Dorrough Music ft. Lil Boosie – Beat Up the Block

Dorrough scores over [6.00] and the Cowboys are tied at the top of the NFC East? For you, Dallas…

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[6.67]Crystal Leww: Texas is a fucking huge state, and many of its cities have distinctive music scenes to go along with their distinctive personalities. Unlike the chopped-n-screwed Houston or the indie rockin’ Austin, Dallas is defined by its cosmopolitan ideals, and its musical scenes are anything but cohesive; as a result, its contributions to music have been massively underlooked and severely underrated. Dorrough Music’s “Ice Cream Paint Job” was a minor hit in 2009, and then he pretty much disappeared. Still, he’s the closest that Dallas has got to a rap star, and so “Beat Up the Block” is being pushed like none other on local rap radio. Like his old hit, “Beat Up the Block” features production that is just slightly outdated, drawing from the best of 2012 Chicago drill music with a clicking snare and a lurching bass. This lack of a distinctive local production style is a common problem for Dallas rappers (local duo A.Dd+’s DiveHiFlyLo mixtape from last year was sonically scattered all over the place) and mostly stems from this lack of a cohesive rap scene. No matter, Dorrough Music tries to make it up with plenty of that local Texan swagger: “See, I’m from the land of the trillllll,” with that “trill” said with the same state pride that Beyoncé once pulled out. He’s picked a good guest, too; Boosie’s always been fun for some Southern flair. Dallas might never be recognized for its rap scenes, but I’d be more than content if the rappers kept churning out minor hits with plenty of personality that rep their city hard.
[9]

Jonathan Bradley: Boosie appears from the blue with the explosive precision of a dive bomber, peppering the track with hard compact syllables delivered in that weird and unmistakable nasal yap. Next to him, Dorrough Music, whose “Ice Cream Paint Job” impressed because it was as broad and immovable as a Texas freeway, was inevitably going to be bested in a match-up. Yet he’s a suitable partner for Boosie, who, like his one-time benefactor Pimp C, sounds even better when paired with a stabilizing presence.
[6]

Alex Ostroff: The joy of Boosie’s utterly delightful verse would be exhausting as a full track; he needs something comfortable and catchy but not too out there for him to pop in contrast too — at least in the context of a pop song. And that’s where Dorrough Music comes in. His job here is to keep the momentum going in Flo Rida triple time until Boosie shows up. The triumphantly catchy hook is a bonus.
[7]

Brad Shoup: Dorrough’s affable Flo Rida riff gets sharper after Boosie’s cranky bars; afterward, he’s a busful of voices, combining and riffing and contrasting. It’s not even the 50 Cent brand of poisoned sweetness, it’s just overwhelming your opponent with arguments.
[6]

Micha Cavaseno: Professional placement filler rapper Dorrough comes in with a puffed out chest and a stern nod, to absolutely no affair. His melodic rolling double-time is all bluster. Meanwhile, the South’s favorite mogwai-turned-maniac Boosie is all hysterical energy. It’s a great indicator of “Who’s doing too much and who’s doing it just right?” Beat is a generic little thing, but it serves its purpose.
[4]

Anthony Easton: I can’t quite figure out how Dorrough’s voice is processed, and it’s flat enough that he seems at risk of tripping. Between those two factors, I find the formal problems discomforting enough to be interesting. Also, one of the great choruses of the year.
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