American - Musician | February 8, 1986 -
There's quite a few artists that didn't pop off until they were a little older - Rick James being one.
Anderson Paak
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As an artist, you're taking your experiences and placing them into your art. So the more experiences you have, the richer your art and more people can relate to it.
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I don't know many artists who've come out of Beverly Hills, y'know? You need that struggle.
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A lot of Knxwledge's instrumentals just brought out this tone and swagger that I had played with before but had never really pinpointed before on my Anderson .Paak stuff. But then it just came so easily.
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When the pastor's up there, they do this thing called looping. They are literally riffing and spitting in the key of the organ. When looping, you're in key, you're in a rhythm, you're in a pocket, and that's where James Brown was pulling from, and so that's where I'm pulling from. The only difference is I'm coming at it under hip-hop.
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I learned a lot from working with and watching Knxwledge, seeing how he produces non-stop. He doesn't dwell too long on stuff. He's very simple, using only about two or three elements. I like that in production. Sometimes it doesn't take more than three drums, a melody, the vocal, looping a sample or whatever, just as minimal as possible.
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I wanna do a song with Adele! Nobody gets Adele as a feature, so maybe I can. I hope she knows who I am!
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I got invited to work on Dre's 'Compton' project.
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A lot of people who work with Dre, you're lucky if anything sees the light of day.
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I'd been watching documentaries about early rock where white artists took 'race records' from blues and soul musicians to achieve mass appeal. I wanted to flip that and do an EP covering only white artists.
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It would feel like a smack in the face to sign with any label outside of Dre's. He took a risk on me, and that means everything.
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Drumming is a real part of my live show, and I like to do it because so many people aren't expecting me to go and do it.
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