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Rating: Let's review the discography of the most important Italian rap group of all time together.
"Mi Fist" (2003) - This is their first album, the old-school one, the earnest one, and all those other things that appeal to those who haven't yet recovered from Blondie's erotic dream. Somehow it's their "best" album, less gaudy and more thought-out. However, apart from “LLCD” and “Note Killer,” it remains one of the most pure distillations of reactionary and boorish rap to come out of our country, which, if you really like Colle Der Fomento and similar ruminants, might also thrill me; the fact is that here we are on the right side, the one that believes this type of rap is one of the most pathetic and ridiculous things you could have the misfortune to hear. 1/5
"Penna Capitale" (2006) - Right after their best record, which is also the worst, comes their worst record, which is the best. Dogo's Penna Capitale is certainly not a refined fountain pen, but more likely a half-empty Bic; it doesn't matter much, since by wielding it Gue Pequeno and Jake La Furia managed to indelibly brand the paper of the times. Hip-hop, Vallettopoli, coke, the streets, and a pathetic South American vocalist are all blended in this brainless, entertaining, and refreshing mix, which even today remains perhaps the most important Italian rap record of all time. On the ashes of a social center, the Dogo have built a new venue open to everyone, from the street guys to high schoolers, complete with a nice drug trade round in the bathroom to the far right. 5/5
"Vile Denaro" (2007) - Club Dogo are the Sonic Youth of Italian rap, with Air Max instead of deliberately out-of-tune guitars and a scruffy DJ instead of a female bassist. If Penna Capitale was their Daydream Nation, Vile Denaro is their Goo, the major debut. The cult tracks are not missing, see Puro Bogotá, but if there's one thing Club Dogo had and Sonic Youth didn't, it's the big radio hit: “and they told me that life is a..., it doesn't kiss you and gives you the check for the dough, so I have to be the son of…”. Fill in the blanks, I'll fill in the stars that this super classic deserves. 5/5
"Dogocrazia" (2009) - During this period, Guè had short cornrows like a badly raised gangster. It is here that the name Club Dogo takes on the connotations of “bumper car music,” and indeed here we find real pieces for scoliosis (in a good sense) like “Boing” and “Sgrilla.” 3/5
"Che Bello Essere Noi" (2010) - A title that makes you want to poke your eyes out with a fork, but a hip-hop album of commendable quality, from the cover (in bad taste, as is only right), through the hypertrophic and hyper-trashy beats, to the tracks: one grenade after another, increasingly right-wing and tasty. 5/5
"Noi Siamo Il Club" (2012) - Oh yes, the record with “PES” feat. Giuliano Ferrara, a song that made everyone's balls dance that summer. It was, however, a more honest thing than all those other things that filled, and still fill, the MiAMi lineup. The problem is that it turned the stomach over. Well, in doubt, 3 stars because - I repeat - it was the only kind of rap that made sense in 2012 in Italy: compromised and in bad taste. 3/5
"Non Siamo Più Quelli di Mi Fist" (2014) - With their latest album, having once and for all forgotten their beginnings influenced by Guccini and any pretense of politicized rap, the Dogo hit the quintessential rap album. Three songs above all: 1) “Weekend,” perhaps the best party song Italian music has ever conceived, with trashy trumpets and “call me bomber, pass me the dompe” 2) “Soldi,” a jewel of nocturnal melancholy 3) one randomly picked from the others, being careful not to step on the dog's needs. It would be an almost perfect album but there are at least 3-4 episodes worthy of a Ruffini film, so I'll settle for four stars. 4/5
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