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The cover of the groups debut album,Woman, was a nude portrait of Miloshs then-wife.
Rhyes latest,Blood, is something of a repudiation of those hopes.
Today, it seems, theres little patience for white dudes making derivative love songs.
It also attracted an atypical audience.
Its a relic of the music industrys steadfast use of commercial taxonomies that organize consumers along racial lines.
Never mind that the white guy is more commercially viable thanks to long-standing stigmas against black artists.
You had artists like FKA Twigs and Miguel making out-of-this-world love songs that didnt quite fit in any genre.
Bloodpicks up whereWomanleft off, with Milosh in awe of womankind while whispering sweet nothings into the wind.
All ofBloodis masterfully engineered thanks to the work of seasoned producers Thomas Bartlett and Justin Parker.
The result is something like a sampler of Al Green and Sade covers.
The post-R&B phenomenon, like many internet-driven trends, was heavy on aesthetics and light on substance.
And pop music has never been more eclectic thanks to the democratizing force of online streaming.
We now have Bruno Mars in full superstar mode.
