Count Bass D | CBD

I’ve always thought of Count Bass D as perpetually polished, a smooth character like Billy Dee Williams. Undeniably talented and multi-faceted, he released 2002’s cult classic Dwight Spitz almost by accident. After the commercial disappointment of his debut album in 1995 got him dropped from Sony imprint Work Records, he eventually shifted his focus from live instrumentals to drum machines and keyboards, quickly proving that he was clearly a savant from the start. He also wrote the line “I gotta plan like Built to Spill,” so his credit is everlastingly elevated in my mind. He’s been low-key prolific in his own scope of releases across the better part of two decades now, mostly in the form of lush instrumental beat albums. His most memorable appearance is his patented semi-lisping verse on MF Doom’s “Potholderz” from MM..Food, a song that Count also produced, because of course he did. We’re reminded of that on the opening track of CBD’s “Busy” with the echoing reference: “I make music every day, not just the weekend” (“I make music every weekend” is the line on “Potholderz").

During this lockdown, I’ve been sending an unsuspecting colleague a new rap song every day, just to add a little spice to these bizarre times, although I do know that he swears by Wale’s More About Nothing, so he’s not completely innocent. Last week, I sent him “Be Mine”, where a layered-vocal hook flows over a bouncing neo-soul beat like a stoned outtake from Cam’ron’s Purple Haze. He’s like the wise older brother who oozes class and has no interest in nascent trends. But his deep bass sounds hit just as heavy as the best-mixed hip hop out there; he’s likely your favorite rapper’s favorite producer-emcee. He doesn’t boast street dealer credit, he gives off more of the classy pimp vibes of Big Daddy Kane, but with a subdued confidence that feels detached from his rap identity. But he’s still got the swagger, the level that’s reminds me of a recent Westside Gunn interview, where he said something along the lines of “my baby’s mama looks like a model, and not because I had a record deal.” Also, please post that video because I can’t seem to track it down. [Edit: this quote can be found on Rap Radar's interview of Westside Gunn from 2018].

Throughout these eleven tracks, Count Bass D just proves that he has no need to lean on gimmicks; his style is just blatantly talented, easy living over chord progressions, powerful drum machine work, and perfectly utilized jazz and soul samples. It feels insulated at a time that makes it truly comforting, cushioned within Count’s mid-2000s bubble, or maybe it’s just the time-tested samples and approach that he pulls off so well. He’s unabashedly himself, letting his music take center stage, and allowing randoms to appreciate it or ignore it; Count doesn’t read any reviews of his own music anyways. On “Break Bread,” he declares “you can give me exposure when I’m dead.” Not today, my friend.

On a lighter note, the album cover -- Count posing with an MPC1000 drum machine -- obviously brings to mind The Renaissance album art, which also makes me wish for a Q-Tip/Count Bass D beat swap collaboration, maybe like a side-by-side version of Rhythm Roulette, where you pick a handful of sounds and a few samples, give them each an hour, and see what comes out. We can dream, right?

Released March 12, 2020. Reviewed April 16th, 2020.

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