Din of Iniquity

Saturday’s opening lineup of the two-day Doheny Days festival in Dana Point was supposed to showcase Orange County’s modern-rock and rap heavyweights, yet the day turned into more of an endurance test than a musical celebration.

A dozen bands generated plenty of noise for more than nine hours, but it’s astonishing how uneventful much of it was.

The show provided some reason to cheer in sets by X, the day’s always dependable headliner, and Fullerton’s Latin-tinged Mirainga, San Clemente’s rootsy 5 Foot Tuesday and the rockin’ hip-hop of Dial-7.

Other acts’ offerings, however, ranged from tired psychobilly and novelty-leaning pop-ska to unimaginative slabs of sonic fury to, most disturbingly, misogynist and anti-gay sentiments.

Even though X is past its creative prime, the original quartet--which followed a thoroughly predictable set of campy punkabilly by the Reverend Horton Heat--proved it remains a headliner worth emulating for songs as memorable as they are thought-provoking and for the group’s depth and integrity.

Both of the latter were missing in action during sets from Hed(pe) and the Kottonmouth Kings, a pair of rock-rap bands that came off smelling as foul as our polluted coastal waters.

Placentia’s Kottonmouth Kings served up embarrassing rap that was about as organic as a jar of Cheeze Whiz. Instead of channeling anger into meaningful forms of protest, the best these lazy knuckleheads could come up with was their ode to being--as the title of one song puts it--”Bong Tokin’ Alcoholics.”

The group’s trio of rappers--Saint Vicious, D-Loc and Daddy X--offered little, sonically or thematically, to engage the audience. Continual ego-stroking and such repeated cliches as “[expletive] the system” were trite, yet easy to dismiss. Not so the group’s slurs directed at women and gays in some of their stage comments.

Even more disturbing was Hed(pe), the Huntington Beach/Long Beach-based band fronted by lead singer-rapper M.C.U.D. An imposing figure, the dreadlocked M.C.U.D. (Jerrad Shaine) faces personal demons and struggles in fiercely played, convincing songs such as “P.O.S.” and “Tired of Sleep.”

His between-song banter espoused “respect and unity for our brothers and sisters,” yet it amounted to lip service in the face of some mean-spirited songs that present women as nothing more than objects for male sexual gratification. In fact, in one particularly nasty rap that’s neither on the group’s 1997 album or its 1998 EP “Serpent Boy,” M.C.U.D. came out essentially advocating rape.

Meanwhile, Reel Big Fish has found an audience with its peppy ska-pop, engaging melodies and spirited ensemble play, but has yet to find much of interest to say.

RBF has been preoccupied now for two albums with bandleader Aaron Barrett’s love/hate relationship with commercial success, and the self-absorption and sarcasm is wearing thin.

On a more positive note, Dial-7 showed that Orange County rap-rock can be not only bereft of inflammatory language and imagery, but artistically worthy as well. For the most part, the quintet delivered the goods with an energizing stage presence and potent mix of personal and socially conscious material.

Drawing mostly from its major-label debut album, “Never Enough Time,” the band addresses racism, spirituality and loss not only with rage and sadness, but also with a sense of hope. The 40-minute set’s most powerful number was “S.J.L.,” singer-rapper Michael “Kid Bone” Lord’s tribute to his brother Steven, who died three years ago in an car accident.

Equally impressive was Mirainga--formerly Mr. Mirainga--which served-up spicy helpings of pop and punk as well as calypso- and salsa-tinged rock. With Reno’s blazing guitar leads, Robert “Yo” Heer III’s zesty trumpet lines and a big rhythmic kick, the group showed a versatile touch with the catchy “Cigarette Girl,” the alcoholism-themed “Boca Loca” and the introspective “All Messed Up.”

New material showcased by Standing Hawthorn was mostly disappointing, but the veteran Mission Viejo quartet was preceded by one of the afternoon’s pleasant surprises, 5 Foot Tuesday.

Recalling the Band and Creedence Clearwater Revival and led by singer-guitarist Dan Moore, the jam-oriented, San Clemente quintet, which opens for Mother Hips on Wednesday at the Coach House, cooked during several extended numbers, including the Allman Brothers-like “Clara Mae” and an uplifting little gem called “House of Dreams.”

The Doheny Days festival concluded Sunday with the “Spirit of Unity” reggae lineup.