They’re not exactly the Tom Waits-ian type days of lore where you expect to sit back spinning “great yarns” by the smoky haze of lamplight. But, given that the start of my average work day coincides with the beginning of the standard workplace lunch break, I tend to look toward the odd days/hours to help unleash my inspiration. Which in itself… hasn’t been an easy process.
Lately I’ve been trying to feel my way out of one of the worst dry spells I’ve experienced as an independent writer, and losing my urge to create. And while I don’t want OTBEOTB to be any less about music, from now on you may see more of my “nuts and bolts” feelings regarding my creative process.
That might occasionally include venting some of the frustration on the road to breaking out of a funk too.
Because there certainly have been plenty of recent ups and downs, and speaking from the perspective of a slump as a long-time sufferer of anxiety, it makes the feeling of sitting silent agonizing. Not using the words I know I have. I feel like there are worlds out there spinning I’m out of orbit from or places my voice could be. And yet, I’m not there.
Yet at the same time, I still think of plenty I’d like to say about a new song or an album I see that I just can’t make myself write down. Or, I deeply fear what I will say won’t sound as good as what’s in my head. So… let’s change that feeling, because I have something new (to me) musically you need to know about.
In the last week or so, I’ve suddenly been devoted to the discovery of California singer/rapper/drummer/producer extraordinaire Anderson .Paak, his last full-length LP (2016’s Malibu), as well as recent .Paak singles “Bubblin'” and “‘Til It’s Over”. Now despite being a voracious music lover, I admit to being very guilty of having good music in my possession I simply don’t listen to. To put it in terms of food, my eyes occasionally grow larger than my stomach. So from time to time, I’m a few years back on a good thing. #musicalpackrat
In .Paak’s case, last Monday morning I put on lead Malibu track “The Bird” in a spontaneous decision to listen to the album straight through after previously leafing through a few cuts. And while low background music I enjoy typically helps me focus during work days, I never expected to be so quickly struck by the burst of lightning that is how good of an album Malibu is. While a few moments do drag (and I’m still not sure whether to laugh or cringe at the Prince-sounding omage of “Silicon Valley”), .Paak’s consistency across Malibu and its 16 songs is almost revelatory in the days of digital.
To give you a quick sense of the artist without sudden need of a Spotify search, here’s .Paak with band The Free Nationals on NPR’s Tiny Desk Concert.
And performing “The Bird”.
One of the greatest things about .Paak and Malibu in my opinion is the way the record’s sounds of rap and R&B glow fresh and contemporary, while still maintaining a washing machine blend of James Brown footwork, Otis Redding soul, swinging jazz/funk, and the building blocks of 70’s-era West Coast music. And to hone in on the Godfather of Soul for a moment, its .Paak’s similarly confident, swaggering braggadocio sealed with a Cheshire Cat grin that makes this record kick even harder. He’s got a hell of a gift and knows it, and that in and of itself is infectious.
.Paak does have other prior musical output, most notably LP Venice which has more of a predominantly hip-hop flavor and is still a work in progress for me. Its good, but feels like .Paak just before he starts hitting his stride knocking fastballs and melodies alike out of the park. So consider me hooked as we wait for the two .Paak albums supposedly due out sometime in 2018.
And until then, I plan to do plenty of binge-listening like Netflix to get ready. With any luck, perhaps I can also include pushing those fears and anxieties away too.
(Also, here’s one last video. Just for fun.)