Chords for Anderson .Paak - Malibu ALBUM REVIEW
Tempo:
54.2 bpm
Chords used:
Gb
Ab
G
A
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hey everyone, West the Coast Tano here, the Internet's busiest music nerd, and it's time
for a review of this new Anderson .Paak
album, Malibu.
Anderson .Paak,
West Coast singer [Gb] and songwriter, producer, and he's been making quite a splash
lately, lending his very passionate, raspy, dynamic vocals to projects both big and small.
Dr.
Dre's latest album slash soundtrack, as well as even the new Bus Driver mixtape.
And given all of this newfound attention, of course this latest project of his is going
to be a breakthrough for him, at least on some level.
And you cannot say that Anderson did not try to do it big on this thing, given that he's
handed over an hour of material, 16 tracks on this thing, with features from Rhapsody,
The Game, Schoolboy Q, as well as BJ the Chicago Kid, Talib Kweli, and more.
And on this project, Paak sounds deeply influenced by the institutions of funk, jazz, hip-hop,
pop, R&B, all of which kind of blends together into a very smooth neo-soul flavor some of the time.
And there's a lot of that kind of stuff to go around these days, however, many of these
new faces aren't paired with very strong voices, unfortunately.
But the vocal performances here are [Ab] actually really good, but I sort of knew that was going
to be the case going into it, given how many great vocal features Anderson has laid down
[G] in the past.
The singing on this thing, it's full of emotion, it's got a lot of charisma, swagger, occasionally it's seductive.
He's far from sloppy, and I would say anything but boring.
And the 16 tracks on this thing are somewhat diverse as well, as Anderson and his producers
kind of hop from one genre to the next.
I love the glossy, futuristic funk grooves on the song Am I Wrong?
Feels very new, feels very modern, but then on cuts like Put Me Through and Celebrate,
even though the production here is pretty fresh, it's pretty clean, at the core of
these tracks, there's like a classic soul single.
And Anderson dips into rapping as well on this thing, over a couple of beats that are
very jazzy, fractured, produced by 9th Wonder, specifically on the song Without You.
On this track, not only are the verses very fun, very [A] entertaining, but Anderson brings
his own chorus too, [Ab] so of course that's good because you know he can sing.
And given that there are a few tracks on here he produces, he's just like a triple threat
on this thing.
And then there's the very lovely and alluring song Room in here, which is probably the sexiest
track on the entire record.
The chorus vocals on here are like a hot, breathy whisper in the ear, which is set against
these very grand piano loops.
The pianos are just like pure champagne on this [E] thing.
The games feature here is pretty good.
I [Eb] love Anderson's jumpy and jazzy vocal melodies on this track.
And if you were to doubt the sexuality of this album, then I think you should listen
to the song Waterfall, which there's a lot of innuendo there, especially given the open
parenthesis interlube edition of the title there.
Wink!
Nudge nudge.
Generally, I would say I enjoy a lot of the lyricism on this record.
Anderson is a little more clever and I think playful than your average R&B crooner these days.
And there are actually quite a few cuts on here which aren't really love themed or anything like that.
They're actually quite personal and sort of go into Anderson's past, either growing up
or his struggle as an artist.
The highlights on this thing continue, like on the song Come Down, which has a five star bass line.
Brum brum brum brum brum brum brum brum.
There's a mean drum beat behind this thing too.
Over this track, Anderson really unleashes his inner James Brown.
It's really a hot cut on the album for me, even though the song and the beat I think
do [Gb] get a little redundant over the runtime of the track.
And it seems like they didn't really know where to pull the song next outside of this
very funky groove, which might explain why it's so short in the track list here.
But that's kind of the case with a handful of songs on this thing.
Either the verses transition toward very underwhelming choruses or Anderson and his producers just
kind of rely on almost one single loop to carry himself from one end of the track to the other.
And it makes a couple of cuts here stale.
And in addition to that, there are a few songs in the second half here that I think are so
smooth, they're so breezy.
They're just kind of forgettable, regardless of the quality of the lyrics on these tracks,
like parking lot or life weight.
And then there's the closer, which it's a nice warm ending to the record, but I gotta
be in the mood to listen to it because it's so sickeningly sugary.
I just think there are moments on this record that could have done with more live instrumentation,
like the very tight sequenced synthetic production all over this thing.
While it does have its nuances, it [N] doesn't exactly set the subtle and dramatic tone that
I think some of the softer cuts on this record really needed.
And the song Your Prime kind of stuck out like a sore thumb to me because it felt like
a slower, more skeletal, less extravagant take on one of the interludes from Kendrick
Lamar's To Pimp a Butterfly.
There are a few moments here where I think Anderson drowns in some trendy sounds, unfortunately.
My main issue with this thing is just that I think there's a lot of fat here that could
have been cut.
Some songs that were very obviously lackluster and could have either been built upon or just,
I don't know, left out for an EP or just made bonus tracks or something.
But having said all that, there's still a lot to like on this record.
There's a lot of material here.
Most of it is great, just not every single song here, in my opinion, is a hit or concisely
or very sharply written.
It sounds like Anderson is so close to something great and something stellar on this album.
So as a result, I think the shortcomings there are on these tracks are a little more obvious.
I just think on the next release, cut the fat and turn up the heat because I think some
of the hotter, heavier, more, in a way, aggressive and just swagger-laced tracks would have picked
up the intensity on this thing, would have picked up the momentum, I think would have
made it a little more entertaining.
But still, regardless, I do recommend that you check this thing out.
It's a great, funky, hip-hop, fused soul record.
I'm feeling a decent to strong 7 on this thing.
Transition!
Have you given this album a listen?
Did
for a review of this new Anderson .Paak
album, Malibu.
Anderson .Paak,
West Coast singer [Gb] and songwriter, producer, and he's been making quite a splash
lately, lending his very passionate, raspy, dynamic vocals to projects both big and small.
Dr.
Dre's latest album slash soundtrack, as well as even the new Bus Driver mixtape.
And given all of this newfound attention, of course this latest project of his is going
to be a breakthrough for him, at least on some level.
And you cannot say that Anderson did not try to do it big on this thing, given that he's
handed over an hour of material, 16 tracks on this thing, with features from Rhapsody,
The Game, Schoolboy Q, as well as BJ the Chicago Kid, Talib Kweli, and more.
And on this project, Paak sounds deeply influenced by the institutions of funk, jazz, hip-hop,
pop, R&B, all of which kind of blends together into a very smooth neo-soul flavor some of the time.
And there's a lot of that kind of stuff to go around these days, however, many of these
new faces aren't paired with very strong voices, unfortunately.
But the vocal performances here are [Ab] actually really good, but I sort of knew that was going
to be the case going into it, given how many great vocal features Anderson has laid down
[G] in the past.
The singing on this thing, it's full of emotion, it's got a lot of charisma, swagger, occasionally it's seductive.
He's far from sloppy, and I would say anything but boring.
And the 16 tracks on this thing are somewhat diverse as well, as Anderson and his producers
kind of hop from one genre to the next.
I love the glossy, futuristic funk grooves on the song Am I Wrong?
Feels very new, feels very modern, but then on cuts like Put Me Through and Celebrate,
even though the production here is pretty fresh, it's pretty clean, at the core of
these tracks, there's like a classic soul single.
And Anderson dips into rapping as well on this thing, over a couple of beats that are
very jazzy, fractured, produced by 9th Wonder, specifically on the song Without You.
On this track, not only are the verses very fun, very [A] entertaining, but Anderson brings
his own chorus too, [Ab] so of course that's good because you know he can sing.
And given that there are a few tracks on here he produces, he's just like a triple threat
on this thing.
And then there's the very lovely and alluring song Room in here, which is probably the sexiest
track on the entire record.
The chorus vocals on here are like a hot, breathy whisper in the ear, which is set against
these very grand piano loops.
The pianos are just like pure champagne on this [E] thing.
The games feature here is pretty good.
I [Eb] love Anderson's jumpy and jazzy vocal melodies on this track.
And if you were to doubt the sexuality of this album, then I think you should listen
to the song Waterfall, which there's a lot of innuendo there, especially given the open
parenthesis interlube edition of the title there.
Wink!
Nudge nudge.
Generally, I would say I enjoy a lot of the lyricism on this record.
Anderson is a little more clever and I think playful than your average R&B crooner these days.
And there are actually quite a few cuts on here which aren't really love themed or anything like that.
They're actually quite personal and sort of go into Anderson's past, either growing up
or his struggle as an artist.
The highlights on this thing continue, like on the song Come Down, which has a five star bass line.
Brum brum brum brum brum brum brum brum.
There's a mean drum beat behind this thing too.
Over this track, Anderson really unleashes his inner James Brown.
It's really a hot cut on the album for me, even though the song and the beat I think
do [Gb] get a little redundant over the runtime of the track.
And it seems like they didn't really know where to pull the song next outside of this
very funky groove, which might explain why it's so short in the track list here.
But that's kind of the case with a handful of songs on this thing.
Either the verses transition toward very underwhelming choruses or Anderson and his producers just
kind of rely on almost one single loop to carry himself from one end of the track to the other.
And it makes a couple of cuts here stale.
And in addition to that, there are a few songs in the second half here that I think are so
smooth, they're so breezy.
They're just kind of forgettable, regardless of the quality of the lyrics on these tracks,
like parking lot or life weight.
And then there's the closer, which it's a nice warm ending to the record, but I gotta
be in the mood to listen to it because it's so sickeningly sugary.
I just think there are moments on this record that could have done with more live instrumentation,
like the very tight sequenced synthetic production all over this thing.
While it does have its nuances, it [N] doesn't exactly set the subtle and dramatic tone that
I think some of the softer cuts on this record really needed.
And the song Your Prime kind of stuck out like a sore thumb to me because it felt like
a slower, more skeletal, less extravagant take on one of the interludes from Kendrick
Lamar's To Pimp a Butterfly.
There are a few moments here where I think Anderson drowns in some trendy sounds, unfortunately.
My main issue with this thing is just that I think there's a lot of fat here that could
have been cut.
Some songs that were very obviously lackluster and could have either been built upon or just,
I don't know, left out for an EP or just made bonus tracks or something.
But having said all that, there's still a lot to like on this record.
There's a lot of material here.
Most of it is great, just not every single song here, in my opinion, is a hit or concisely
or very sharply written.
It sounds like Anderson is so close to something great and something stellar on this album.
So as a result, I think the shortcomings there are on these tracks are a little more obvious.
I just think on the next release, cut the fat and turn up the heat because I think some
of the hotter, heavier, more, in a way, aggressive and just swagger-laced tracks would have picked
up the intensity on this thing, would have picked up the momentum, I think would have
made it a little more entertaining.
But still, regardless, I do recommend that you check this thing out.
It's a great, funky, hip-hop, fused soul record.
I'm feeling a decent to strong 7 on this thing.
Transition!
Have you given this album a listen?
Did
Key:
Gb
Ab
G
A
E
Gb
Ab
G
Hey everyone, West the Coast Tano here, the Internet's busiest music nerd, and it's time
for a review of this new Anderson .Paak
album, Malibu.
Anderson .Paak,
West Coast singer [Gb] and songwriter, producer, and he's been making quite a splash
lately, lending his very passionate, raspy, dynamic vocals to projects both big and small.
Dr.
Dre's latest album slash soundtrack, as well as even the new Bus Driver mixtape.
And given all of this newfound attention, of course this latest project of his is going
to be a breakthrough for him, at least on some level.
And you cannot say that Anderson did not try to do it big on this thing, given that he's
handed over an hour of material, 16 tracks on this thing, with features from Rhapsody,
The Game, Schoolboy Q, as well as BJ the Chicago Kid, Talib Kweli, and more.
And on this project, Paak sounds deeply influenced by the institutions of funk, jazz, hip-hop,
pop, R&B, all of which kind of blends together into a very smooth neo-soul flavor some of the time.
And there's a lot of that kind of stuff to go around these days, however, many of these
new faces aren't paired with very strong voices, unfortunately.
But the vocal performances here are [Ab] actually really good, but I sort of knew that was going
to be the case going into it, given how many great vocal features Anderson has laid down
[G] in the past.
The singing on this thing, it's full of emotion, it's got a lot of charisma, swagger, occasionally it's seductive.
He's far from sloppy, and I would say anything but boring.
And the 16 tracks on this thing are somewhat diverse as well, as Anderson and his producers
kind of hop from one genre to the next.
I love the glossy, futuristic funk grooves on the song Am I Wrong?
Feels very new, feels very modern, but then on cuts like Put Me Through and Celebrate,
even though the production here is pretty fresh, it's pretty clean, at the core of
these tracks, there's like a classic soul single.
And Anderson dips into rapping as well on this thing, over a couple of beats that are
very jazzy, fractured, produced by 9th Wonder, specifically on the song Without You.
On this track, not only are the verses very fun, very [A] entertaining, but Anderson brings
his own chorus too, [Ab] so of course that's good because you know he can sing.
And given that there are a few tracks on here he produces, he's just like a triple threat
on this thing.
And then there's the very lovely and alluring song Room in here, which is probably the sexiest
track on the entire record.
The chorus vocals on here are like a hot, breathy whisper in the ear, which is set against
these very grand piano loops.
The pianos are just like pure champagne on this [E] thing.
The games feature here is pretty good.
I [Eb] love Anderson's jumpy and jazzy vocal melodies on this track.
And if you were to doubt the sexuality of this album, then I think you should listen
to the song Waterfall, which there's a lot of innuendo there, especially given the open
parenthesis interlube edition of the title there.
Wink!
Nudge nudge.
Generally, I would say I enjoy a lot of the lyricism on this record.
Anderson is a little more clever and I think playful than your average R&B crooner these days.
And there are actually quite a few cuts on here which aren't really love themed or anything like that.
They're actually quite personal and sort of go into Anderson's past, either growing up
or his struggle as an artist.
The highlights on this thing continue, like on the song Come Down, which has a five star bass line.
Brum brum brum brum brum brum brum brum.
There's a mean drum beat behind this thing too.
Over this track, Anderson really unleashes his inner James Brown.
It's really a hot cut on the album for me, even though the song and the beat I think
do [Gb] get a little redundant over the runtime of the track.
And it seems like they didn't really know where to pull the song next outside of this
very funky groove, which might explain why it's so short in the track list here.
But that's kind of the case with a handful of songs on this thing.
Either the verses transition toward very underwhelming choruses or Anderson and his producers just
kind of rely on almost one single loop to carry himself from one end of the track to the other.
And it makes a couple of cuts here stale.
And in addition to that, there are a few songs in the second half here that I think are so
smooth, they're so breezy.
They're just kind of forgettable, regardless of the quality of the lyrics on these tracks,
like parking lot or life weight.
And then there's the closer, which it's a nice warm ending to the record, but I gotta
be in the mood to listen to it because it's so sickeningly sugary.
I just think there are moments on this record that could have done with more live instrumentation,
like the very tight sequenced synthetic production all over this thing.
While it does have its nuances, it [N] doesn't exactly set the subtle and dramatic tone that
I think some of the softer cuts on this record really needed.
And the song Your Prime kind of stuck out like a sore thumb to me because it felt like
a slower, more skeletal, less extravagant take on one of the interludes from Kendrick
Lamar's To Pimp a Butterfly.
There are a few moments here where I think Anderson drowns in some trendy sounds, unfortunately.
My main issue with this thing is just that I think there's a lot of fat here that could
have been cut.
Some songs that were very obviously lackluster and could have either been built upon or just,
I don't know, left out for an EP or just made bonus tracks or something.
But having said all that, there's still a lot to like on this record.
There's a lot of material here.
Most of it is great, just not every single song here, in my opinion, is a hit or concisely
or very sharply written.
It sounds like Anderson is so close to something great and something stellar on this album.
So as a result, I think the shortcomings there are on these tracks are a little more obvious.
I just think on the next release, cut the fat and turn up the heat because I think some
of the hotter, heavier, more, in a way, aggressive and just swagger-laced tracks would have picked
up the intensity on this thing, would have picked up the momentum, I think would have
made it a little more entertaining.
But still, regardless, I do recommend that you check this thing out.
It's a great, funky, hip-hop, fused soul record.
I'm feeling a decent to strong 7 on this thing.
Transition!
Have you given this album a listen?
Did
for a review of this new Anderson .Paak
album, Malibu.
Anderson .Paak,
West Coast singer [Gb] and songwriter, producer, and he's been making quite a splash
lately, lending his very passionate, raspy, dynamic vocals to projects both big and small.
Dr.
Dre's latest album slash soundtrack, as well as even the new Bus Driver mixtape.
And given all of this newfound attention, of course this latest project of his is going
to be a breakthrough for him, at least on some level.
And you cannot say that Anderson did not try to do it big on this thing, given that he's
handed over an hour of material, 16 tracks on this thing, with features from Rhapsody,
The Game, Schoolboy Q, as well as BJ the Chicago Kid, Talib Kweli, and more.
And on this project, Paak sounds deeply influenced by the institutions of funk, jazz, hip-hop,
pop, R&B, all of which kind of blends together into a very smooth neo-soul flavor some of the time.
And there's a lot of that kind of stuff to go around these days, however, many of these
new faces aren't paired with very strong voices, unfortunately.
But the vocal performances here are [Ab] actually really good, but I sort of knew that was going
to be the case going into it, given how many great vocal features Anderson has laid down
[G] in the past.
The singing on this thing, it's full of emotion, it's got a lot of charisma, swagger, occasionally it's seductive.
He's far from sloppy, and I would say anything but boring.
And the 16 tracks on this thing are somewhat diverse as well, as Anderson and his producers
kind of hop from one genre to the next.
I love the glossy, futuristic funk grooves on the song Am I Wrong?
Feels very new, feels very modern, but then on cuts like Put Me Through and Celebrate,
even though the production here is pretty fresh, it's pretty clean, at the core of
these tracks, there's like a classic soul single.
And Anderson dips into rapping as well on this thing, over a couple of beats that are
very jazzy, fractured, produced by 9th Wonder, specifically on the song Without You.
On this track, not only are the verses very fun, very [A] entertaining, but Anderson brings
his own chorus too, [Ab] so of course that's good because you know he can sing.
And given that there are a few tracks on here he produces, he's just like a triple threat
on this thing.
And then there's the very lovely and alluring song Room in here, which is probably the sexiest
track on the entire record.
The chorus vocals on here are like a hot, breathy whisper in the ear, which is set against
these very grand piano loops.
The pianos are just like pure champagne on this [E] thing.
The games feature here is pretty good.
I [Eb] love Anderson's jumpy and jazzy vocal melodies on this track.
And if you were to doubt the sexuality of this album, then I think you should listen
to the song Waterfall, which there's a lot of innuendo there, especially given the open
parenthesis interlube edition of the title there.
Wink!
Nudge nudge.
Generally, I would say I enjoy a lot of the lyricism on this record.
Anderson is a little more clever and I think playful than your average R&B crooner these days.
And there are actually quite a few cuts on here which aren't really love themed or anything like that.
They're actually quite personal and sort of go into Anderson's past, either growing up
or his struggle as an artist.
The highlights on this thing continue, like on the song Come Down, which has a five star bass line.
Brum brum brum brum brum brum brum brum.
There's a mean drum beat behind this thing too.
Over this track, Anderson really unleashes his inner James Brown.
It's really a hot cut on the album for me, even though the song and the beat I think
do [Gb] get a little redundant over the runtime of the track.
And it seems like they didn't really know where to pull the song next outside of this
very funky groove, which might explain why it's so short in the track list here.
But that's kind of the case with a handful of songs on this thing.
Either the verses transition toward very underwhelming choruses or Anderson and his producers just
kind of rely on almost one single loop to carry himself from one end of the track to the other.
And it makes a couple of cuts here stale.
And in addition to that, there are a few songs in the second half here that I think are so
smooth, they're so breezy.
They're just kind of forgettable, regardless of the quality of the lyrics on these tracks,
like parking lot or life weight.
And then there's the closer, which it's a nice warm ending to the record, but I gotta
be in the mood to listen to it because it's so sickeningly sugary.
I just think there are moments on this record that could have done with more live instrumentation,
like the very tight sequenced synthetic production all over this thing.
While it does have its nuances, it [N] doesn't exactly set the subtle and dramatic tone that
I think some of the softer cuts on this record really needed.
And the song Your Prime kind of stuck out like a sore thumb to me because it felt like
a slower, more skeletal, less extravagant take on one of the interludes from Kendrick
Lamar's To Pimp a Butterfly.
There are a few moments here where I think Anderson drowns in some trendy sounds, unfortunately.
My main issue with this thing is just that I think there's a lot of fat here that could
have been cut.
Some songs that were very obviously lackluster and could have either been built upon or just,
I don't know, left out for an EP or just made bonus tracks or something.
But having said all that, there's still a lot to like on this record.
There's a lot of material here.
Most of it is great, just not every single song here, in my opinion, is a hit or concisely
or very sharply written.
It sounds like Anderson is so close to something great and something stellar on this album.
So as a result, I think the shortcomings there are on these tracks are a little more obvious.
I just think on the next release, cut the fat and turn up the heat because I think some
of the hotter, heavier, more, in a way, aggressive and just swagger-laced tracks would have picked
up the intensity on this thing, would have picked up the momentum, I think would have
made it a little more entertaining.
But still, regardless, I do recommend that you check this thing out.
It's a great, funky, hip-hop, fused soul record.
I'm feeling a decent to strong 7 on this thing.
Transition!
Have you given this album a listen?
Did