The stripped-down section is an improvement. The spoken-word style has a lot of relevant lyricism but I don’t see this banging next summer, especially not 6 summers from now. There’s a sense of disorder that gives it a unique sound, but it’s also far from enamoring. I can’t put my finger on it, but the production is very hard to fall for. He should’ve called the Migos for ad-libs and not the big boss. The breakdown makes you want to sit down rather than get up and dance. But even his best vocal performance would struggle to save the messy, generic production. This isn’t the sonic world he operates in. Why is it on the album? It’s molded to be a fun record-the thought is there-but it’s as fun as a tea party in a cemetery. Unlike “Tints,” I don’t understand why "Who R U?" would be picked as a single. Kendrick LamarĪs soon as the drums dropped I knew this would be a skip. Anderson crashed his car…while receiving head…that was…anticlimactic. Where is the risky thrill of performing sexual acts in public? Where is the excitement? Transitioned into a skit. The singing is just fine, but I’m hearing a song fit for the background of a MacBook commercial rather than the second track of a big, major album release. Anyone who read or watched Neil Gaiman's American God will know this could end horribly. Eh, a song about getting head while driving. I like how the title is Oxnard and the intro has all the bells and whistles of entering a city in California. The Sonny Liston bar is a nice nod to the former championship boxer. The tempo is starting to rise like the temperature of a human body infected by the flu. She has a voice fit for Flying Lotus’ Until the Quiet Comes. Anderson's name was said over the airwaves. Someone is flipping through radio stations. The sound of seagulls, the ocean, and car keys. Each song will receive my gut reaction from start to finish. In usual 1-Listen fashion, the rules are the same: no skipping, no fast-forwarding, no rewinding, and no stopping. After two years of preparation, Anderson.
The two offerings felt like the foundation in which the age of Anderson would be built on.ĭelivering a strong debut with the major label machine behind him is the next phase in his takeover. Both releases received glowing praise and widespread ovation. Paak liberated two independent albums in 2016: Malibu, a masterful solo album, and Yes Lawd!, a collaborative project with producer Knxwledge under the moniker NxWorries. Opportunity was knocking.īefore sharing his Aftermath debut with the world. Paak was announced as the latest Aftermath signee. The Oxnard talent was ushered into ears by the same patron who presented N.W.A, Snoop Dogg, Eminem, Kendrick Lamar, and countless others to the world.
Compton was the beginning, an introduction to a broader, mainstream audience. Stardom isn’t possible without opportunity. Standing tall on six of the 16 records from Dre’s long-awaited third studio album brought newfound visibility to the underground artist with a style that seamlessly blends picturesque rapping and soulful singing. Paak’s talent for his 2015 album, Compton. No, the Oxnard, California-born renaissance man had clocked more than 10,000 hours into his polished craft when the founder and CEO of Aftermath Entertainment scouted. Paak as a new, undeveloped artist with latent promise.
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