Anderson .Paak, Oxnard, Album Review
Anderson .Paak
Oxnard
Album Review
I've know about the Californian rap artist since the release of the official Black Panther soundtrack earlier this year in which I was very impressed with his contribution to the song "Bloody Waters" with Kendrick Lamar, James Blake and Ab-Soul. So it was fair to say that I was pleased to find out that .Paak would be releasing his own full length album.
This newest record (named after his hometown of Oxnard) was released on November 16th and quite frankly, is far better than I initially anticipated.
The production on this thing is incredible! Not only does it sound fresh and exciting, it also stays familiar enough to the traditional hip-hop conventions for it to be very accessible, much like many other phenomenal rap albums released this decade. "Oxnard" does definitely seem like the next step forward.
This album starts off gloriously with one of the finest beginning tracks I've heard on an album this year. Titled "The Chase", it has such an awesome sense of progression. Starting off as an enigmatic set of strings joined by Kadhja Bonet's beautiful vocals. What follows only heightens the progression and the excitement one might feel for the rest of the album. This track then concludes in a way with a grand and melodic section paired with .Paaks vocals. It almost feels quite dramatic in a way and is a brilliant way to start the album off.
Following this, the next track "Headlow" is the track that sort of introduces the listener to the groovy atmosphere that will span across the majority of the record. I find the way that the various percussion elements are mixed in with the funky electric guitar strings really give it a very solid flow. I think .Paak's choice to have a more mumbly style in his vocals in the verses was a very good one. My only criticism is that it doesn't really have a production that stays amazing (at least when compared to a lot of other tracks on this album) and it also feels a bit more conventional. Needless to say however, it is still a brilliant track with a very warm and summery atmosphere.
Speaking of summery atmospheres, the third track on the album "Tints" is the absolute epitome of a summer jam. Both in lyrical respect and instrumental, it really reminds you of long and luxurious summer days. this was also the first teaser track for this new album and ultimately enticed me enough to keep my eyes peeled for the records release. Not to mention that Kendrick Lamar did an awesome job featuring on this track.
Track number 4 was also teased before the album. However, I felt that "Who R U?" was one of those tracks that I appreciated far more once it was on the album. Its basically the quintessential show off track you get on a lot of rap album where the respective artist sort of bigs themselves up a little bit. But with the simple yet sinister sounding production, this is done to great effect!
"6 Summers" interested me from the very moment the track started. In a way, the production made it feel almost like an old school Gorillaz track with its bass riff and its choice of beat. The production also switches up roughly half way through to sound more like a Tyler the Creator track. At this stage the track sounds a lot warmer and truer to its title. And lastly, .Paak seemingly uses a lot of the same vocal effects as Kendrick, making this song almost as accessible for K-dot fans as the one he is actually in.
I really love the production of the next track "Saviers Road" for the way that it starts off sounding like a track from the 70s with its guitar strings, keys and percussion that contribute to it. This is followed by an awesome beat that switches the rhythm up just enough while keeping some of the prior elements, not to mention that it is simplistic yet effective. I just think that from a production standpoint, this track is masterfully done. I love it!
Another track that works quite a bit like "6 summers", this track is actually recognised for its two separate phases. "Smile/Petty" starts off as a very indulgent slow jam that really compliments .Paaks and Sonyae Elise's vocals and then transitions into a more upbeat and surreal sounding production with a good vocal rhythm. It's a very interesting track to listen to however, I do also feel the same way about it as "Headlow" in the way that it wasn't the most mind-blowing track on the album but it still stands as a very good track.
"Mansa Musa" started off sounding like a very unique and awesome track when I first gave it a listen. However, I felt that the initial hype I felt towards it died down very quickly. While it does have some very unique production choices and yes I know that Dr Dre is on this thing, I couldn't help but feel like it was trying too hard to be different and ended up being a little odd to listen to at times. It also felt like it was too overloaded in points as well and as for the principal of the track, it's very similar to "Who R U?", only this one doesn't really execute that as well I find.
But as for the next track, "Brother's Keeper" is incredible! It has quite a consistent production which I personally enjoy as long as the track doesn't drag on too much. The main focus f said production is that awesome, almost Hendrix like guitar riff that has a similar anticipation heightening quality as everything that went into "The Chase". But Pusha T just sounds brilliant in this track and its honestly one of the biggest reasons that this track is amongst my favourites. It is really interesting how he almost sounds different to most of the other material that I've heard with him on it (but this is most likely something to do with the difference in recording). But in short both him and .Paak put in some fantastic vocals and it honestly makes "Brother's Keeper" one of this albums most epic tracks!
Speaking of awesome features, .Paak really, and I mean really utilised Snoop Dogg well on the next track "Anywhere" as I genuinely sounds like one of Snoop's own tracks straight from the era of "Doggystyle". I also love just how slow and smooth the rhythm is, yet another complimentary factor considering everything else. This is just the perfect summer chill tune and I adore it!
"Trippy" kind of had the opposite effect on me as "Mansa Musa". While I initially didnt think an awful lot of it on first listen, but I have come to appreciate it much more and actually really enjoy it now. The song has much more of a cold and melancholy nature than the other tracks. And while I haven't fully listened to J. Cole all that much, I still thought that his feature on the track was very good and fit with the overall atmosphere of the track.
In contrast to the cold and mellow tone of "Trippy", the next track "Cheers" has much more of an upbeat, warm and celebratory vibe to it. I love the wavy guitar riff along with the acoustic rhythm that gives the production this really authentic quality that made me feel like I was listening to the track live rather than through my headphones. As the verse from Q-Tip begins, the production switches to a much more blissful sound. Despite the fact that there are two more songs after this, this track does have a conclusive quality to it as well.
"Sweet Chick" was certainly a very entertaining track to listen to with .Paak telling the listener about all the different types of "bitches" he has been with. From "skater bitches" to "yogi bitches", he certainly seems to have been with a lot. What makes this song even more enjoyable is the really grand, soulful and trumpeting production that really compliments the voice of BJ The Chicago Kid.
Then finally, the album finishes on a bit of an unusual note with "Left to Right". Im really not sure about the sort of rasta style that .Paak has with his vocals and in my mind none of it, not even the production, really fits with the rest of the album (which is a shame considering that its this albums final track) and doesn't really compare to the standard and uniqueness of any other track on "Oxnard". A bit of a poor way to end an otherwise marvellous album.
Needless to say, this album was an utter enjoyment to listen to and was totally refreshing. It quite honestly could be one f the most innovative rap albums I've heard since "KIDS SEE GHOSTS" and I can genuinely see "Oxnard" being the influence behind many future projects. I wish that this album came out during the British summertime, but considering I live nearly half the world away from California, it probably has been released at an appropriate time for the city that inspired this album.
I am very excited to see what Anderson .Paak goes next and in terms of being introduced to his own work, I'd say that this album has done one hell of a good job!
Thank you for reading
BBP
Following this, the next track "Headlow" is the track that sort of introduces the listener to the groovy atmosphere that will span across the majority of the record. I find the way that the various percussion elements are mixed in with the funky electric guitar strings really give it a very solid flow. I think .Paak's choice to have a more mumbly style in his vocals in the verses was a very good one. My only criticism is that it doesn't really have a production that stays amazing (at least when compared to a lot of other tracks on this album) and it also feels a bit more conventional. Needless to say however, it is still a brilliant track with a very warm and summery atmosphere.
Speaking of summery atmospheres, the third track on the album "Tints" is the absolute epitome of a summer jam. Both in lyrical respect and instrumental, it really reminds you of long and luxurious summer days. this was also the first teaser track for this new album and ultimately enticed me enough to keep my eyes peeled for the records release. Not to mention that Kendrick Lamar did an awesome job featuring on this track.
Track number 4 was also teased before the album. However, I felt that "Who R U?" was one of those tracks that I appreciated far more once it was on the album. Its basically the quintessential show off track you get on a lot of rap album where the respective artist sort of bigs themselves up a little bit. But with the simple yet sinister sounding production, this is done to great effect!
"6 Summers" interested me from the very moment the track started. In a way, the production made it feel almost like an old school Gorillaz track with its bass riff and its choice of beat. The production also switches up roughly half way through to sound more like a Tyler the Creator track. At this stage the track sounds a lot warmer and truer to its title. And lastly, .Paak seemingly uses a lot of the same vocal effects as Kendrick, making this song almost as accessible for K-dot fans as the one he is actually in.
I really love the production of the next track "Saviers Road" for the way that it starts off sounding like a track from the 70s with its guitar strings, keys and percussion that contribute to it. This is followed by an awesome beat that switches the rhythm up just enough while keeping some of the prior elements, not to mention that it is simplistic yet effective. I just think that from a production standpoint, this track is masterfully done. I love it!
Another track that works quite a bit like "6 summers", this track is actually recognised for its two separate phases. "Smile/Petty" starts off as a very indulgent slow jam that really compliments .Paaks and Sonyae Elise's vocals and then transitions into a more upbeat and surreal sounding production with a good vocal rhythm. It's a very interesting track to listen to however, I do also feel the same way about it as "Headlow" in the way that it wasn't the most mind-blowing track on the album but it still stands as a very good track.
"Mansa Musa" started off sounding like a very unique and awesome track when I first gave it a listen. However, I felt that the initial hype I felt towards it died down very quickly. While it does have some very unique production choices and yes I know that Dr Dre is on this thing, I couldn't help but feel like it was trying too hard to be different and ended up being a little odd to listen to at times. It also felt like it was too overloaded in points as well and as for the principal of the track, it's very similar to "Who R U?", only this one doesn't really execute that as well I find.
But as for the next track, "Brother's Keeper" is incredible! It has quite a consistent production which I personally enjoy as long as the track doesn't drag on too much. The main focus f said production is that awesome, almost Hendrix like guitar riff that has a similar anticipation heightening quality as everything that went into "The Chase". But Pusha T just sounds brilliant in this track and its honestly one of the biggest reasons that this track is amongst my favourites. It is really interesting how he almost sounds different to most of the other material that I've heard with him on it (but this is most likely something to do with the difference in recording). But in short both him and .Paak put in some fantastic vocals and it honestly makes "Brother's Keeper" one of this albums most epic tracks!
Speaking of awesome features, .Paak really, and I mean really utilised Snoop Dogg well on the next track "Anywhere" as I genuinely sounds like one of Snoop's own tracks straight from the era of "Doggystyle". I also love just how slow and smooth the rhythm is, yet another complimentary factor considering everything else. This is just the perfect summer chill tune and I adore it!
"Trippy" kind of had the opposite effect on me as "Mansa Musa". While I initially didnt think an awful lot of it on first listen, but I have come to appreciate it much more and actually really enjoy it now. The song has much more of a cold and melancholy nature than the other tracks. And while I haven't fully listened to J. Cole all that much, I still thought that his feature on the track was very good and fit with the overall atmosphere of the track.
In contrast to the cold and mellow tone of "Trippy", the next track "Cheers" has much more of an upbeat, warm and celebratory vibe to it. I love the wavy guitar riff along with the acoustic rhythm that gives the production this really authentic quality that made me feel like I was listening to the track live rather than through my headphones. As the verse from Q-Tip begins, the production switches to a much more blissful sound. Despite the fact that there are two more songs after this, this track does have a conclusive quality to it as well.
"Sweet Chick" was certainly a very entertaining track to listen to with .Paak telling the listener about all the different types of "bitches" he has been with. From "skater bitches" to "yogi bitches", he certainly seems to have been with a lot. What makes this song even more enjoyable is the really grand, soulful and trumpeting production that really compliments the voice of BJ The Chicago Kid.
Then finally, the album finishes on a bit of an unusual note with "Left to Right". Im really not sure about the sort of rasta style that .Paak has with his vocals and in my mind none of it, not even the production, really fits with the rest of the album (which is a shame considering that its this albums final track) and doesn't really compare to the standard and uniqueness of any other track on "Oxnard". A bit of a poor way to end an otherwise marvellous album.
Needless to say, this album was an utter enjoyment to listen to and was totally refreshing. It quite honestly could be one f the most innovative rap albums I've heard since "KIDS SEE GHOSTS" and I can genuinely see "Oxnard" being the influence behind many future projects. I wish that this album came out during the British summertime, but considering I live nearly half the world away from California, it probably has been released at an appropriate time for the city that inspired this album.
I am very excited to see what Anderson .Paak goes next and in terms of being introduced to his own work, I'd say that this album has done one hell of a good job!
Thank you for reading
BBP
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