Anderson .Paak is a unique and interesting figure in contemporary music. His first two albums (under his current stage name), Venice and Malibu are a beautiful modern interpolation of RnB and Hip-Hop, packed with wonderfully produced live instrumentation and Funk and Soul grooves that make Anderson stand out amongst the competition. On top of this, both are highly regarded amongst fans and critics alike. Anderson himself is a supremely talented guy, doing everything from being a primary songwriter to a world class drummer, as well as a unique vocalist, switching from rapping to singing on the fly. Along with his incredible main-stay band The Free Nationals, live Anderson is a real treat, and genuinely underrated.
All of this combined with the news earlier this year that Oxnard ‘heavily involved’ the now reclusive West Coast legend Dr. Dre, made me very excited for its release.
So how does Oxnard hold up to his previous ventures?
Well, it’s good, you’ll be glad to know. But it’s not perfect.
This is Anderson being the most braggadocios we’ve seen, and the most straight up Hip-Hop album in his catalogue. This is not necessarily a bad thing, but the departure from the luscious relaxing Soul melodies and live instrumentation of Malibu can seem jarring when it comes it comes to the somewhat obnoxiously fast-paced Hip-Hop tracks like Who R U? and Mansa Musa.
“Back on my bullshit, I got some money to blow, I’m looking good bitch” – Opening line from Mansa Musa sums up the overall vibe and Andersons attitude on Oxnard
Of the 14 tracks we get on this album, 6 Summers stands out for its instrumentation and lyrics, exploring themes of Trump and gun reform. Lead single Tints is a great party tune and Trippy is one for the laid-back playlist.
Cheers, featuring A Tribe Called Quest’s Q-Tip, is a beautifully conveyed reminiscent track, in tribute to the late rappers Mac Miller and Phife Dawg, among others, and features an scintillating instrumental.
Headlow is easily one of the weakest tracks in the lineup, with a horrifically awkward road head skit that makes it instantly unplayable in public.
Overall, Oxnard does a lot right. But it doesn’t quite hit the same amazing heights of Andersons previous catalog, and feels like a slight departure from his unique sound towards a more generic appeal.
Check out Oxnard here:
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