The cover for Anderson Paak’s latest album, Oxnard, immediately gives the impression of a film. “Starring Anderson Paak,” it reads, much like the marquee on a movie poster. And like a movie poster, we see an array of images all pertaining to Paak’s life. These include images of his son, two of the members of his band The Free Nationals, as well as Paak himself, standing before a large crowd next to the most glaring inclusion, which is hip-hop legend Dr. Dre. All of these images are portrayed in a cloud of smoke, as Paak stands firmly there, arms open, assuredly singing something uplifting and life-affirming.
This is the poster to the film that is Anderson Paak, Oxnard being the third film of the trilogy — and the biggest one to date due to his meteoric rise in the public consciousness in the last two years. Keeping this in mind, despite my hype for this record and my love of Paak’s previous works, I still had my apprehensions about this project. I wondered if this newfounded backing and production by Dre and his label Aftermath would result in a production too large with stakes so high that it might suck the soul out of what makes Paak so great — the soul that was allowed to freely reign on a record like Malibu. Would Oxnard be marred by tracks lacking the songwriting ability that made his previous works so instantly lovable and memorable?