A name like Count Bass-D conjures images of lowriding Escorts, four- finger rings, and Adidas trackpants. However, this underground hip-hop maestro comes much closer to a Chuck D/ Count Basie hybrid than to South Beach booty bass. Count Bass-D just might be the savior of the funk, a greater hip-hop superhero than Bobby Digital could ever hope to be. The influences of Steve Wonder, Herbie Hancock, Prince, and Marvin Gaye can be heard throughout, and not even in samples!

Like a true historian of black music, Count Bass-D arms his lo-fi, accomplished grooves with '70s soul, reggae, jazz, and old school rap. The tunes can be smooth enough to make love to and nasty enough to put the funk in your trunk. The simple mix of keyboards, drum machines, and satirical, intelligent lyrics sets Count Bass-D as the Momus of hip-hop-- a low-budget savant that reminds us how ridiculous popular music is these days.

The "punk" aesthetic is put back into "phunk" over the course of these eight eclectic songs. Of course, even punk is driving a sports utility vehicle these days. The piano- driven "Worse Case Scenario" criticizes chest- beating rap and misguided consumers, but uplifts thanks to the Count's soulful, hushed crooning. Art for Sale's lyrics continually attack the exploitative music industry, but steers clear of pretentiousness and didactics thanks to Bass-D's playful spirit.

I have to argue that the title track presupposes that the majority of modern music can be even classified as "art." But when a "Boogie On Reggae Woman"- sounding number called "Fat Girl" drops some rump- dropping funk and the chorus of "Heroin for rock stars/ Cuban cigars for A&Rs;," you're reminded that rebellion is more fun from the rebel's side. Wouldn't you rather throw the bricks than get hit by one? Cool people always root for the underdog, so throw some money on the Count.

-Brent DiCrescenzo