Bassheads & Car Audio Junkies: A Blabber From BitPusher

Posted in Uncategorized on February 4, 2017 by Q

boomers

See those discs above? These are what I felt like writing about. This is my statement (unwavering opinion) on what is SUPREME for your system.

Let me explain something, please follow if the subject of bass music is of interest to you.

I am as of this writing a 35 year old man. I knew the words to “Jam On It” by Newcleus when I was four years old. I have been obsessed with music (hiphop and electronica) literally my whole life. I wasn’t even in my double digits of age by the time I had shelves full of cassettes. Most kids ask or beg their parents for toys and things, but me? I was always begging and pleading with my mom for a new tape, although now and again I would ask for a video game. ANYWAY, my cousin and her husband used to babysit me alot, and they had a system in pretty much every vehicle they ever owned. Nothing competition like, in fact usually cheaper shit. Nonetheless, my obsession with hiphop and electronic music was nurtured strongly by them, and hearing my music bump so hard always gave me goosebumps.

Over the course of my pre-teen and teenage years, I don’t know. I would have to sit down and really think on this but as an estimate, I guarantee you I have owned over 100 different bass albums. Yes, pre-adult. I had stuff from everybody, including Pandisc Records, DM Records, Newtown Records, IBP Records, and on and on. I was extremely fond of playing my video games and just listening to those songs. That music always connected with me.

The point of this story? What is the best for your system? The younger generations probably don’t even know, though I hope so. You see, there are (I believe) in majority two types of bassheads:
Type one: the person who simply wants ‘loud.’ They want people to hear them coming down streets, and care little about the more technical side of things. Just loud and booming. Budget does not matter here, high grade or cheap, boom is their singlemost priority.
Type two: the purist, or the nerd. The types who drop big money into competition systems and compete fit here. But it’s not just them. Even those on a low budget, but care greatly about brand, about configuration, and complete/overall quality. They invest time in researching and are particular about many or all aspects of their system.

I consider myself type two. Still, one thing that anyone, no matter what their preferences and priorities are, want a fantastic experience. They want bass and is especially critical at such a personal depth for the basshead.

Now, to put all of this together, it is my declaration that the two CDs I have pictured above are the supreme discs you NEED to have to demonstrate the both quality and decibel crunching power of your system. NOTHING compares. Of all the ridiculous mountains of bass music I have owned and loved since my childhood, and including the many experiences I have gained over the years (from dicking around with my own or friends’ setups to having been a spectator at some actual competition shows), I can attest, again my personal opinion, nothing compares to these two discs. Younger generations who weren’t anywhere near being born when this stuff was being produced have probably heard nothing like the old bass music. But if they have, I’m glad for them. ANY decent system with ANY modern music can certainly slam. Monster systems can shake the air out of your lungs with just about anything. So people love going for modern hiphop, trap music, modern R&B, or any one of a couple dozen subgenres of electronic music to toss into their system and boom the hell out of it. Likewise, ANY bass CD will definitely push your setup nice and hard.

All I want to say is this; if you are any breed of basshead, car audio junkie and fanatic, etc, find a copy of Bass 305’s “Digital Bass” or Techmaster PEB’s “Bassgasm” and just listen. Sure, like most modern produced electronic music the entire production is completely and purely digital from top to bottom, just like these albums were. Digital composition, digital recording, digital processing, digital mastering. Yeppers. There is still something more to these albums though. Of all the bass music I have owned and heard and know from front to back, the sound quality and production of these two albums are simply unparalleled. I value these two CDs more than any music I own. My attachment to Bass 305 is extreme anyway, and perhaps my bias is present here since I had Digital Bass on cassette, and it was in my headphones often when skating around the neighborhood and so on.

I’m not all that talented of a musician myself and have limited capabilities, so I am not able to produce music of this quality and this composition. Believe me, you have no idea how badly I wish I had the equipment and such studios. But please at least take one second to consider my personal history here and then think why would this person make such a statement about these albums? He’s not a child, he’s been around a few years suffice it to say, so why does he hold such a strong opinion? Look, some nobody and his blog can’t really influence anyone to do jack shit, not to mention the likelihood that anyone targeted here would even see it or read it. Still, if you do, get those CDs. Yeah I had those cassettes, and later got them on CD not just because I loved them so much as a kid, but because as a pure basshead, I believe them to be absolutely essential for testing your setup, and for the listening experience they provide. I will repeat myself for the last time: these two CDs are the finest possible choice any basshead can make to demonstrate both the sound quality and raw power of their system. The absolute best of bass music. Just because you might not be the type who would casually listen to this kind of music like I do does not mean that they can’t serve you as a tool. Tune your system with these. Especially Bass 305. Absolutely gorgeous. DO IT RIGHT! Don’t download those albums as mp3s and expect gorgeous fidelity. If you really don’t know any better, understand that mp3 and similar compressed audio really do effect music in many negative ways, but make small files in return. Fortunate are the people who can’t hear the difference between an mp3 or iTunes aac vs a CD. When you get into higher-end equipment though, this begins to really matter, most of all with bass music since we’re talking about music with extremely low frequencies which take some real damage from the many processes involved with compressing audio into one of these “lossy formats.”

To all those who understand and live with the addiction I do; I love you guys. Bassheads for life.
–BitPusher

How Can I Improve? Wrong Question Chiptuners.

Posted in Uncategorized on January 18, 2017 by Q

I hate question although when people first get invovled in the chiptune community that is some kind of dogma, the question everyone seems compelled to ask.

If I could offer just one valuable, genuine idea in the form of an answer to the question “how can I make better chiptune?” Don’t ask. You ought to quit right now if that is your biggest question.

Asking people how to better implement a specific software technique, how to better process audio, better methods for executing such a such a function, surely. Ask away. You can expect snobbish assholes to throw you the “read the manual” and “search the web yourself” attitudes (they can be correct there however), or help you out.

But all aside, you go into a forum or the like asking people how you can improve your chiptune? I despise that mentality because all you are really doing is asking a group of people on a forum what they want to hear. You are honestly taking other people’s opinions of what sounds good and what doesn’t upon yourself. Consider this; one person could love hardstyle tracks and the sounds that come from that, vs someone who prefers softer, more rhythmic sounds vs someone else who loves uppity pop style tunes, and you want them to tell you how your music is wrong. What could you do better? By whose standards? Hell no. Absolutely not.

If you want to make chiptune or any music for that matter, quit daydreaming of being a big star or building some kind of admiring fanbase like a goof because if impressing people is where your head is really at underneath it all, you are really, truly missing the point or at least you are aware of that fact and your goal is to be plastic. If people like your sounds, great. Attention is always nice, but if people don’t like it, so what? You should be happy to hear your own creations and shamelessly play them in your own car or headphones and still feel good that they are your tunes and you made them. That right there, that’s what it’s really all about.

I’ve been pushing my bits since 2010 and have had brief moments here and there of recognition, but I’m largely unknown and I don’t have fans. So I’m a shitty musician with shitty music? That’s cool. It’s now 2017 and I’m still at it, at my leasure not going wildly far out of my way to promote and sinking alot of time into that effort. I love making music and my pride is stroked every time I hear my own tunes banging out of my system. I hear them and remember nearly every step of constructing the tune, and the journey (long or short) to its completion. As I said, this process and this feeling are what it should be all about, especially something as niche as chiptune.

Quit asking. Be yourself and love it. Also, fuck corny cliches. Please consider my words.

  –BitPusher

deadmau5 & That Originality Rant

Posted in Uncategorized on December 11, 2016 by Q

I fucking loved this, can’t lie.

I love a majority of the guy’s music, rarely pay attention to his videos. I’m glad however I caught this one because it speaks to a truth you either get, or you don’t care. I pity the latter.

A massive music library, and nobody I’ve ever known (even my best friend) know hardly any of it no matter how much I could rant about it. Anyone has their opinions of what is good and not good music, but god damn is it sad that opinion in that matter can be biased or based on the majority. He mentions Justin Beiber, and that is a damn good example. You could look at that kid as a player in the game, making money. Fine, but that doesn’t change that he’s garbage. He sells millions of records, and then there’s guys like me who get excited if more than one person checks out a tune. So who’s the winner and who’s the loser? Well, if young Beiber were to ask me that with that traditional scoff on his face, I would still say yeah, you’re garbage.

What deadmau5 touches on here is something I believe in with all of my being, and that is that if you call yourself a musician, an artist, etc, you have to be creating. So called artists who serve no purpose in life but to run with and boast the fruits of everyone’s “art” and efforts in their own name are people I have no problem seeing fall of a building. This isn’t like someone designing and building and instrument, a synth, a tool of some sort and then someone else making big on it. Example, Jimmy Page is one of the few guitarists in the world I revere greatly, and he did not invent the electric guitar. He used the tool however to craft his own, beautiful and awesome work. Whole different subject matter. The point is, what was crafted is what he wrote, he created. He didn’t have someone else craft his music and then just emulate it in front of a crowd.

Compare that to Justin Beiber who has a small team of people writing his music, writing his lyrics, crafting his “art” and the dude turns around and considers himself a musician and artist solely because he can carry a tune. How in the world can any rational human look at that as legit? Now take mr. mau5 for a moment. I don’t love the guy because he’s known for cocky comments, because he lives a lavish lifestyle, because he plays in front of millions of fans. I couldn’t care less. I love the guy because he composes badass tunes; himself. Because he is a brilliant studio engineer, and because when it comes to his music he does not waiver. It’s his way or the highway. That formula goes beyond just being a fan of a CD or two, it’s a fundamental respect.

This whole argument is the very basis of my character which is what had me enthused when I decided to watch this video and got about a minute into it. I have been making my own shit for a long time, and I prefer vintage video game hardware for making beats. I will never be recognized, nobody likes my shit. I figured that out quickly, and I still do it anyway. I maintain a website, I at great leisure craft tunes that sound neat to me, and throw ’em up anyway. My passion and obsession with electronic music evolved a good deal vs coming from my youth when I was all about DJ’ing, just mixing and manipulating other people’s shit because the mixes could come out sounding dope. I still considered myself a musician of sorts and how fucking stupid I was. There is nothing like being your own creator, which is the entire point of any so called “art.” I am as proud now as I was when I started making chip beats of every single thing I did, even the shit during my learning and experimenting phases (which i’m not sure ever really ends.) Trust me, I try to keep to myself but I’m never afraid to say “yeah, I made that and it’s mine.” I sincerely hope I’m not a total blasphemy and shit stain on any small element of EDM, chiptune or etc. Ahhh yes, nothing like those damn I love myself motherfucker moments.

So cheers to those known and unknown alike who are actual artists, no matter how good or awful your work is labeled to be. There is such a profound truth and degree of integrity in originality compared to the Bieber’s of the world. Forgive me for calling you a cocksucker if you know better and just don’t care, maybe money does that to people. The label often thrown at guys like me is “hater.” Guess so, because I will not give respect where I don’t believe it is earned. I can only say that I will go to my grave never convinced that sales and fame tell the real story, because those two points are not nearly enough for me to appreciate anything. I would be a liar if I said I didn’t want to perform a Kraftwerk cover or two on my Gameboy for fun and out of pure love, but there is no way in hell I would ever allow someone to write my music for me and then call it my own no more than I would do said Kraftwerk cover(s) and claim that I wrote it. That, and I rather like giving my music away, and I’m not even sure why. I don’t want to be paid for music, ever. That is not where I belong, no matter how stupid that sounds. Truthfully, my biggest dream is having one my own albums pressed on vinyl, and sold for as dirt cheap as possible, with zero money going to me. Man that would be awesome. You know, I’m not sure if that attitude makes me a complete tool or not, but on the other hand, I’m only following that for me, all for me. I won’t write something for someone else. Fuckery.

end babble.

–BitPusher

Reminiscing On Iron Butterfly (What?)

Posted in Uncategorized on October 7, 2016 by Q

Occasionally I find myself in the mood to just write and ramble on one thing or another, and right now would be one of those times. No music news from me right now other than I do have some new chiptunes very slowly in the works. I’m in no rush.

Anyway, I want to talk about one of the very few bands I call a favorite. This would be Iron Butterfly. The few people who actually know me know more or less what I’m all about when it comes to music. Music is something I can talk at length about because it is so vital to my personal existence, it flows thru my head in some form or another nearly 24 hours a day. Then of course, the folks that know me and my family, who have known me my whole life, know that even since the youngest age, I have been almost all hiphop. Hey, I am proud to this day, thanks to my mom never letting me forget over the years, that I at the age of four was able to recite “Jam On It” by Newcleus word for word (and I’m sorry people, if you consider yourself a true school hiphop head but can’t recite the full 8 minutes of Jam On It, you’ve got it all wrong. Trust me.)

So all that said, I have written in the past about how bass music and electronica entered my life at a rather young age and also became a vital part of my existence. It is safe to say that in majority, I have never much liked anything else. I cannot under any circumstances tolerate country music for example, I really can’t take it. Likewise, alot of rock, metal, etc never really resonated with me…until my early teens. I can’t recall exactly, I was maybe 13 or 14, and I happened to have the complete (at the time) collection of Freddy Kreuger movies. In one of them, a kid is staring at a busted TV set while smoking a joint. In comes Freddy with all this psychedelic shit and the song In-A-Gadda-Da-Vida is playing. I thought it was awesome. That began a hell of a relationship for me.

I ended up getting ahold of that album and disliking half of it straight away. The poppy, hippy sound of the era. That song though, so different than all the rest. I also grew to like a couple others on that short album and the sounds grew on me. I shortly thereafter got both their Live album and a full greatest collection called “Light And Heavy.” I was fucking stoked the first time I heard the instrumental badassery of the Iron Butterfly Theme. Something about the off-key and unusual sounds of the stuff on the Live album (especially “In The Time Of Our Lives) really seemed to strike something special in me.

I know Iron Butterfly’s discography (with the great Doug Ingle) almost word for word. Ball is probably my favorite album of the bunch. It was likely a weird thing in anybody else’s eyes. You look at this kid’s massive (and I do mean massive) collection of music, a young teen, and you find mounds of hiphop and singles, mounds of bass tapes and bass CDs, and all this electronica, then somewhere in the middle of it all is a couple Iron Butterfly CDs. I will never know what it is, be it Doug Ingle’s awesome voice, his keyboard talents, or his unusual and intelligent lyricism, but that man and his band did something to impact me a bit and certainly added something totally different to my life. I will always love those guys. Hell I know by the time I had my first car I had it all, their albums on CD, some deluxe boxset stuff, even a VHS with music videos. I watched that many times.

I guess my whole point today is to throw a little love out to Doug Ingle and the memory of Iron Butterfly. Over the years since that era of my life, I admit my tastes still have remained semi-linear. I went thru a brief hard-punk age (complete with blue mohawk, and a spiked patch coat.) I still liked my bass music, my hiphop, and etc. That phase passed after a year or thereabouts before I got back to myself. In that time though, I picked up some bands that I love so much to this day, top of the list is Henry Rollins with both the Rollins Band and Black Flag. Also, the Misfits, Crass, and (yeah I admit it) Rancid. Finally, in the very small world of my non-hiphop and non-electronic love, I can’t forget Iron Butterfly. I would still wager than in my 100andsome gigabyte library of music that Iron Butterfly does not seem to belong, but they so much do. There are only just a few songs they did I truly do not like, but there’s a grand majority that I love and I can only appreciate Doug Ingle and company for such unique and awesome music. I think alot of music lovers discover that one thing that ends up affecting them yet does not make sense or fit their format. That happening is an awesome thing.

See ya.

  –BitPusher

EMS64 And Mac? No Problem Now.

Posted in Uncategorized on September 17, 2016 by Q

Hey guys. Just felt the need to share something completely awesome. A fellow at chipmusic.org has shared a tool he wrote that allows you to read and write both your roms and sav files on the Mac with absolute ease, no configuration needed! It’s called EMS-Qart. He has made it for Windows and Linux as well although I’m not using either of those OSes so I haven’t tested it there. That aside, here it is:

https://github.com/rbino/ems-qart

The original thread on CmO is here:

http://chipmusic.org/forums/topic/19036/emsqart-a-program-to-flash-ems-64m-carts-linux-os-x-windows/

In my experiment, I tried flashing my kitted out LSDJ to one bank, and a game to the other, and everything just worked without a hitch on El Capitan. I can’t believe it. When I get a chance to, I will keep a copy of this on my own web server as well just in case and link it on my site for download.

Best of luck folks. Keep chipping!

  –BitPusher

Time To Begin Again

Posted in Uncategorized on August 27, 2016 by Q

Hello internet. How are ya?

I can only hope that someone somewhere was or is enjoying Shades Of Gray Handheld. It’s not as layered or as complex as alot of chiptuner’s releases so happen to be (maybe I’m just not that talented), but I like to think I know a thing or two about a dope beat 🙂

Lately, I’ve been getting the itch to fire up my Gameboy again and start a new project. Not just a new song but a new album which of course has to become an actual CD. That’s just me, i’ll never get away from that. In an age where practically everybody is all digital and plays mp3’d music from their phone or what have you, I get my rocks off most from having a system in my vehicle, and the feeling of dropping an actual CD into my deck. Better sound quality anyway.

So, I suppose I’m not done yet. On a related note; I’ve already got a small selection of (mostly) completed tracks sitting around for a followup to the bass CD I did in 2014 too. This is just how I work. My attention span when concentration is required tends to suffer, so despite how much I love music, I tend to work on something for anywhere from 5-30 minutes and then put it down for possibly days at a time before looking at it again. On the flipside, to avoid confusion I only work on one song at a time rather than starting several, makes things easier for me. Still, this lazy method allows me to not get burned out so easily. 

So then, another (and better) bass CD is pretty much a guarantee. I forsee that being my last non-chiptune project however, because as much as I’ve loved bass music (and electronic music for that matter) my whole life, I am personally much happier composing and creating with 8-bit. I feel embarrassingly like a poor pretender trying to work on the same field as some of my favorites like DJ Magic Mike, or Techmaster PEB just to name a couple. I don’t have the equipment, knowledge, or an ounce of the talent and ability guys like that do, and there is a real standard that exists when doing full blown studio albums like that. With 8-bit however, I have always been a straight up geek and a gamer to the core since the youngest age, and from my perspective, chiptune has no real requirements or expectations. It’s just not a mainstream trend and being niche actually gives you alot of creative space. That, and I’m simply happy to be able to express myself musically as an adult with hardware that was beloved in my youth. I feel like I’m best able to be myself this way, and I can still boom the system a bit at the same time. It’s a win even if only in my book.

Basically, there it is. There really isn’t much of a point to this post except to ramble a bit, and mention to the void that the itch is setting in and I’m about ready to fire up LSDJ again and go at it. I can do a little more drivel, just watch me.

There is a fellow I found from chipmusic.org named Cheapshot who did a release entitled “Influx” and it’s dope as hell (see his track “Spank” for details.) He used Nanoloop on the Gameboy Advance. I bought NL 1 & 2 back when I bought my EMS cart and LSDJ, tried it, and I really did not care for it on the Gameboy at all. After recently hearing his music though, I was really tempted to fire up NL2 on my SP and try harder just because of some of the sick sounds the GBA can produce. Well, I did. I wish I could make beats like that but I just don’t see it happening. As much as I enjoyed Nanoloop on iOS (which is a much different user experience) I just do not like the control scheme, user experience, or workflow of Nanoloop on the Gameboy. 

I guess I lose out there. On the other hand, while the original Gameboy can’t produce some of those sounds, it CAN playback external samples in the wav channel. A slightly touchy issue in the chiptune world. Because of the awesome capabilities of the wav channel, some chippers find it blasphemous to waste it by sticking a couple sound samples in there with custom kits. Me on the other hand, I think it’s great. Maybe it’s not pure enough or just “not chiptune enough” but basically,  I don’t give a shit. I think it’s awesome to be able to add sounds or capabilities that are somewhere outside the original hardware’s own abilities to generate. It’s like 8-bit with a couple extra add-ons. The fact I have the hardware and synthesis of the Gameboy right in my hand, but can include a sick bass drum, or a badass sound effect along with it is just so fun. The people who make and share kits are definitely the brighter lights in the chip community too. They take the time necessary to put together an LSDJ kit, and then share it for absolutely nothing except for others to enjoy working with it too. I love those folks.

Ok. I’m done blabbing. Love to the chip community for keeping 8-bit alive and well. See ya.

  –BitPusher

Memory Lane Blabs: Sir Mix-A-Lot

Posted in Uncategorized on August 1, 2016 by Q

I came across a copy of a CD I hadn’t listened to in some time and it was super important to me back when it was new, so I felt like doing a little blabbing today on someone I was always real fond of: Sir Mix-A-Lot.

I was mighty young when Baby Got Back was out, and that is the tune it seems everyone associates with him, meanwhile, it is low on my list of his tunes. I always thought he was an intelligent lyricist and not given much attention outside of that particular ass shaking club tune. By way of my cousin, I had the album that song was from, “Mack Daddy” on cassette and it was one I listened to in my headphones all the time. Serious shit, it was probably weird to see such a young kid constantly plugged into headphones but that’s how I was, even when it wasn’t smart to do so. Riding my bike around the neighborhood, headphones. Roller blading around? Headphones. The Mack Daddy album, I jammed alot amongst my other tapes, and just had a taste for more intelligent hiphop. Some of my favs from that album were “One Time’s Got No Case”, “The Jackback”, “No Holds Barred”, “Swap Meet Louie” and “A Rappers Reputation.” I knew the album front to back don’t get me wrong, but those tunes in particular were my jams.

Somewhere down the line, I totally missed contact with the album that came out a couple years later called “Chief Boot Knocka.” I never came across it, and the internet wasn’t quite a household staple yet, so I never knew about it. Flashing forward a bit, middle school and high school. I used to get made fun of constantly for my music, because in an era when what I called “bullshit rappers” were on the rise (Master P or Juvenile for example), and the other half that were just living and breathing constant hardcore shit like say DMX, I wanted no part of either camp. I lived and breathed hiphop but I had my own set of standards and more often than not, it was shit much older than the here and now. So, yep, made fun of all the time for shit either “nobody has ever heard of” or “it’s way too old.” That was a funny thing. It something was more than like 6 months old, it was just “old” which translated to being burned out or becoming garbage. That was a big deal I guess with kids in my school years. Whatever.

So, I’ve started my freshman year of high school, mostly cranking Public Enemy, KRS, 3rd Bass, and a few others, and drawing their logos all over my folders and book covers and other shit. I had sort of disconnected from Mix-A-Lot by this point because I had nothing new, not that I didn’t occasionally listen to his albums. I had acquired “Swass” and “Seminar” by this age too, fucking loved Seminar. Great album.

Here came the big news of my day though: I had been at the mall and saw something brand new in the music store: Return Of The Bumpasaurus. It was truly a holy shit moment for me, because here I was annoyed all the time by hearing about how old my music was, and here was something brand spanking new from someone whose music was a very rememberable part of my youngest years. Sweet. I was straight up excited. Honestly, I don’t know why what everyone likes listening to was such a big deal but it was. It was as if everybody knew what everybody else liked, I honestly never understood it. It was easy to ask me though since I would sneak in my cd player and headphones as often was possible. So, this album. History seems to have recorded that it was one of his less successful albums, and then just as much as right now, I don’t care. It was dope, and I felt so awesome having something new from someone I really respected. Just a little more forward, and I had my first car and learners permit. I had saved every bit of money I could no matter if it was a dollar or a quarter let alone more from doing work for my dad, mowing some lawns, etc. and had a friend of mine install my system.

There were these subs that Hills old for a whoppin’ $38, a brand called Urban Audio Works. Because of the logo this brand had on their packaging (a character called the Urban Rat), these subs were often just referred to as “Urban Rats.” My very first car? A 1994 Ford Taurus, and in the back, THREE of these bitches with a “1000 watt” Jensen Amp, all pushed by an Audiovox Rampage head unit. At this age, I didn’t know the kind of things I know now, so it was cobbled together with garbage, but I can’t lie, I was impressed and still think back on that with a degree of pride. Say what you will, but my car hit hard as fuck, you definitely knew when I was coming down the block. There were me and quite a few others in high school that had subs in their ride. We all used to talk shit about our “pull in music”, stuff you’d crank on purpose when arriving at school (or leaving) to show off how your system sounds. Return Of The Bumpasaurus was still in my rotation as in my eyes, it wasn’t even that old yet. The title track “Bumpasaurus” was one of my usual pull in songs, bumping hard as hell, seconded by the Posse On Broadway remake “Man U Luv Ta Hate.” So if you read all of this story, that album is another from years past that has nothing but fond memories for me.

So I came across that in a used music shop the other day and haven’t taken out of my Jeep yet. Good times. I still remember all of those tracks word for word, just like with Mack Daddy.

I also remember getting excited at the return of Sir Mix-A-Lot when “Daddy’s Home” came out. From that 96′ album, he hadn’t released anything until this early 2000’s joint and of course I picked it up right away. It’s the first Mix-A-Lot album i’m mostly disappointed with. He is a much better lyricist than that album, but it’s mostly him playing on what him real popular in the first place: shaking of asses and pimp game.

I wish he’d come back onto the scene with an album that has the lyrical genius of most Mack Daddy, a touch of the focus on booming in your system like Return Of The Bumpasaurus, and yet bring a modern sound alongside those awesome lyrics.

I’m done rattling shit off now, but honestly, I want to give a headnod to the great Sir Mix-A-Lot, he’s on the list of musicians that I have always loved and always will. If you are someone reading this who only thinks of the guy for “Baby Got Back”, you missed out on a whole other world of awesome music that this man has made. As for me, it’s nice to hear Bumpasaurus in my Fosgate 15″s, takes me back 🙂

–BitPusher