Albums Anderson Paak x Knxwledge (NXWORRIES )- WHY LAWD? [Discussion Thread]

Braman

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shyts beautiful man. Less cohesive than Yes Lawd. Yes Lawd has no skips imo. This one has 2 or 3

Also a very weird nitpicky thing about Paak: it’s almost like he doesn’t know want to be TOO serious. Like he’s playful wit it :heh:

Im listening to ‘Money Wont Keep Her’ and man the way he comes in ‘You drove the knife thru my pride…..’ :sadcam: but then he’ll add humor ‘you don’t like good in that Hyundai….you was gettin ya cheeks beat’ :aicmon::russ:

Very nitpicky but I think tjats rhr only thing keeping him from an all-time level on some Sam Cooke R Kelly usher shyt. He’s that good
 

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shyts beautiful man. Less cohesive than Yes Lawd. Yes Lawd has no skips imo. This one has 2 or 3

Also a very weird nitpicky thing about Paak: it’s almost like he doesn’t know want to be TOO serious. Like he’s playful wit it :heh:

Im listening to ‘Money Wont Keep Her’ and man the way he comes in ‘You drove the knife thru my pride…..’ :sadcam: but then he’ll add humor ‘you don’t like good in that Hyundai….you was gettin ya cheeks beat’ :aicmon::russ:

Very nitpicky but I think tjats rhr only thing keeping him from an all-time level on some Sam Cooke R Kelly usher shyt. He’s that good

The playfulness is what makes him unique. It's a good balance between the super serious/romantic singers and the vulgar modern day "singers."

It's also how you know he's writing because his personality shines through. Some randomly penned song could go to any singer but Paak songs have his stamp on them. Suede wouldn't sound right if anyone else did it.
 
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Braman

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The playfulness is what makes him unique. It's a good balance between the super serious/romantic singers and the vulgar modern day "singers."

It's also how you know he's writing because his personality shines through. Some randomly penned song that could go to any singer but Paak songs have his stamp on them. Suede wouldn't sound right if anyone else did it.

Yea it makes him unique but it can take away from a song, or limit its potency. Not always but sometimes. Again I’m talking about what’s separating him from the all time top tier level. You don’t get there without showing that vulnerability. Like imagine Usher Superstar if he laughed while singing it :russ:

Like bro you just divorced your wife we want to see you let that out. The last track Walk on By is a good example of that. :mjcry:As opposed to the joint with October London. A great song but you can tell it’s almost like he’s parodying it. Even tho vocally he could sing it just like the classics. A little bit of a leftover from the Bruno mars expedience —-which I hated for that reason. Came off as parodying
 

jwinfield

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shyts beautiful man. Less cohesive than Yes Lawd. Yes Lawd has no skips imo. This one has 2 or 3

Also a very weird nitpicky thing about Paak: it’s almost like he doesn’t know want to be TOO serious. Like he’s playful wit it :heh:

Im listening to ‘Money Wont Keep Her’ and man the way he comes in ‘You drove the knife thru my pride…..’ :sadcam: but then he’ll add humor ‘you don’t like good in that Hyundai….you was gettin ya cheeks beat’ :aicmon::russ:

Very nitpicky but I think tjats rhr only thing keeping him from an all-time level on some Sam Cooke R Kelly usher shyt. He’s that good
:mjlol:Think that’s just how dude is, goofy as hell. Probably part of the reason his wife finally stopped taking him back.
 

Supa

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Yea it makes him unique but it can take away from a song, or limit its potency. Not always but sometimes. Again I’m talking about what’s separating him from the all time top tier level. You don’t get there without showing that vulnerability. Like imagine Usher Superstar if he laughed while singing it :russ:

Like bro you just divorced your wife we want to see you let that out. The last track Walk on By is a good example of that. :mjcry:As opposed to the joint with October London. A great song but you can tell it’s almost like he’s parodying it. Even tho vocally he could sing it just like the classics. A little bit of a leftover from the Bruno mars expedience —-which I hated for that reason. Came off as parodying

:dahell:

Usher isn't that kind of singer. This has been Paak's style from the get go so it's expected especially when it's a NxWorries album.

If he said "I know you were with another man" instead of "I know you were getting your cheeks beat" he'd be the same as any other R&B singer. He got Thundercat on the song who's another artist who leans into his personality and isn't super serious. I appreciate the uniqueness and it's why they stand out. Taking that away is like asking Busta Rhymes to dress normally. Being odd is part of their character.

Bruno Mars is a karaoke singer so all his music sounds like a parody. FromHere is just a throwback record with Paak's style. It fits the vibe because he's talking about being in the club and there's slow jams playing.

I don't get the criticism. If you want Paak to be more traditional than he's not Paak but just another R&B singer. The genre has pretty much fallen out of the mainstream so he wouldn't have the success if he went that route.
 
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Braman

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:dahell:

Usher isn't that kind of singer. This has been Paak's style from the get go so it's expected especially when it's a NxWorries album.

If he said "I know you were with another man" instead of "I know you were getting your cheeks beat" he'd be the same as any other R&B singer. He got Thundercat on the song who's another artist who leans into his personality and isn't super serious. I appreciate the uniqueness and it's why they stand out. Taking that away is like asking Busta Rhymes to dress normally. Being odd is part of their character.

Bruno Mars is a karaoke singer so all his music sounds like a parody. FromHere is just a throwback record with Paak's style. It fits the vibe because he's talking about being in the club and there's slow jams playing.

I don't get the criticism. If you want Paak to be more traditional than he's not Paak but just another R&B singer. The genre has pretty much fallen out of the mainstream so he wouldn't have the success if he went that route.

I’m not a newby Paak fan my boy :heh: YOU go find another R&b singer :umad:

I’ll nitpick even my favorite artist. I stand by what I said
 

Braman

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That beat switch/sample on SheUsed man HELL nah :damn:

But I don’t do this for my, health……..…....…she…calls…me…babbby

Funk-Flex-Bow-Wow1.jpg
 

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Yea it makes him unique but it can take away from a song, or limit its potency. Not always but sometimes. Again I’m talking about what’s separating him from the all time top tier level. You don’t get there without showing that vulnerability. Like imagine Usher Superstar if he laughed while singing it :russ:

Like bro you just divorced your wife we want to see you let that out. The last track Walk on By is a good example of that. :mjcry:As opposed to the joint with October London. A great song but you can tell it’s almost like he’s parodying it. Even tho vocally he could sing it just like the classics. A little bit of a leftover from the Bruno mars expedience —-which I hated for that reason. Came off as parodying



I AGREE THAT THE ALBUM WIT BRUNO WAS ALMOST LIKE A PARODY

BUT THIS ONE IS REAL …. THATS JUST HIS CHARACTER

I GET WHAT U SAYIN THO …. IF PAAK STUCK MORE TO A CONTRIVED FORMULA THEN HE WOULD PROBABLY BE A GLOBAL SUPERSTAR

HE JUS BEIN PAAK THO

AND HAS ALREADY GIVEN US 2 CLASSIX (MALIBU & YES LAWD) + LOTS OF GREAT MUSIC
 

IronFist

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Fist review

The year 2016 emerged as one of profound significance in the annals of Anderson .Paak's career, an epoch where his musical genius was not only recognized but celebrated on a global scale. It was a year that began with the unveiling of his magnum opus, Malibu, an album that swiftly transcended the boundaries of genre to etch its place as a critically acclaimed modern classic within the pantheon of hip-hop and R&B. With tracks like "Come Down", "Am I Wrong", and "Put Me Thru", Malibu became a testament to .Paak's multifaceted talents, his ability to weave narratives of personal struggle, triumph, and introspection into a sonic tapestry that resonated with listeners worldwide.

Riding on the crest of Malibu's success, Anderson .Paak, along with his ensemble The Free Nationals, ventured to Washington D.C., where they performed at NPR's Tiny Desk Concert, an event hailed by many as one of the most memorable in the series' history. By the year 2024, this particular performance had amassed such popularity that it stood as the third highest viewed Tiny Desk Concert, only eclipsed by Dua Lipa’s At Home session and the poignant final public performance by Mac Miller. During this intimate showcase, .Paak delivered a trio of selections from Malibu before delighting the audience with a special request, performing "Suede" from his collaboration with Knxwledge under the banner of NxWorries, lightening the mood with his playful query, "So y'all like being called bytches over here?"

Parallel to .Paak's ascendancy, Knxwledge was crafting his own legacy. His first significant release on Stones Throw Records, Hud Dreems, not only marked a personal favorite in my collection but also showcased his prowess in production. His track "So[Rt]" had already made a profound impact, being featured on Kendrick Lamar's seminal work To Pimp a Butterfly on the track "Momma". Furthermore, Knxwledge was deepening his artistic footprint through collaborations, notably with Earl Sweatshirt on the Adult Swim single "Balance", while also hosting the "Stay Inside" radio show on Red Bull Radio, an endeavor that further displayed his eclectic taste and influence in the musical landscape.

The collaborative project NxWorries, comprising .Paak and Knxwledge, had, until that point, only introduced the world to the Link Up & Suede EP, a mere appetizer which was essentially an extended double single, garnished with additional beats from Knxwledge and a remix of .Paak's "Drugs". However, 2016 was destined to conclude with a flourish, as the duo released their full-length debut, Yes Lawd!, under Stones Throw. This album was not only a commercial and critical success but was often likened by aficionados to an R&B version of the legendary Madvillainy due to its groundbreaking fusion of style and substance. Yes Lawd! with its hedonistic, sexually-charged narrative, managed to fit 19 tracks into under 50 minutes, including the previously released "Link Up" and "Suede", alongside other gems like "Best One", "What More Can I Say", "Lyk Dis", and "Get Bigger / Do U Luv". Knxwledge's sampled R&B production meshed seamlessly with .Paak's confident, soulful vocal delivery, imbuing the album with humor, charm, and an undeniable charisma.

The narrative of NxWorries did not end there. The following year saw the release of a remix album by Knxwledge, reimagining and revitalizing the best tracks from Yes Lawd!, giving fans more to savor. Despite this fruitful collaboration, a sequel seemed elusive when in 2018, .Paak humorously remarked, "Knx doesn’t like me rn :(“. However, after resolving their differences (though the precise tweet escapes my memory), NxWorries made a triumphant return in 2020 with "Itkanbe (Sonice)" on Knxwledge's 1988. They also introduced "Where I Go" during 88Rising's Double Happiness livestream, a harbinger of more music to come.

During this period, .Paak embarked on another significant musical venture, forming Silk Sonic with Bruno Mars, which brought his artistry into the limelight of mainstream pop through their smooth soul collaborations. "Where I Go" was officially released in late 2022 with a feature from H.E.R., followed by tantalizing teasers of new music via a hotline playing a lo-fi snippet of "Daydreaming", which would see the light of day in May 2023.

By April 2024, the excitement was palpable with the release of the single "86Sentra", and the announcement of their new album Why Lawd?, scheduled for a June release. This period was also marked by personal change for .Paak, as he announced his divorce from Jaylyn Chang, thus concluding a 13-year marriage. Leading up to the album, they released "FromHere" featuring Snoop Dogg and October London, further stoking anticipation.

Why Lawd? was released in physical format on June 7th, with its digital counterpart becoming available a week later on June 14th, marking yet another chapter in the evolving, enigmatic narrative of Anderson .Paak and his musical partnerships.
 

IronFist

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Why Lawd?, the latest offering from the dynamic duo NxWorries, opens with the track "ThankU," which features the comedic insights of Dave Chappelle. Here, Chappelle delves into the themes of fortune and misfortune, poignantly stating, “there but for the grace of God go I,” before expressing gratitude for his own blessings and achievements. This philosophical introduction leads seamlessly into the single "86Sentra," where Anderson .Paak revels in his accomplishments, notably his memorable performance on the drums at the 2022 Super Bowl halftime show alongside icons like Dr. Dre, Eminem, 50 Cent, Kendrick Lamar, and more. The track concludes with .Paak delivering a line in the true, unabashed style of NxWorries, “I'll be doin' this 'til I'm 'bout eighty-six, old as a bytch, holdin' my dikk, fukkin' on the nurses.”

In my contemplation of this track, I envisaged it as a direct descendant of the boastful and confident lyricism that characterized Yes Lawd!. However, the subsequent track "MoveOn" swiftly alters the album's emotional landscape. Here, .Paak's voice takes on a more somber and secluded tone, addressing personal pain and a plea for liberation from inner turmoil with lyrics that resonate deeply. This shift from the anticipated bravado to introspection is startling, presenting .Paak not as the known loud, boastful artist but as someone embracing a melancholic vulnerability.

"KeepHer" sees .Paak joined by Thundercat, the two artists lamenting over lost connection with lyrics that speak of a profound sense of defeat:

"There's no more tears to cry, I'm all dry"

The highlight of this track is the raw, emotional delivery when both Thundercat and Anderson .Paak invest their full souls into uttering “bytch.”

"Distractions" finds .Paak using numbers as a coping mechanism, counting from one to thirteen to stave off his sorrow, intertwining this with the chorus:

"Counting on you, and you counting on me

Numbers don't lie, when the truth is a lie, it'll set you free"

"Lookin’" has quickly become one of my personal favorites from Why Lawd?, thanks to its incredibly infectious beat, with the outro cleverly sampling the premiere of "Where I Go" from the Double Happiness performance, setting the stage for the album's first single.

The placement of "Where I Go" and "Daydreaming" back-to-back introduces a brief interlude of upliftment amidst the album's more introspective tracks. While "Daydreaming" retains an upbeat tempo, within the album's context, it carries a layer of tragic depth, with the guitar solo standing out as particularly poignant.

"FromHere" resonates as the album's zenith for me; its beautiful beat, coupled with .Paak's vocal ascent, especially in harmony with October London on the chorus, and Snoop's spoken word outro, encapsulates the essence of NxWorries' signature smoothness, aligning it with classics like "Link Up" and "Suede."

"FallThru" marks the onset of the B-side with another exquisite piece of production by Knxwledge, where .Paak's smooth "woos" in the intro facilitate a seamless transition, emphasizing the distinct halves of the album.

In "Battlefield," .Paak uses the metaphor of both a baseball and a war battlefield to explore the cyclical nature of romantic struggles, questioning the longevity of his relationships by doubting they'll last “all nine innings.”

"HereIAm" stands out as perhaps the most candid track, where .Paak acknowledges his mistakes, even to his mother, and his failure to follow through with a promised vacation, likely with his wife. His attempt to flaunt his new single life, his parties, and his solitary apartment is overshadowed by his admission of loneliness and regret, particularly when he reflects on his ex moving on, leading into "OutTheWay," which maintains the introspective mood with its classic Knxwledge Quiet Storm style, featuring the soulful Rae Khalil.

"SheUsed" continues this theme of detachment in new encounters compared to the bond he once shared with his wife, underpinned by the sample from J. Kelly & The Premiers’ "She Calls Me Baby."

"MoreOfIt" confronts .Paak's lavish spending at a strip club, yet he justifies it by mentioning he's also paid off his mom’s mortgage, thus balancing his hedonistic tendencies with acts of familial responsibility.

The latter part of the album merges "NVR.RMX" with Charlie Wilson and "DistantSpace" into what feels like a single, lengthy piece. The infectious, smooth quality of these tracks, enhanced by Wilson's vocal prowess and .Paak's accompaniment, evokes the vibe of a traditional Knxwledge Hexual Sealings production. "DistantSpace" could have served as the album's finale, encapsulating the longing for more time with loved ones.

Yet, "WalkOnBy" provides a fitting conclusion, not only reuniting Knxwledge with Earl Sweatshirt since their last collaboration on "Balance" in 2016 but also offering one of Knxwledge's most soulful beats. .Paak uses this platform to reflect on personal growth and reconciliation, notably with Knxwledge:

"We brothers, so it's nothing when we argue and fight

It's us against the world until the world unites."

Earl Sweatshirt, with his characteristic depth, contributes a verse reflecting on past misguided advice, while Rae Khalil's closing question, “Am I really by myself?” lingers with existential weight.

The album then fades with "EvnMore," barely beginning before it ends, embodying Knxwledge's penchant for brevity, serving as an effective, albeit brief, outro.

Comparing Why Lawd? to Yes Lawd! is a complex endeavor. While one revels in pomp and confidence, the other dwells in introspection and humility, together painting a picture of an artist navigating through arrogance and innocence towards a sobering realization of his own imperfections.
 

IronFist

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Favorite Lyrics

Whenever I see someone less fortunate than me
I say, "There, but for the grace of God, go I"
Dave Chappelle, ThankU

Somebody pray for me, devil get away from me
Open up the gates, let me go back to a safe place (Move)
Somehow, someway (Move on, on)
Money and fame got 'em crowdin' 'round the table
But who gon' stay when you ain't got a dollar to your name?
Anderson .Paak, MoveOn

Counting on you, and you counting on me
Numbers don't lie, when the truth is a lie, it'll set you free
Anderson .Paak, Distractions

It's a little after three; I wish I had somewhere to be, someone to see (Ooh, baby)
I guess I gotta face my fears, roll the windows down
I hope the rain hide my tears; bytch, where—
Anderson .Paak, FromHere

I know it's looking like I might be really doing things (No, Lord)
But I ain't doin' shyt, but lookin' on your page (My God)
I see you meditatin', thrivin', and goin' places
Finally got somebody to take you on vacation (No lie, no lie)
Honestly, I was hopin' that was your friend takin' all the pics and stuff, but nonetheless (No lie, oh, yeah, no lie, no lie)
Um, congratulations, I'm happy for you and shyt
Anderson .Paak, HereIAm

Stupid advice I piled on you was frugal and light
Spent too many nights booted, lived too many lives
Removed from the strife
You was in tune with, I rise, I rose
Earl Sweatshirt, WalkOnBy
 
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