“Way Better” – Review Of Dorrough’s Get Big

10.05.10 7 years ago 7 Comments

Boasting sweet-toothed singles like “Ice Cream Paint” and “Caramel Sundae,” Dorrough burst upon the scene midway in 2009 with a knack for getting radio play but his debut album, Dorrough Music, wasn’t exactly Baked Alaska à la carte. When you’re billed as “singles” rapper, the best case scenario would be to make plenty of hot singles and the Dallas, TX stuntman shows he’s not ready to be written off as a two-hitter quitter with his 2nd LP, Get Big.

Much of the contents in Get Big’s baggy jeans is aimed at the party life in the hood stratosphere. It may sound painfully typical but Dorrough’s breezy personality and his simple yet concentrated flow work a little baker’s magic. When Yo Gotti and Dorrough scream “Tattoos, weaves up” on the Drumma Boy-produced “Hood Chick Fetish,” the intended demographic will proudly cling to their newly framed anthem. The celebratory “Hell Of A Night” features everything a club smash should: catchy chorus, enticing melody (provided by Q. Smith & DJ Toomp) that begs for repeat spins.

Trying his hand at some diversity, “Trouble” hi-jacks the premise behind Wyclef Jean’s “911” and puts a spin on the subject by adding jealous associates to equation while Harlem is easily outclassed on the energetic “Get ’em Live” featuring Jim Jones. Feeling the moment, Dorrough confidently spits “I know this sounds far-fetched and all/but I might be the Michael/Jordan of the rap game and have the people like a kid in a candy store…

Not so fast there, Dorroughboy. Far-fetched is right. Sharp improvements notwithstanding, Get Big downsizes its stock with frequent bouts of contradiction. Over a booming system provided by 3 Deep producer Mouse, Dorrough and Slim Thug play pimp police on “Handcuffs,” an anti-save’em-hoe anthem. But within the blink of an eye, the mood does a 180° turn as the young Maverick serves up “Breakfast In Bed” while Ray J croons from the kitchen. Even if the dish is felatio served with Hollandaise sauce, the menu still sacrifices a bit of credibility. And the efficiency of the album’s top half must have been draining for Dorrough as evidenced by beginning back-to-back snoozers in “My Name” and “Si Si Like” with Sega references. Sounds like someone is in dire need of an upgrade from 16-bit lyricism.

Dorrough never claims to be the biggest star of any entity and that’s where his sophomore stride ultimately wins. By strumming up a decent handful of hit-fueled synergy, Dorrough fans can easily brag about his growth spurt.

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