“Frank Ocean’s album was an example - he wasn’t making music for radio,” said Fuzzy Fantabulous, producer for Big Boy’s KPWR (105.9 FM) morning show and director of talent relations for Stampede Management. “Kaleidoscope Dream” quickly garnered comparisons to another fully realized disc, Ocean’s breakthrough “Channel Orange.” Released earlier this year, Ocean’s Def Jam debut was celebrated for its eccentricities, confessional storytelling and disregard for the trends scoring radio play. “I’m proud to wave the flag for what’s coming.” “I hope more artists who are R&B at the core and pushing the boundaries will join me in embracing the fact that did become a stereotype,” said Miguel. After building a following with fierce live performances, the disc opened to critical acclaim and debuted at No. ![]() ![]() When Miguel arrived in 2010, he offered a hybrid of R&B, funk, hip-hop, dubstep, rock and electronica - which he branded “eclec-tric” - and although his debut disc, “All I Want Is You” spawned minor hits like the sublime “Sure Thing,” his modern take on classic soul was overlooked as an acquired taste.Īs off-kilter as his debut was, it proved merely a teaser for the unconventional rhythms he offered in “Kaleidoscope Dream,” a disc that brimmed with buzzing synthesizers, heavy melodies and psychedelic grooves. It was driven by singer-songwriters such as Erykah Badu, Maxwell, D’Angelo, Lauryn Hill and Jill Scott, who were seen as soul revivalists with debuts that infused jazz, funk and African elements into R&B. The new movement feels like the most significant stylistic change in R&B since neo-soul rolled around in the 1990s.
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