フォーマット |
CD |
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構成数 |
1 |
国内/輸入 |
輸入 (ヨーロッパ盤) |
パッケージ仕様 |
- |
発売日 |
2018年12月14日 |
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規格品番 |
7559792705 |
レーベル |
|
SKU |
075597927054 |
構成数 | 1枚
合計収録時間 | 00:56:55
Recording information: Nice Vibe, Los Angeles, CA; OBE Studios, Hollywood, CA; Record One, Sherman Oaks, CA; The ICU, Brentwood, CA. Anderson Paak recollects on volume three of his beach trilogy that he envisioned, back in high school, making music with Dr. Dre. The foresight manifested a decade later in a recurring role on Compton, and then a contract with the doctor's Aftermath label, announced a few months later, just as second volume Malibu was about to crash Billboard's R&B/hip-hop Top Ten. A couple subsequent Grammy nominations further showed that Paak could prosper without being anyone's protege, thereby making his Aftermath debut somewhat anticlimactic before it was even completed. Disregard the context and Oxnard is simply the follow-up to Malibu, lyrically a little deeper and sonically a bit richer, though a little less novel. It happens to bare Dre's name as executive producer and mixing engineer, and as co-producer of four tracks, three of which are rhythmically choppy backdrops for a peacocking, raspy Paak, basking in affluence, berating rappers, and "fuckin' up the weekend" as he flashes his million-dollar grin. The dazzling and layered fourth Dre collaboration, "Cheers," also involves Q-Tip behind the board and in the booth, with Paak working through the loss of Mac Miller in poignant verses and a stirring chorus. Other than that track, embedded references to issues ranging from police brutality to personal troubles, and the post-11/8 "6 Summers" -- where anti-Trump taunts are balanced by incisions like "There's money to be made in a killing spree" -- Oxnard is about highly detailed hijinks and romantic conflicts. It's front-loaded with a kind of vehicular action-adventure mini-suite, beginning in sweeping blaxploitation style with help from Kadhja Bonet's voice and strings, continuing with the elegant if lascivious pit stop "Headlow," and climaxing with "Tints," glistening and twisting modern synth-funk fortified by a duly animated Kendrick Lamar verse. Paak later verges closer than ever to loverman status with the slowly chugging Snoop Dogg pairing "Anywhere," filled with flashbacks to '80s and '90s R&B like One Way, Mtume, and Ruff Endz. Although Paak is still an R&B artist more so than a hip-hop one, he continues to be a stylistic outlier. Rather than pander, testify, or even seduce, he tends to express the blues when he sings, epitomized on "Smile/Petty," in which he confronts a liar and wails "My lady drives me high up the wall." Later lyrical transgression aside, the LP is a pleasurable thrill ride. ~ Andy Kellman
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1.[CD]
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1.The Chase (feat. Kadhja Bonet)
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2.Headlow (feat. Norelle)
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3.Tints (feat. Kendrick Lamar)
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4.Who R U?
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5.6 Summers
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6.Saviers Road
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7.Smile/Petty
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8.Mansa Musa (feat. Dr. Dre & Cocoa Sarai)
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9.Brother's Keeper (feat. Pusha T)
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10.Anywhere (feat. Snoop Dogg & The Last Artful, Dodgr)
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11.Trippy (feat. J. Cole)
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12.Cheers (feat. Q-Tip)
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13.Sweet Chick (feat. BJ The Chicago Kid)
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14.Left To Right
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西海岸のビーチ名を冠した前2作に続いて自身の出身地をタイトルにした2年10か月ぶりの新作。ドクター・ドレー『Compton』への参加もあってアフターマス入りして放った今作では、ドレーもラップやミックスを含めて助太刀し、大御所から新鋭まで豪華ゲストを迎えて総力戦で制作に臨んでいる。ブラックスプロイテーション風の序曲がアルバムの内容を示唆するように、ドラマーでもある彼らしくパーカッシヴに快走するケンドリック・ラマー客演のブギーな先行曲"Tints"のほか、Q・ティップやプッシャTの参加曲など70年代ソウル/ファンク要素の滲ませ具合は過去作以上に顕著で、"Anywhere"ではスヌープ・ドッグらとメロウにGファンク回帰。力強いビートで前進しながらのルーツ探訪感が香しい。
bounce (C)林 剛タワーレコード (vol.422(2018年12月25日発行号)掲載)
西海岸のシーンがダークでシリアスなだけじゃないってことを彼の作品からは感じさせられます。ケンドリックとの軽妙な掛けあいを心底楽しんでいるような“Tints”が最高。それとドラマーなだけあって、アルバム全体から匂いたつグルーヴがすごく自然体。
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