Every once in a while an album or artist comes out of nowhere and just blows the mind of the listener. Count Bass D has been making noise for quite some time by making different kinds of music. "Dwight Spitz" is his first standard hip-hop LP. Using only standard equipment, he challenged himself to be creative by locking himself in a room with only an Akai S-3000 sampler & an MPC-2000. His latest project and alter ego "Dwight Spitz" is an incredible LP filled with wild and obscure samples, intelligent hip-hop, innovative beats and a beautiful flow. With 24 tracks, the songs are very short but hit very hard. There is not one bad track on the album. Count Bass D has a knack for putting together cool samples (both vocal and musical) to deep-hitting beats. With a voice that sounds somewhat similar to Wyclef, Count Bass D maintains a hunger on the microphone too. The creativity of this album overflows. Even the cover is creative. (It looks like an old children's book).
From the first track, the cool sound of the LP is let loose. "Jussa Playa" has both childish quality mixed in with a mack-out/pimp vibe. The piano and the vocal sample work perfectly. Then, the true pimp, Magic Don Juan is sampled too. "Aural S[ECT]s" is the first song where Count raps and his hunger is evident over a very precious-sounding female vocal sample. "Sanctuary" is a perfect example of his unique style of mixing sounds together. He uses a vocal sample from "The Soft Parade" by The Doors and layers a beat on top of it. His rhymes hit hard too. Without a doubt, one of the best songs is the title track "Dwight Spitz". The beat slams and the hook is scratched with perfection. The entire song has that energy that conquers. "…Y'all n*ggas look like females / You might as well just face it / Drinking champagne, wearing necklaces / Some of y'all fat rappers even got the breasteses / And I'm not women bashing, so please don't email me / Spreading lies about how positive I used to be / To all my ladies, please take your drinks and jewels back / And maybe hip-hop won't be so wack…" The song is simply perfect and makes me wish that Count Bass D did hip-hop all the time. "Truth To Light" is a cool track that uses the vocal samples scratched from "Dwyck" by Gangstarr featuring Nice-N-Smooth. J. Rawls produces "Ohio Players" and does his usual incredible work while Count flips rhymes. "Blues For Percy Carey" uses a familiar sample from Hill Street Blues and has a melancholic feel. Edan flows with some smooth lyrics on "How We Met" as Count uses ethereal electronic melodies in the beat. Edan rocks the mic: "…I slapped a 40 o(z). out of a young man's hand / and fed him lessons of life to formulate a plan /I wore the prime meridian as a wristband, / and gave away my riches, but I still remained a rich man / the quicksand I withstood, for good, as I hopped a dragonfly to outer space and met Count Bass..." The track "Subwoofer" is exceptional too due to the incredible beat and Count's hungry flow. MF Doom stops by on "Quite Buttery" and rocks the mic too. The straight-forward hip-hop tracks are executed with a professionalism and creativity. They are rugged and raw enough yet but are never considered harsh.
There are many very sweet vocal-driven tracks too. Some have singers while others are led by samples. "No Time For Fakin (Part 2)" has Count Bass D singing and he does a good job. The beat is very full and energetic as Count sings: "Baby! / I'm your n*gga! / No time for faking…" The song is tight and loose at the same time as the thick beat drives along with electronic melodies. "August 25, 2001" is very smooth and slow using silky vocal samples singing "You're style - is so fly…(we're having a celebration!)" Even though the vocal samples are on the R&B vibe, the hip-hop is evident. Dionne Farris adds some lush vocals to "Seven Years" which is about a love relationship that has stood the test of time. Count gets very honest and introspective: "…First of all, thank you baby for having my 3rd seed / but it's scary baby, since I'm running low on money / I slave and strive to provide for the 5 of us / Even if that means you take the car and I ride the bus…" The marriage of the wordless vocal melodies and the driving rhythm is perfectly done.
Not all tracks are mind-blowing even though they should be appreciated for what they are. "Blackman Dreams" featuring Lil D feels out of place due to the social-conscience vibe but it is well constructed due to Count's production. "Reign Or Shine" featuring Rayna Shine has the typical dope Count Bass production but Shine's voice gets annoying. Only a couple of times, the little sample-driven songs do feel somewhat meaningless. "Just Say No" is about the purity of sugar. Still, the bugged out nature of it makes it feel cool more than out of place.
Overall, Count Bass D has constructed an incredible album that will be very hard to top. Not only is "Dwight Spitz" a cool sounding album, it is an innovative one. It has the same originality of mixing and sample usage that has not been heard since "Paul's Boutique" by the Beastie Boys. Many of the very short tracks are just beats with many vocal samples on top of them. One fun thing about this LP is listening to it and trying to think about what movie or record the sample is from. The short tracks, variety of styles, and guest spots make this album flow with a graceful fluidity. This LP can be listened to in one sitting and never get boring. Since the tracks are so short, the songs never get boring. The album constantly changes and this brings excitement back into a hip-hop product. He makes "the illest beats"! It's true. Hip-hop should thank God for artists like him. Not only are his beats and production skills extremely innovative, original and ill, he can hold his own on the mic. Count Bass D aka Dwight Spitz has constructed a classic underground hip-hop album.