URL: https://dawggonedavis.com/
I don’t know for certain if DawgGonDavis is secretly masterminding a plan to take over the hip-hop charts with her new four song extended play Anthem Pandemonium, but even if she’s just out to spread the word of Operation Breakthrough and their crucial work to stamp out domestic poverty her latest release is more than worth your time. I first became familiar with DGD’s music through the single “Butt on Fiya,” which is included in Anthem Pandemonium I might add, and haven’t been able to look away from her career since. She’s funny, smart and a lot more adept at making intricately complex rap songs than you might expect from an IT project manager, but that’s the whole point of her music. She wants you to question the stereotypes and stigmas that you attach to people, illnesses and even culture itself and reassess your opinions. There really is no better way to get people to change their evil ways then through the power of comedy and music, and thankfully DGD is highly equipped to do both brilliantly.
DawgGoneDavis is BACK!!!!!!!!!!!
REVERBNATION: https://www.reverbnation.com/dawggonedavis
Rebecca Rogers Davis works as an IT project manager during the day, but her life away from the 4o hour a week grind finds her taking on a very different identity. She expresses her lifelong love for music and composing under the persona of DawgGoneDavis. DawgGoneDavis has a playful take on hip hop tradition that aligns her, in some respects, with Weird Al Yankovich’s song parodies. Despite the light hearted nature of her songwriting, Davis is a deceptively astute songsmith who intuitively understands how to craft a catchy hook that lingers with listeners long after the song ends. Her latest release are a pair of singles entitled “Forever Music” and “Butt on Foya”, two songs building on the success of DawgGoneDavis’ first single “Middle Age Woman – Hip Hop Style” while solidifying her position as one of the best parodists on the indie songwriting scene today.
Mike Ra “Dogs”
The art form of protest music shouldn’t be relegated to strictly coffee house acoustic acts and raucous punk rock units who have no regard for the non-abrasive sensibilities of the current generation of music enthusiasts. When you think about it, music doesn’t even have to challenge the autocratic notion of established order in its lyrics to inspire a rebellion that will change the landscape of pop forever. We’ve seen countless soft rock acts leave an imprint on music that was just as insubordinate in its foundation as some of the raunchiest, most extreme of transmissions from the underground. And yet we still uphold this falsehood, this flat out fallacy, that to affect significant change in your scene, you have to be the loudest voice, the most noticeable explosion in a series of chaotic disasters to really get anyone’s attention enough to make a difference. That’s not only a completely irrelevant and fake news-influenced theory, but it’s dangerous to the development of independent music in the 21st century. “Dogs” the latest output from Canadian rhythmist Mike Ra, doesn’t wear a political motivation on its sleeve, but the overwhelming message in its lyrics is one of individuality and independence that has become synonymous with the current movement of indie rap artists both north and south of the U.S.-Canadian border.
