The multi-talented hip-hop/funk superstar Anderson .Paak showcases all the main ingredients for a fresh and modern take on the modern hip-hop scene, but slightly overcooks the finished product.
Three years ago, the infallible west-coast rapper Dr. Dre took under his wing another fellow west-coast rapper who promised much in the way of the trending hip-hop scene. Anderson .Paak ultimately became his protégé as he subsequently featured on Dre’s 2015 well-received album Compton. Since then, Paak has released his second full-length LP, Malibu, which garnered widespread acclaim for such neo-soul infused hip-hop singles as ‘Come Down’ and ‘Am I Wrong’. Along with a highly entertaining Tiny Desk Concert in 2016, which has since accrued millions of hits, the stage seemed more than set for a seminal third album from the rapper/singer, producer, and multi-instrumentalist. Based on his hometown in California, Paak has at last his latest LP Oxnard, with two accompanying singles ‘Tints’ and ‘Who R U?’ – exuding catchy G-funk hooks and air-tight production from the one and only Dr. Dre. Unfortunately, Paak doesn’t quite meet the all-too-high bar set for himself on his third attempt – regardless of some salvageable moments.
Initially, ‘The Chase’ sets the feel of the record with some lavished soulful instrumentation and free-spirited R&B as Paak and featured artist Kadhja Bonet ease us into a world reminiscent of the Isley Brothers (not bad right?). The impressive start continues with the following intimate track ‘Headlow’, adding some strings and soothing guitar licks in the background — but cut all too briefly with a somewhat pornographic skit toward the ending which borders on slight vulgarity. Nevertheless, this is picked up again by the leading two singles from this LP, ‘Tints’ and ‘Who R U?’ – the former featuring Kendrick Lamar who fits seamlessly into the poppy synth-funk frame of the song, and the latter featuring a more aggressive, Dre-influenced hook showcasing Paak’s rapping versatility.
‘6 Summers’ continues the album’s more aggressive and darker turn with some albeit amusing lyrics: ‘Trump’s got a love child and I hope that bitch is buckwild’. As a standalone track, the lyrics are potent, the guitar riffs and instrumentation work cohesively enough, but for the album as a whole – it doesn’t quite add up. The constant oscillation between G-funk and soul, to R&B, to heavier hip-hop becomes a bit weary as the album’s plot thickens. Similarly, ‘Mansa Musa’ contains an infectious bass track and a heavy feature with Dr. Dre and Cocoa Sarai which results in a powerhouse of a track and, rather than harking back to Isley Brother soul, harks back to Dre’s era of west-coast 90’s hip-hop. The diversity of Paak’s rapping style, as well as his seamless ability to oscillate between singing and rapping, is imperious – the convincing and hard-hitting delivery helps pack that extra punch in this heavyweight track.
For the latter half of this LP, Paak continues to wade in and out of soulful tracks such as ‘Brother’s Keepers’, R&B vibes of ‘Trippy’ and ‘Anywhere’ (inevitably featuring Snoop Dogg), and G-funk from ‘Cheers’. Whilst the endless features of Pusha T, J. Cole, and Snoop can’t be faulted much, one of the major flaws on this LP crops up time and again – Paak spreads himself too thin across these genres. One may even be tempted to split them into separate EPs in accordance with their respective genres, however, the rollercoaster ride the listener finds themselves in at this stage on the album proves to be a slightly disorientating one. Nevertheless, this review would certainly go amiss if I didn’t give credence to the wonderfully-soulful instrumentation pursued in ‘Brother’s Keepers’ and ‘Cheers’ which sets the perfect platform for Pusha T’s biting rapping style and Q-Tip’s uniquely smooth voice.
Unfortunately, the LP does not culminate this way. ‘Left to Right’ awkwardly finishes the album with an afrobeat-style hip-hop hook repeating the refrain ‘left to right, left, left to right’ numerous times throughout the track. The track ultimately falls flat without reconciling many of the sounds portrayed on the preceding 13 tracks and concludes with a sharp anticlimactic ending. It is beyond my comprehension why Paak felt it necessary to include such an outsider of a track – almost as if cutting the ‘final’ puzzle piece to fit the overall puzzle – perhaps attempting to tick off another genre he can assimilate his rapping style into.
After an almost an entire hour’s listening experience with Oxnard, I feel as if Paak has slightly overcooked this timely Thanksgiving turkey of an LP. He’s made some stand-out side dishes with the stuffing and cranberry sauce, but the pumpkin pie turned out with a soggy bottom. With such a variety of genres at play in this LP, it’s no wonder Paak has found himself slightly lost within this forest of songs – from the sweet R&B tones which start off the LP, to the bizarre afrobeat sounds which finish it all off. In spite of these shortcomings, I feel as if the high peaks do in fact outweigh the lower troughs of the LP, namely tracks ‘Tints’, ‘Brother’s Keepers’, and ‘Cheers’. With such a magnitude of potential, and undoubted commercial success from this album, I only wish Paak edited down some of the other tracks and further tailored his unique sound and versatility.
6.5/10
Anderson .Paak’s ‘Oxnard’ is out now here.
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