The cover reads, “Death-Troit Shitty (murder capitol 2004) presents,” and the lead song, “Suck and Fuck,” is a grim ode to rectal mayhem: “Bitch could you give up the ass on the first date/And if you try to make a nigger wait/I’ll put some shit in your drink, and date rape.”
Detroit’s Raw Dog (Big O, Clever K and Minister A.R. 14) say their “shock rap” is satire meant to provoke and disturb. But nothing here is particularly funny or shocking. Eminem shocked because we assumed his pro-domestic-violence whine-raps were rooted in reality and, worse, he made them radio-friendly.
These 12 songs solidify base, mythomaniacal rap clichés — bitches, ass sex, rape, deadbeat dads, pedophilia, prison stints, child molestation, etc. — and the intended shock value is routed by sheer repetition and calculation. The words soon lose all power and meaning. And the copious woman-hating sentiments hit bleak lows, rendering Lil’ John’s skin-trade adventures Disneyesque by comparison. Where’s the tongue-in-cheek misogynist absurdity or the homage-paying parody?
In fairness, true descriptive moments slither from the proverbial poop chute: “Whacked Out Head Monster” sketches a pungent picture of crack-huffing and the devil’s light that appears after a gnarly, days-long meth jag. It’s the P.O.V. of familiarity. “Nasty Sinner” skewers the goofy persona of bling-stung, faux-gangsta rap stars. The guitar pyrotechnics (P-Funk’s Tony Thomas guests) on “Deathtroit City” hurl unexpected psychedelic dirt clods.
These gents are clearly saddled with personal demons just like the rest of us, but on Raw Dirty Dog Ass Shit they’re simply, or unwittingly, exploiting their own internal emptiness.
Brian Smith is music editor of Metro Times. E-mail him at [email protected].
