OMC

The Arc of OMC

The pivots — what forced OMC to reinvent.

1. 01

   The Proud Era

   Before the global charts, the group was a raw hip-hop collective featuring Pauly’s brother Phil Fuemana, operating as a voice for the South Auckland streets. They contributed 'We R the OMC' to the 1994 Proud compilation, which was a grit-heavy, sampled-based street record far removed from the polished sheen of their later work. This period was defined by the urban Pacific sound and a community-focused energy that prioritized the local scene over international radio play.

2. 02

   The Jansson Pivot

   The group stripped down to just Pauly and producer Alan Jansson, moving away from collective hip-hop toward a refined, acoustic-guitar-driven pop sound. Jansson used his studio expertise to polish the rough edges, blending Mariachi-style horns with a steady 4/4 backbeat that felt both retro and modern. This shift resulted in the 1996 album How Bizarre, which traded the street aesthetics for a high-gloss, sunshine-drenched production that conquered the world's airwaves.

Influences

• Lou Reed — Pauly Fuemana explicitly cited the deadpan, talk-singing delivery on 'Walk on the Wild Side' as the primary blueprint for his vocal style. You hear it in the rhythmic phrasing of the verses where he barely hits a note but stays perfectly in the pocket. It’s that street-poet swagger transplanted to the South Pacific.
• The 5th Dimension — Alan Jansson’s production was heavily informed by the sunshine pop and sophisticated vocal arrangements of the late 60s. The bright, major-key horn swells and the clean acoustic strumming on their hits mirror the polished, AM-radio sunshine soul aesthetic. It’s the sound of expensive-sounding optimism built on a budget.
• Herb Alpert — The prominent use of trumpet flourishes wasn't a coincidence; Alpert’s Tijuana Brass records were a massive influence on the melodic structure of their biggest tracks. That specific, bright brass staccato provides the hook that carries the melodies when the vocals drop out. It gave the tracks a kitschy, international flair that felt familiar to listeners everywhere.
• JJ Cale — The laid-back, shuffling groove and minimal guitar work on the OMC records take a direct cue from Cale’s understated 'Tulsa Sound.' You can hear that 'After Midnight' DNA in the way the rhythms breathe without ever getting too aggressive. It’s music meant for driving with the windows down.
• Sly & The Family Stone — The early OMC collective was modeled after the multi-cultural, multi-instrumental family vibe that Sly Stone perfected in the late 60s. They aimed for that same blend of funk, pop, and social awareness before the industry pushed them toward a more streamlined pop focus. The communal energy of the 'Proud' sessions was their version of a Riot Goin' On.