Retrospective Review: Swass by Sir Mix-A-Lot
Retrospective Review: Swass by Sir Mix-A-Lot
A look back at Swass, the album that introduced the world to Sir Mix-A-Lot and became a cornerstone of West Coast hip-hop.
Until the late 1980s, mainstream hip-hop largely emanated from regions like the Northeastern Seaboard and California. While artists from Houston or Miami occasionally broke through, the limelight predominantly belonged to New York City, Philadelphia, and Los Angeles talents. This backdrop makes the emergence of a Seattle-based rapper with a platinum album in 1988 a remarkable anomaly.
Sir Mix-A-Lot didn’t just participate in Seattle’s hip-hop scene; he effectively founded it. Starting as a DJ in the early 1980s, he showcased hip-hop across the city’s community centers. He recorded his tracks by mid-decade, disseminating 12-inch singles through Nastymix Records. Despite Seattle’s rock-dominated club milieu, Mix-A-Lot became an indispensable fixture. Intriguingly, he once shared that Nirvana opened for him at a local tavern gig. His inaugural album, Swass, achieved significant success thirty-five years ago, selling a million copies in an era overwhelmingly ruled by New York and Los Angeles acts.
Swass distinguished itself in a hip-hop landscape crowded by titans like Public Enemy, N.W.A., Eric B. & Rakim, and Big Daddy Kane. In terms of sound, the album was somewhat retro, hearkening back to the mid-‘80s. Mix-A-Lot produced the album himself, crafting an electro-funk-rich sonic landscape. The beats bear greater affinity to the works of Newcleus and Egyptian Lover than to the breakbeat-driven soundscapes increasingly prevalent in the genre.
As a lyricist, Mix-A-Lot combined an imposing vocal delivery with a disarming wit. What set his music apart was his recognition that levity had a place in hip-hop, that it was acceptable to occasionally eschew gravitas in favor of sheer enjoyment. This quality infuses Swass with a delightful and frequently ebullient character.
Even the album’s name encapsulates Mix-A-Lot’s unique blend of gravity and humor. As he recounted in an interview with Magnet, the term “Swass” originated as an inside joke among his crew. While working at an arcade in the mid-‘80s, a pinball machine emitted a sound reminiscent of the word Swass. He later imbued this meaningless term with a whimsical acronym: “Some Wild Ass Silly Sh*t,” which aptly became the album’s title track.
The title track of Swass is a supreme example of musical diversity, evoking the sensual allure of the mid-‘80s Prince. A blend of sultry vocal effects and machine-like drumming forms the backdrop, while Mix-A-Lot’s staccato rapping adds a layer of audacious swagger. He proclaims himself an “Intelligent freak, wardrobe complete,” solidifying his reign as the “king of the beat” in the Pacific Northwest.
Perhaps the album’s most iconic track is “Posse On Broadway,” a far cry from the stereotypical hip-hop hits of 1988. It features minimalist drum-machine beats interspersed with arresting vocal samples and monstrous groans. Mix-A-Lot’s uniquely mellifluous yet nasally delivery narrates a nocturnal odyssey through Seattle, enlisting an eclectic entourage that ranges from Kid Sensation to a real estate magnate dubbed “Larry the White Guy.”
Mix-A-Lot name-drops landmarks and derides naysayers throughout the track while accruing a growing entourage of female admirers. The bravado peaks as he narrates an incident where an aggressor is thwarted by his crew’s quick action, capturing the essence of streetwise machismo. When it comes to lyrical ability, Mix-A-Lot is no slouch. Exhibit A: “Rippn’,” where he and Kid Sensation unleash a torrent of rapid-fire verses over an unrelenting drum track clocking in at a brisk tempo. Intriguing touches, like a synthesizer rendition of “Alouette,” punctuate the song and amplify its appeal.
On “Attack on the Stars,” Mix-A-Lot’s disdain for fame-chasers resonates powerfully. His contempt for superficiality is palpable as he lambasts those prioritizing celebrity over artistry. Mix-A-Lot’s penchant for the unexpected comes to the fore in tracks like “Square Dance Rap” and “Buttermilk Biscuits.” Armed with voice-altering effects, he delves into topics as offbeat as square dancing and breakfast fare. The audacity of these songs—surprisingly genuine odes to their respective subjects—reveals Mix-A-Lot’s commitment to pushing boundaries.
Yet, not all risks yield dividends. “Iron Man” strives for a rap/metal amalgam but falls short, even by Mix-A-Lot’s admission. However, a 12” remix featuring Queen’s “We Will Rock You” samples offers a more compelling version. An unequivocal misstep is the album’s closer, “Romantic Interlude,” a cringeworthy attempt at a love ballad that falls flat, betraying its era’s worst musical excesses.
Swass marks a fascinating chapter in Sir Mix-A-Lot’s career, a prelude to later triumphs that were as commercially potent as they were genre-defying. It paints him as an ever-evolving artist whose dynamic persona laid the groundwork for a lasting imprint on the music industry. And beyond its historical relevance, Swass remains an irresistibly entertaining listen.
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