocean's vocal performance taking a back seat, a spotlight is placed over the dialogue from this scene, which finds the main characters, played by T.I. and Lauren London, seemingly falling in love. The track ends with London's character, New New, professing her love for Rashad (T.I.) by telling him he's "special".
"There's somethin' about you / I can't believe I'm even talking to you, tellin' you this right now / You're special / I wish you could see what I see" - The outro on 'End'.
Frank Ocean's debut studio album is a beautifully written piece of work that highlights the depth of his broken personality. He draws listeners into the album by metaphorically replacing personal stories with semi-fictionalized verses, fueled with an artistic passion and creative vocal performances.
The ability of Channel ORANGE to break past societal barriers and speak on themes not usually associated with rappers is one of the reasons why this project is rated so highly amongst his fans and critics.
