's debut, lacked character. Not without a small clutch of memorable songs, much of it was nonetheless generic, containing little to separate it from the average R&B album fronted by an up-and-coming performer., released five years later, is an entirely different affair -- fun, silly, slightly eccentric and, most importantly, fearless. Steeping an album in classic Motown and other R&B sounds of the late '60s and early '70s may not be the wildest maneuver in 2008, but throughout, there is a kind of frolicsome adventurousness that is singular and undeniable, even when lets loose with the sourness and addresses her false public image. In spots, it sags, and a couple tracks seem more like sketches than neatly bundled songs, yet it's one of the year's more entertaining and easily enjoyable R&B releases, fronted by someone who does not take herself all that seriously, someone who is slightly more concerned with raw emotion and clowning around than technical prowess and polished product. Hasn't merely taken and 's advice to 'Take a little trip through your mind and explore it.'

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• ' Released: April 22, 2008 • 'ChampagneChroniKnightcap' Released: August 19, 2008 • ' Released: November 25, 2008 • ' Released: March 31, 2009 • 'Wanna Go Back' Released: August 17, 2010 Sol-Angel and the Hadley St. Dreams is the second by American singer and songwriter. It was released on August 26, 2008,. Knowles was heavily influenced by the ' of the 1960s and 1970s prior to the album's recording, prompting her to work with several like-minded producers and songwriters such as,,, and former member. Exploring the lyrical theme of independence, it also incorporates elements of and that she had familiarized herself with on previous trips to Europe. Deviating from the R&B and of Knowles' debut album, (2002), Sol-Angel and the Hadley St.

Dreams featured promotion that aimed at an 'intellectual, backpacking, coffee shop, digital kid' audience, according to her record label. The album debuted at number nine on the US chart, selling 46,000 copies in its first week, and spawned three singles that reached number one on the chart. Upon its release, Sol-Angel and the Hadley St. Dreams received generally positive reviews from most music critics. As of April 2009, it has sold 138,000 copies in the United States.

The music of girl groups like (pictured in 1966) influenced Knowles's direction for the album. Knowles had been working on her second studio album on and off since 2005 following her return home to,, and her divorce from Daniel Smith, with whom she had lived following the birth of their son Daniel Julez in October 2004. The follow-up to the critical and commercial disappointment of 2003's was preceded by Knowles's move from to in late 2007.

Knowles was heavily influenced by such as and, and by her mother Tina, a one-time member of the 1960s harmony group The Veltones, who used to play music by the likes of and to her. Knowles decided to distance herself from the and -oriented R&B sound mainly associated with her previous effort, Solo Star. Willed to create a concept album revolving around her growth as a musical artist instead, she eventually got into the idea of a 'sweet, soulful record [.] based around the Sixties and Seventies, telling stories of where I have been the last couple years.' Also borrowing elements from and she discovered on recent trips to Europe, her vision of the album eventually resulted in a mixture that Knowles has described as a '60s/70s vintage soul record with hints of electronica.' In an interview with magazine, Geffen Records chairman said of the album prior to release, 'Her record is totally bananas. It's not what people would expect from her.

The music is more electric and international. She's in her own lane.' Recording [ ].

The song features a 1970s sound and contains a thick horn sample from 's 1960s recording 'Feeling Young'. Problems playing this file? Although Knowles had previously worked with a wide range of high-profile producers and songwriters on earlier projects, she struggled to convince her wishlisted musicians to contribute to Sol-Angel and the Hadley St.

Dreams, production-wise. This was due to no producer signing on to the project before hearing any material for the album. 'I don't think it was offensive,' Knowles admitted. 'I understand that these are people that want to take on credible passionate projects. So before I would work with them I would schedule a meeting and play them the record.