A rollicking saxophone melody comes blaring out of the silence with a boisterous confidence that is contagious to put it mildly. Against the backdrop of a galloping, colorful beat, the sax echoes into the distance and leaves a decidedly 80’s vibe in its wake, setting the stage for DawgGoneDavis to lay into the lyrics of her new, titular song from the upcoming extended play I’m Here for Thee. Strutting through the lyrics with an earnest spoken word flow, the self-proclaimed “middle age rapper” dispenses one swaggering verse after another, never allowing the assaultive rhythm that is swirling all around her to break the lyrical stride she’s creating. I’m Here for Thee goes from zero to sixty faster than a brand new Porsche, but DawgGoneDavis left no detail unexamined in the production of her latest release, which is an ideal introduction piece for new listeners curious about her buzzworthy style of comedy-rap. In addition to the title track, five other songs set the pace for what will undoubtedly be another massive year for the woman known as Rebecca Davis offstage, and what they lack in conventional tone they more than make up for in sheer originality.
The diversity of hip-hop’s rich sonic profile is, believe it or not, alive and well in DawgGoneDavis’ music, and you wouldn’t need to look any further than her hot singles “Butt on Fiya” and “Middle Age Woman – Hip-Hop Style” to find evidence of such (both are in the track listing for I’m Here for Thee). The former is driven by a highly stylized synthesizer that beckons back to rap’s glorious salad days, while the latter borders on self-indulgence but explicitly displays the parameters of DGD’s unexpectedly broad skillset as a vocalist and lyricist. “Groovin at the Louvre” is easily the most pointed and serious song on the record, which says something when you come across even a couple of the countless one-liners that it neatly packages and sends in our direction. The other pair of songs that we discover on I’m Here for Thee, the pumping “Forever Music” and the robust “Anthem Pandemonium” are saturated with a physicality that the other songs flirt with but never quite realize. It’s too short to be anthological, but this EP is a perfect sampling of what DGD brings to the table with her every time she enters the studio.
Packing a much stronger punch musically than its parodic lyrical content would suggest, DawgGoneDavis’ I’m Here for Thee is by far her most stylistically all-encompassing and full-bodied recording we’ve heard to date. You’d have to be a pretty severely discriminatory music enthusiast to find flaw in this easygoing set of songs, which have no qualms about laughing at themselves and the brilliant woman behind their compositional strengths. Most all of us can agree that when it comes to modern times there’s not a whole heck of a lot to share a smile over, let alone a laugh, in the discordant world we live in nowadays, but personally I think that’s what makes a record like this so special. It’s humor when we need it most, and that deserves some legitimate credit
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