Scratched in at various point of the song, the listener is reminded “niggas like dough.” With that said, the title to this album makes some sort of sense, as this EP by Boston’s Count Bass D is so aptly called Begborrowsteel. The pun in the title implies that “niggas” are willing to beg, borrow, and steal (though “steal” is spelled “steel”) to make money in the music business. This EP is Count Bass D’s short, 16-track musical announcement saying “I’m still here making music, even though I have not dropped a solo joint is a while. And I’m still nice.” This multi-alias artist is known as the fire spitting emcee/vicious DJ [The] Beyonder, the cool, laid back rapper Dwight Spitz, the music loving producer/rhymer Count Bass D, and all-round nice guy Dwight Farrell (which is his birth name). In the moniker Count Bass D, Farrell has created an EP that attempts to cease the hunger of his fans; however, after that album is done, all that can be said is “we want more!” “Kumbuka Watu Penda Pesa, Pt. 1” is one of the instrumental tracks that show Count Bass D as one of Hip Hop’s dopest and most underrated producers out today.
The song starts with the cutting of the words “remember, niggas like dough”; after which the hard-hitting beat drops. The strings are rich and full of depth, accompanied by two basslines, one being the low strings in the sample and the other being the bassline Farrell added. There are a few changes in the instrumental as the bassline switches about three times in the song, but in a subtle manner that does not distract and a guitar riff pops up every once in a while. Under the sample, there is a horn/string piece that adds an ethereal feel to the instrumental. Farrell reverses the string sample during part of the instrumental, creating an uncomfortable sound that sounds oddly acceptable. It’s like the reversed sample and straightforward samples are the good and bad repercussions of liking money to the point that a person would beg, borrow, and steal. The song continues with changes until the end when the cut words close of the jam; as if to say, when everything is all said and done “niggas [still] like dough.”
This instrumental is dope to rhyme to and is poetic in its construction. With the EP, Dwight Farrell solidifies himself as an instrumentalist. Oh, and remember, Dwight has flow; so check out his other works, under any of his many aliases.
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