Anderson .Paak is a hip-hop/R&B artist from Oxnard, California. He debuted with a few notable underground projects in the early 2010’s, including the Cover Art EP which aimed to reclaim blues and R&B tracks written by black artists which were better known for being covered by white artists in the 1950’s. His breakthrough came first with 2014’s Venice, and then with his 2016 smash hit, Miami. The latter is a far more impressive release and brought to life the grooving, soul-funk style which set .Paak apart from the other members of his 2016 XXL Freshman Class. With his 2018 follow up, Oxnard, Anderson was launched into the stratosphere of modern music with what was largely regarded as one of the best albums of the year. Now, just a year later, he’s returned with Ventura, yet another groovy piece of Neo-soul mastery.
Eagle-eyed music fans will notice before they even hear a sound that the record has a fantastic lineup of features on nearly every track. While the vast majority of these are quite impressive, two stand about above the heap. Namely, the one and only André 3000’s tongue-twisting verse on the opener, “Come Home,” and Smokey Robinson’s silky presence on the follow up, “Make It Better.” In both instances, the features elevate the tracks to incredible heights.
Despite an incredible ensemble, Anderson still commands a leading presence across the project, and carries a few of the tracks alone. “Yada Yada,” is an absolute clinic in soul and funk vocals with .Paak’s rough sweetness burning through every line. “Chosen One,” however, would be entirely forgettable if not for the fantastic rap verse near the end with a few eye popping name drops and a fascinating flow. He’s really come into his own, and his work on this record is extremely exciting for longtime fans.
Beyond vocal performances, Ventura’s instrumentals are electrifying. Each cut features a massive pallet from an interesting mix of organic and electronic sources. “Reachin’ 2 Much” sees a foundation of thick bass guitar and thumping kick drums supporting howling synths and bombastic horn sections. “Winner’s Circle,” on the other hand pulls elements like skat singing and woodwind melodies and a hilarious opening sample.
The record is at it’s best however, when the entire band finds the somewhat intangible groove they seem to be searching for at all times. This happens to great effect on “Jet Black,” a track which is essentially carried by the groove and lacks the bells and whistles of other cuts. The album’s highlight, however, is the lead single “King James,” which is built on an undeniable beat and adorned with thoughtful, politically charged lyrics and a luscious saxophone. It’s here where Anderson is at his best.
I do, however, have a handful of complaints. The most consistent issue throughout is pacing. More than a few tracks drag on far longer than necessary and seem to go nowhere for the last half. “Good Heals,” on the other hand, is criminally short and feels extremely half baked.
The most frustrating shortcoming, though, is the way that Ventura absolutely limps through the finish line. The closing tracks, “Twilight,” and “What Can We Do?” Are both completely lifeless and unnecessary. The Nate Dogg feature on the latter is a nice touch, but the track itself feels like a lost, Nate Dogg B-side and is totally out of step with the rest of the record. It’s a shame, because the rest of the project is quite strong, and could’ve been brought home well.
That being said, Ventura is a success, overall. Once again, Anderson .Paak has come through with a unique brand of Neo-soul and funk that has the ability to excite fans young and old. His respect for the masters like Smokey and James Brown is palpable, but his rap background bring a unique spin.
Ventura is a flawed but ultimately electrifying piece of modern soul and yet another great addition to the ever growing Anderson .Paak catalog.
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