Anthony L Ray from Seattle, Washington, shows up with his third studio album. I never understood why this dog born in '63 was popular under the name of Sir Mix-A-Lot, but his records continued to receive certifications. His third album helps me find the definitive answer, which lies in his one-hit single, "Baby Got Back".
The record is opened by a police car skit that reaches Mix for a fake arrest, then cheap boom bap, skinny, syncopated drum machine, slow and hardcore syncopated delivery, functional hook. This is followed by another mediocre song, the title track: skit intro, cheap simple boom bap with skinny, syncopated drum, female lame chorus and MC's hardcore slow syncopated delivery, on annoying beat. The third song is the banger of this one-hit wonder: simple minimal and cheap rhythm, very close to hip house, funky boom bap with skinny and syncopated drum machine, hardcore sustained and syncopated delivery and functional hook.
The joint features Ray stating how much he likes big asses, but for him it's an anti-anorexia/anti-Vogue girl-esque models and pro-black song, in fact to support his thesis, he places a sample in the middle of it directly from the Vietnamese prostitute of the movie "Full Metal Jacket"... wait, what? In any case, it's first in the Hot 100, it goes strong in Oceania, slow in Europe where there are many sexual dance songs like this at the time better from every point of view, it's fifth among dance tracks in the USA, while suffering in the hip-hop ranking: quite understandable, not being a hip-hop hit. Second best-selling song of the year in the US, it's also one of the best-selling of the decade here, certified double platinum.
After this piece, the rest of the record is quite mediocre and forgettable. This guy doesn't do anything anymore. "Swap Meet Louie" has an annoying rhythm, skinny and syncopated drum, hardcore slow syncopated delivery, annoying lyrics and functional chorus. The fifth pick has the usual cheap beat, slow syncopated delivery, and lame chorus. "Lockjaw" is one of the more acceptable tracks on this bad tape: simple, cheap production, lean and syncopated drum machine, it's a livable joint with fast Mix-A-Lot syncopated delivery.
An annoying sample follows to accompany the cheap beat of "The Boss Is Back", simple drum, fast syncopated hardcore delivery. "Testarossa" has a rhythm worthy of the worst of miami bass, cheap, poor, fast syncopated delivery. Again miami bass for the ninth song, unlivable, unlistenable rhythm, precedes a simple and cheap boom bap, with the usual functional chorus. All of these joints have a useless skit to introduce the song: "The Jack Back" features The Wicked One on a simple, hardcore boom bap with lean and fast drum machine, hardcore syncopated delivery by the rapper. The penultimate track is a ridiculous one on drugs over light rhythm, simple and cheap boom bap, lean and pounding drum machine, functional hook and slow, syncopated light delivery. Finally, after an hour of garbage, this album ends with a simple and as always cheap rhythm, and Mix delivers slow hardcore syncopated on minimal drum.
Generic and disappointing pop rap album, somehow released by Rick Rubin's Def American Recordings. Production and lyrics are the exclusive work of Mix-A-Lot, this mediocre rapper who sounds decent for five minutes, but after five he starts to tire and listening to him for an hour is a feat, it sounds annoying. The production doesn't help him — except in sales — this MC Hammer comes with his "U Can't Touch This" (but not that good) and manages to sell his "Please Hammer Don't Hurt 'Em" (but not that much), props to him, but I don't recommend listening to this record and also to the hit "Baby Got Back", which has no historical value.
Rating: 4/10.
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