His early albums blended influences from folk, jazz, and rock, characterized by sharp social critique and deep empathy for society's outcasts, marginalized, and lonely—"all of us who couldn't cope with existence," as expressed in songs like "Jacobs vise," "Merkelige Mira," "Blues for Pyttsan Jespersens pårørende," and "Kajsas sang."

Throughout the 1970s, he collaborated with notable artists, including Jens Bjørneboe and Ketil Bjørnstad, creating works that transcended traditional genres.

His collaborations with the Church Cultural Workshop produced notable hymn interpretations, and his song "Innerst i sjelen" became a Norwegian classic.

Working alongside his son, classical composer Marcus Paus, he ventured into opera, oratorio, and avant-garde music.

[5] His posthumously published memoir For en mann (2024) reveals an artist whose life and work defied easy categorization.

As a young adult, Ole Paus initially had a clear affiliation with the political right, but eventually adopted a more independent stance in the cultural landscape of the 1970s.

Paus was often perceived as a "bourgeois anarchist" who challenged authority and societal norms from the unique position of being both insider and outsider in Norway's "establishment".

"[9] Bjarne Markussen referred to Ole Paus as "the last bohemian," noting that he shared with Jens Bjørneboe a mix of radicalism and conservatism, speaking against state power and defending vulnerable and marginalized individuals.

Thyvold stated that Paus' abilities as a lyricist have, to some extent, overshadowed the fact that he is also a great melodist, and that his songs have a universal appeal beyond their Norwegian context.