electric and international. She's in her own lane." Recording and production Although Solange 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," Solange 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. And then they were more convinced and willing to get on board." Cee-Lo Green and Mark Ronson were not consulted until late into the production of the album, both having been persuaded by Solange at the 50th Grammy Awards ceremony: "I had to party with Cee-Lo too to get him to work on the record [...] but once he did [listen to my music] he signed on immediately." Solange collaborated with several studio personalities, including Jack Splash, Shea Taylor, Mr. Familiar, Lamont Dozier, production teams Soulshock & Karlin and Bama Boyz, as well as singers and rappers Pharrell Williams, Bilal, Q-Tip and Lil Wayne respectively. In addition, Marsha Ambrosius of Floetry lent vocals to the unreleased recording "Wanna Go Back", while Raphael Saadiq and British singer Estelle demoed the track "Same Song, Different Man", which didn’t make it to the final track listing. In an interview with Starpulse, Solange later said of the experience: Inspired by the aspirations of Solange's father Mathew, the album was titled after Hadley Street, a plot of land in downtown Houston. This became the location of Matthew's Music World Entertainment complex (1505 Hadley), where Solange says she began working on the album. Marketing and sales Leading up to its release, Sol-Angel and the Hadley St. Dreams featured promotional photography of Solange in an array of costumes and wigs that evoke late 1960s and early 1970s fashion styles. The record companies of its release, Geffen and Music World Entertainment, aimed at an "intellectual, backpacking, coffee shop, digital kid" audience in promoting the album. Released on August 26, 2008, the album debuted at number three on the US Billboard Top R&B/Hip-Hop Albums chart, and at number nine on the Billboard 200, with first-week sales of 46,000 copies. By April 2009, the album had sold 138,000