Much like our ‘Retro Rewind’ and ‘From the Vault’ segments, readers of That Grape Juice know what avid music lovers we are – especially of hits past.  So in a quest to re-spin the gems and jams of yesterday we introduced a new retrospective segment – ‘TGJ Replay’.

Unlike its ‘Rewind’ and ‘Vault’ predecessors, ‘Replay’ looks to dust off and showcase albums (and eras) from a library of pop music hits.  Tuck in below as we press play on R&B’s eccentric beauty Kelis and her debut album ‘Kaleidoscope’…
1998 saw Manhattan-born beauty Kelis Rogers (known mononymously as Kelis) begin work on her debut, springing onto the Hip Hop/R&B scene via the vibrant collection christened ‘Kaleidoscope’.

To be distributed via Virgin Records, the Neptunes (ft. Pharrell) helmed project was set to introduce many to the outspoken eccentric who was poised to be the “anti-” of everything most of R&B’s then-top performing divas were (see:  glammed up, sex kitten, belters, etc).  Putting in place her own spin on “glam”, the next year saw Miss Rogers make her thunderous debut on charts with the anthem ‘Caught Out There’…

The tune proved itself a firestarter.  In the midst of the ‘men are dogs’ songs produced by the DC3 and TLC’s of the era, ‘Caught Out There’ stood as the “Alanis Morissette meets R&B” of the group.  Taking the extreme measure of literally screaming the chorus, the raw-and-realness of the tune’s performance won over critics and fans alike.

Despite leading its parent album to a modest commercial debut on charts, it was clear that Kelis appealed to a certain sect of R&B lovers.  With lyrics that showcased more than booty-shaking heauxs and oversexualized theme, the songstress appeared to appeal most to those seeking a mixture of rhythmic style and substance.

Crafting indeed what was a “kaleidoscope of sounds” the eclectic singer’s debut album brought elements of rock, pop, soul, R&B, trip hop, and ska to a musical landscape that saw little diversity.  Unable to fit into any one box of sorts, the album went on to sell very little in the United States (but did fare better in the U.K.).

Regardless, it did lay the groundwork for a career that would eventually earn a respectable amount of hits.  A groundwork, in retrospect, that may have been too futuristic to be appreciated in its time.  Visuals like that for ‘Get Along With You’ would easily spin side-by-side by those produced some ten years later.

We salute Miss Rogers for daring to be different.  And, while the last few years have seen her make headlines more for dramatics than music, we still anxiously await what the ‘Milkshake’ maven will be bringing to the yard in the coming years.

Your thoughts?