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Aids Can't Stop Me

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Album Review

If vulgarity could be considered an art form then rapper Black Nasty may well be the Pablo Picasso of his craft. Combining Eazy-E's hardcore rap stylings with the hazed-out aesthetic of Ween, Black Nasty may have been easily dismissed as a one-off novelty act if it weren't for his genuinely infectious grooves and undeniably unique charm. Picasso himself was once quoted as saying "The chief enemy of creativity is good taste," and this seems to be Mr. Nasty's mantra as well. The fragile-eared and easily offended are best advised to simply stop reading this review right here and forget that they ever heard mention of the name Black Nasty, but if you've got a strong stomach and a warped sense of humor you may just want to

skip the review and allow the outrageous antics of Black Nasty to speak

for themselves. A quick glance at the song titles will no doubt be a good indicator as to what to expect lyric-wise from the Wichita, Kansas-based rapper, and with tracks including "Bitch Named Frank" (a love song dedicated to none other than Anne Frank) and "I Can't Leave His Behind" you can rest assured that he's an equal-opportunity offender. The album comes to a head as Black Nasty's mother leaves a pleading message not to include a track involving consensual pedophilia. Though he did eventually relent, the rapper quickly sets his sites on his mother with

"Muthaf**ka" — which details an ill-fated sexual encounter with his own mother (in which he eventually jumps back into her uterus to escape the clutches of his jealous father). Though it's likely to be dismissed as childish nonsense by many, those willing to give AIDS Can't Stop Me a listen will not only find themselves chuckling at the vividly rendered sophomoric humor, but involuntarily humming the tunes long after they've finished listening to the CD.


Formed: 1972 in Detroit, MI

Genre: R&B/Soul

Years Active: '70s, '80s

Black Nasty were a little-known but decent group in the early-'70s Detroit funk scene, following the path of the Parliament/Funkadelic crowd in mixing rock, psychedelic, soul, and funk influences. They recorded a fair album for Stax that was released in 1973, but wasn't a heavy seller. After losing their contract with Stax (which would soon go out of business anyway) in 1975, they changed into different R&B acts that would have a little more commercial success. Black Nasty's mentor was Johnnie...
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Aids Can't Stop Me, Black Nasty
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