Album Review: Thoughts on Big Baby D.R.A.M. Debut Album

Big Baby D.R.A.M. Is An Amusing Testament To Having A Dream & Going After It

I was first introduced to German native, D.R.A.M. last year when he released, “Cha Cha,” which featured samples from both Super Nintendo and Magic School Bus. I knew then that the crooning rapper was on track to becoming the new Hip-Hop sensation that he’s turned out to be. Anyone zany enough to combine the theme from a television show about an anthropomorphic school bus and phonics from a gaming console knows that they will either be taken seriously, or anticipates being at least listened to if only for the chuckles and giggles. His latest single from Big Baby D.R.A.M., “Broccoli,” that was released earlier this year, reached #1 on the US R&B/Hip-Hop Songs and #6 on the US Billboard Hot 100 charts.

In some ways, the song emanates what much of his debut, Big Baby D.R.A.M., is about—having fun and using a sing-a-long style that is not new to Hip-Hop, but has proven to be successful for those who have opted to use it. Its chorus, which combines the adverbs, sleazily and greazily is easily the most infectious part, and undeniably gets into your head the minute you hear it. Equally as memorable is “Cash Machine,” which fashions itself as a nod to both Big Tymers and Biz Markie.

Much of D.R.A.M.’s style is seen in his ability to tap into humor, because laughter is after all the best medicine. The album is crafted with production from some of the top producers in the game including, Ricky Reed and Rick Rubin. So while enticing listeners with humorous bars and witty choruses that reverberate long after the album ends, D.R.A.M. leaves an impression that is quite effective – and proves he isn’t going anywhere, anytime soon.

When D.R.A.M. tries to be serious with his ability to concoct verses, they are giddy, hazy, and ridiculous. Yet, this is the intention of the album, particularly with the imagery depicted on the cover art. The crackling jazz vocals of “Monticello Ave” find him no longer able to deal with a relationship, while “Sweet VA Breeze” evokes a kind of Ojays “Darlin, Darlin Baby” meets Little Brother’s “Cheatin,” as he competes with a flashy organ that overwhelmingly conveys the feeling that he understands his wheelhouse well—switching between old school rap, while maintaining the wrinkly vibe of zoned out rhyming.

On the album’s opener, he comments that “he had to tell himself to go and get it [himself], because he got tired of waiting on everyone else.” Call it a mantra or an affirmation, but Big Baby D.R.A.M is an amusing testament to having a dream and going after it, no matter how goofy others may think it is.

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