Doug E. Fresh Vs. Masterdon and Friends

(Youtube version is here.)

Get On the Short Bus

The 90s was the decade of "the soundtrack movie," where some film deals were structured as much or more on the accompanying soundtrack album, and the profits that could make, than the film itself.  Having trouble getting your movie financed? Buy a couple original songs from some popular rappers and parlay that into a studio pick-up. It started with some hip-hop-related films having hugely popular soundtracks into films that didn't even necessarily have to exist because they were just an excuse to make high selling compilation albums. From Above the Rim to Tales From the Hood, the album's have longer lasting legacies than the movies themselves. Even Warren Beatty put one together (remember Bulworth? Or are you just picturing the music video for "Ghetto Superstar?"). The movies got cheaper and cheaper (consider Master P movies, and their knock-offs) because it became more and more apparent the movies were just excuses for record labels and Hollywood to cross-pollinate funds and eventually the well ran dry.

Now, it would be unfair to say every soundtrack movie is a poor film; but there was an ever increasing stigma attached to them, and it's hard to call that undeserved. And that stigma is probably why Spike Lee never really made a film with a fully hip-hop soundtrack. He was classier and careful to project the image of a higher profile film-maker. But because he was always in tune with hip-hop and working with some of its best artists, it put us heads into a regularly recurring rough spot: do I want to buy this full album of stuff I don't care about just for one or two good songs? If you're not a jazz fan, the buying the full soundtrack to Mo' Better Blues just for that (excellent) Gangstarr song was a tough pill to swallow. At least "Crooklyn Dodgers" and its sequel from Clockers were released as singles. Bamboozled had about four songs and one of them was a Charli Baltimore track; so you really felt like you had to grossly overpay anytime you wanted just one or two songs.

Get On the Bus is another perfect example. Anytime a Spike Lee joint comes out, you have to run and check the soundtrack to see what we've gotten; and in this case there were three rap songs amidst a see of R&B, from Curtis Mayfield to Earth, Wind and Fire. But what tempting rap songs... A Tribe Called Quest, Doug E. Fresh and Guru. And remember, this was 1996, back before seeing Guru's name meant "produced by Solar." Every time I went to a music store I'd pick it, reread the track-listing and consider it; but I never pulled the trigger. And I'm glad I didn't. Because when I got older and hipper to getting my hands on DJ vinyl, I found otu about this ideal promo EP.

Get On the Bus Sampler is an official promo release from Interscope which features all three of the hip-hop tracks. Plus the D'Angelo song, because I guess they wanted to fill out the side with something and they figured he was "pretty hip-hop." But let's get into the rap songs because all three are nice and exclusive ...though Tribe's would turn up on a compilation album or two down the road.

The Tribe song is "The Remedy." Again, even if you never heard the soundtrack you're probably familiar with this song; but this is where it originated from. The label (to the EP or the full soundtrack) doesn't mention it, but it also features Common. This was from Tribe's fourth album era, when the group was starting to split, so there's no Phife on here, and the track is co-produced by Jay Dee. Fortunately, Jay's talents were enough to rescue what might have otherwise been a sinking ship; and the fact that this is on the soundtrack of a film about the Million Man March seems to have inspired some extra thoughtful and substantive lyrics from Tip and Common. So troubles or no, this winds up being a very compelling, funky little Tribe song that could fit easily onto any 'greatest hits' compilation.

Doug E. Fresh's song is either called "Tonite's the Nite" or "Tonite's the Night," depending on whether you believe the label to the EP or the full soundtrack. Personally, I prefer the EP's dual-'Nite" titling, just for the consistency. 1996 would put this well after Doug's New Get Fresh Crew phase, but this song still features Miss Jones on the hook. It's definitely on the pop side, and the hook is a bit much, but it's nicely produced by Clark Kent who's made a really suitable track for Doug to rock over. with some fresh and catchy samples and an upbeat but funky vibe. It definitely sounds more modern, but none the less captures the spirit of The World's Greatest Entertainer album, especially when the Chill Will and Barry B start scratching over the funky bassline.

Finally we have Guru's "Destiny Is Calling." And no, DJ Premier isn't on the boards. It's actually produced by... Permanent Revolution. Whoever the fuck that is. They've made a sitar-heavy track which is interesting but doesn't really click. It's okay, and Guru tackles some serious topics. But then again, his lyrics and delivery are pretty simple and choppy, with forced rhymes like "dollars" and "swallow." It's not bad, but definitely disappointing for all of us who've heard album after album of Gangstarr before this. You know this could've been a lot better and a really powerful call to change our society, ut instead it's just "meh."

But even with that little disappointment, this is a very sweet little EP. I mean, it's a must-have for the Tribe song alone, everything else is just gravy. And while I could see other heads not getting on board with it, I was pleasantly surprised by the Doug E. Fresh song. I'm really happy to have this in my crates, and extra pleased that I never wasted more money on the full soundtrack. And you know, eighteen years later, I honestly can't remember if I ever saw Get On the Bus or not. I can picture flashes of it, but those might just be from the trailer...? I'm not sure. But I'll remember "The Remedy" for the rest of my life.

Doug E Fresh and the Lost Naughty By Nature Diss

(Youtube version is here.)

Christian Rapper Crew's Doug E. Fresh Diss

(Youtube versin is here.)

Doug E. Fresh 2000, part 2: Yawn

So, in the summer of 2008, I blogged about how Doug E. Fresh made an under-publicized comeback in 2000, releasing two rare white label 12"s I discovered from that year. Well, it turns out I'd underestimated that comeback - I've found two more! There's no dates on these, so I can't say with any certainty that they came out precisely in the year 2000. But they seem to've come out at roughly the same time - heck one is a remix 12" of one of the records I reviewed last time, so they must've come out pretty close to each other.

That remix 12" is "He's Comin (Mayham Party Mix (Special Edition)." Like "He's Coming (Party Rocker Vocal)," this is a live recording... of the same performance... over all the same beats. So the difference is... he's performing it in front of a different crowd? Except, it's not even that. I bust out my first 12" of "He's Coming" and it's exactly the same recording, with the same crowd responses. So there is absolutely, 0% difference between the Mayham Party Mix and the Party Rocker Mix. That's a bit of a rip, huh?

Then, like you'd expect, the instrumental for both is exactly the same, too. Well, at least this "Special Edition" 12" comes with a "Beat Box Bonus," right? No, that's on printed on the label, but it doesn't actually appear here! I think it was intended to be, but the pressing was screwed up, because actually, there's a short, unlabeled track on this 12" with a few beeps and tones and a guy saying, "this is the instrumental mix, mix two." Clearly that was meant to be left off the final recording, but instead they left that on and chopped off the Beat Box Bonus. Jeez!

Still, at least this 12" has a B-side, so let's check that out. There's two more songs here called "The Show" and... "La Di Da Di." Waitasec; these aren't new at all. These aren't even live performances or anything - they're exactly the same tracks as pressed on Reality Records in 1985. They've even included "The Show (Instrumental)" from that 12". Well, ok. So this is really just a combo of two pre-existing Doug E Fresh 12"s merged together. I guess that's handy if you didn't already own "He's Coming" and "The Show;" you could buy this 12" and save a little money. I guess that's what they meant by "Special Edition." Ok.

That's a little disappointing, but I'm not phased. I've still got this fourth white label 12", "Who Run This." And it features old school legends Busy Bee and Luv Bug Starski - yeah, now we're talkin'! This is an all-new studio recorded track (as opposed to a live performance). It's a lot like "He's Coming" though, in the sense that they're basically just doing various shout and call responses ("Do the ladies run this?" etc). But it's all over just one, original beat... a boring, lifeless beat. And Starski and Busy Bee just sound kinda tired, randomly ad-libbing for a minute or two. Curiously, Busy Bee does all of his shout-outs and stuff from the end of his 1992 song, "Busy Bee's Block Party" ...right down to thanking us for giving him his block party. Huh? That's weird.

So yeah, nobody raps. The beat is weak. The shout and calls sound somnambulistic. Sorry, guys, but this joint sucks. ...Not that it seems like anybody on this record cared if it would be any good or not in the first place, so I'm not sure why I'm apologizing for that remark. It makes you appreciate why he records these shout and call tracks live, though. I mean, this song would've sucked either way, but at least a live audience infuses the proceedings with a little more energy.

Well, now my enthusiasm's thoroughly sapped... I don't even feel like flipping this over to check out the B-side to this one. But I will. It's "Where's the Party At?" If that title sounds familiar, that's because he had a song called "Where's da Party At?" on his 1995 album, Play. There was a video for it and everything. And this is it. Yeah, just like he threw "The Show" on the back of "He's Comin'," he's thrown "Where's da Party At?" on the back of "Who Run This." Again, there's no difference... this isn't a live recording or anything. It's just the same songs repressed. He includes the instrumental here as well, which was also included on the 1995 Gee Street single. Meh.

So all in all, this was pretty disappointing. There was actually only one new song across these 12"s (not even an alternate mix), and that song was half-assed and lifeless. If you're a hardcore completist collector, then I'm glad to let you guys know these records are out there. But otherwise, guys, do like Dionne and walk on by. No wonder these 12"s were so obscure.

And the Initials of the Name are D.E.F.

(Youtube version is here.)

Dougie Understands Ghostbusting!

The Daily Diggers just posted a blog about Doug E. Fresh's dope 12", "Spirit" (an underrated, little record I made a video about last summer). [That's a lot of crosslinks in one sentence, but at least hit up the one linking to the Diggers' article!] In it, they praise the single but allege that the song "only loosely referenc[es] any kind of ghostbusting activity." Man, you guys may know a lot about records, but when it comes to films' mediocre sequels, you're out of your depth!

Flat out, you guys need to watch Ghostbusters 2 again. After a careful comparison of the events in the film and the song's lyrics, I believe you'll see that all three of his verses are quite specifically and consistently talking about the plot of the film:

Verse 1) The very opening lines set up the premise of the film: "There's a force that's dwellin' beneath the city, tellin' you what you need and need not do. And it's motion stirs up commotion, feedin' off the people's inner emotions." Remember the movie? Paranormal activity is at an all-time high. Why? Well, we find out it's because there's an evil slime running through the city's sewers that feeds off of the citizens' negative emotions. So of course, with "a problem like that, you call the Ghostbusters." Because the "people who just might look so happy but feel so uptight... can't handle the problem that they created. It's from the depths of their spirit!"

Verse 2) Now in this city where "an evil presence makes it unpleasant for every resident," we find Sigourney Weaver's character: "and Dana's the lady." If you don't remember what happens to her in the flick, that's ok, it's all in the song: this evil "takes the mother's newborn baby" to Vigo, the film's villain - or as Doug E describes him, "an evil magician on a mission." He's currently in a weakened state, trapped inside a painting, but "no condition, will stop him on the transition of makin' it in time, with the help of the slime." He plans to be reborn in the baby's body ("the transition") so he can take over the world; but Sigourney Weaver knows who to reach out to! "Who stand for all? Who you gon' call for the brawl? GHOSTBUSTERS!"

Verse 3) Ok, this one is more tenuous/ abstract, but stay with me here. Remember how the movie ended? Things were getting really hopeless throughout the city as the slime thrived off of the peoples' increasingly negative emotions. In fact, you could say as Dougie does, that there were "a lot of dimensions, and misconceptions, certain things done for the wrong intentions." The evil was too strong for the Ghostbusters to even get near, so they needed to raise the New Yorkers' collective spirit with positivity. Remember, they animated The Statue of Liberty and played "Higher and Higher" by Jackie Wilson?

Now granted, the lyrics to this verse don't really detail the plot of the this part of film... instead, I posit that Doug understands the core, underlying theme of the finale and is expressing that in his own style. In the third act of the film, Dan Ackroyd's character says, "I just can't believe things have gotten so bad in this city that there's no way back. I mean, sure, it's messy, it's crowded, it's polluted, and there are people who would just as soon step on your face as look at you. But come on! There's gotta be a few sparks of sweet humanity left in this burned-out bird. We just gotta find a way to mobilize it!" And Doug's pleas to "plant a foundation of newborn leaders, law book readers, career coordinators and poverty beaters," is a plan to do just that!

So Doug's positive message = the positivity generated in the people of the city. And this theory holds because, in the movie, that positivity proves too strong for the evil slime, which melts away, allowing the Ghostbusters to enter the museum and save the baby. Or, as Doug explains, the evil spirits "hear it and fear it. Know it's the truth so they scared to come near it." And as the film ends with the people of New York cheering the Ghostbusters, Dougie ends with, "and you cheer it as I share it, 'cause it's my spirit."

So, yeah. I daresay the song is all about the ghostbusting activity. In fact, the only way the lyrics don't come across as nothing but an insane jumble of incoherent nonsense is if you've seen the movie and recognize what he's describing.

I Ain't Afraid of No Spirit

^Video blog!!
(Truly frightening original content created for this blog rather than linked content by somebody else.)

Tags: Doug E. Fresh and the Get Fresh Crew, Bomb Squad

Doug E. Fresh 2000!!

Most people missed it, I think, but Doug E. Fresh came back in 2000. He put out two four[see update below] white label records for the new millennium, got slept on, and then stepped back. But as always, I've got 'em both right here, so let's take a look.



First up is a live 12" called "He's Coming" Live meaning in the "Party Rocker Vocal" version has been recorded before a live audience. He really captures the energy of his live shows as he leads an enthusiastic audience through a sea of old school choruses, shout and call responses and hooks. The beat constantly changes from old favorites to contemporary hits (well, contemporary for 2000 - i.e. Big Pun's "Still Not a Killer").

It's debatable how much this kind of thing translates to record. What must be a blast to experience live leaves me feeling a little like "I kinda wish he'd just rap already," and I'm not sure how often I'd revisit this record, though I'd me more likely to come back to the (not recorded live) Instrumental version on the B-side. But if you're gonna listen to a "It's Your Birthday"/DJ Kool-type song; there's no denying Doug E. is the master of it and this is one of the best (the fact that he's not shy about slipping into a hot beat-boxing solo sure helps).



Next up is "Come Again" (I'm really not sure which was released first... I'm just assuming from their titles that "He's Coming" precedes "Come Again"), another Live track. This time in instrumental is a consistent (and not bad) track, as opposed to a parade of crowd-pleasing loops and breaks, but other than that it's very much along the same lines as its predecessor.

What's much more compelling on this record though is the two new studio tracks. "I Could Make U Dance" (which we're helpfully alerted is his "Dirty South"-style record) really isn't bad. Doug's versatile enough to ride the Southern-style production and change his flow to match without putting on a cheesy accent or otherwise trying to "force" himself to blend with the genre unnaturally. A surprising guest verse from Lonnie B., of Virginia's Supafriendz crew, and both MCs shine with how quick and clever (without no reliance on punchlines) they can kick their raps (Krystal, who's also credited, is just doing back-up vocals on the hook). This should really suck, and it doesn't at all, which is impressive.

But the last song, "Throw It Up," is the real highlight for me... in no small part because it features Big Daddy Kane. The production is unexceptional, but it'll do for Kane to rip it with a hot verse, and while Doug tend to forgo straight rapping for all his party-type material, he holds his own spitting after Kane. My only complaint is that it's too short - one verse by Kane, followed by one from Fresh, then a couple of hooks (which is where the other credited MC, Damage, fits in) and it's all over. Cutting down the hook-age and throwing down two more verses by each MC would've been perfect, but I guess they figured why risk ruining a good thing when you've got it?

Like the last 12", this one ends with a not-live Instrumental version of its live track, too.

Today, Doug E Fresh of course has (say it with me) a myspace page; and he also has his own dot com at: dougefresh.com. There's an online store there promising a new CD single (called "Left Right Front Dance") and album (called Global Warming), but they're both listed as out of stock. Now, if you click on the Global Warming page, it says, "...will be available June 15th;" but that's actually what it said this time last year, too; so I don't think it's coming anytime soon. He DOES have a children's book that you can order from there, which includes a CD: "Rap and Read along with Doug E. Fresh;" so you seriously hardcore fans may want to pick that one up, I don't know.

Update 2/18/2010: Apparently, this is only half the story! He released two more 12"s, including a "Mayham Party Mix" of "He's Coming," around 2000. Check this post for full write-ups on those.

Also, I've been reading on discogs that apparently there's an alternate version of the "Come Again" 12". The other version doesn't include the song "Throw It Up," but instead features an additional instrumental of "I Could Make U Dance." Now, personally, I'd feel pretty let-down if I didn't get the song with Kane, since it's easily the highlight; but the fact that both versions exist is cool for collectors, as the other version at least gives you an exclusive instrumental. At least you can tell them apart, though. The version with "Throw It Up" is the one I've got pictured above, with the catalog number printed on the label and the song title labeled as "I Could Make U Dance." The one with the exclusive instrumental calls the song "Could I Make You Dance," and also lacks the catalog number.

C'mon, Get In the Car, Guys. We're Moving To Japan

Look what just came out in Japan only! A full album of lost, never before released tracks from a ton of the best rappers recorded in 1988. What's the deal with this? I'll just let the album's notes speak for themselves:

"Introduction: 17 years ago a small recording studio, TOP SHELF, located in the basement of a brownstone in the East Village section of New York, was looted during the Thompkins Square riots of 1988, displacing the recordings of many soon-to-be Hip Hop stars. The studio had been the meeting place for many rappers, neighborhood kids, and producers that would later be responsible for the greatest period of the Hip Hop age, "The Golden Era." A search commenced soon after the recordings were lost, but nothing was ever found. So sought after were the tapes, they soon acheived Holy Grail status amongst Hip Hop circles. Despite years of searching, and dozens of hopeless crusades, the tapes remained lost. No one was quite sure who took them or where they were... until now.
After an extensive investigation and search that lasted two years, the recordings have finally been recovered by Fab 5 Freddy and myself (Benjy Grinberg). They were found dozenss of miles from the site of TOP SHELF in an abandoned strage faciilty in North Jersey [woot! Jersey represent!]. ...We sought after the lost recordings of TOP SHELF because they were rumored to be among the hottest songs from that era, and we thought it was a tragedy that the world never got to hear them. It turns out that these two-inch tapes are truly a treasure chest--a time capsule of the energy and excitement of 1988 Hip Hop."

And this really is the wet dream it sounds like - everybody comes tight on this. It starts off (well, after a brief mic check intro by Fab Five Freddy) with Black Sheep kicking a short, fast rap track, which is tight... and believe me, I've never been a huge Black Sheep fan. Special Ed's song is just the perfect raps over the perfect beat... it could easily have appeared on his first or second album. Big Daddy Kane kills it, Biz Markie's song is just great fun, and Melle Mel and Grandmaster Caz duet showing impressive skills considering even '88 would generally be considered well past their prime. MC Lyte rocks the same loop her rhyming partner Positive K did on his classic "The Nightshift," only with faster drums for more of a freestyle/battle rhyme-type flow. There's no production credits on this album besides the phrase "Anonymous Top Shelf producers,", which is a shame, because I'd love to know who did what on this. There's a crapload of nice scratching on Chubb Rock's song. The Jungle Brothers' is nice, though their rhyme style gets a little redundant. The only kinda disappointing song is Smooth B's solo venture, "I Want My Money Back" (he needs to give that hook back to Mixmaster Spade, who knew how to use it), and even this number's not bad. But Craig G (here spelt Graig G... heh) Doug E Fresh (using the same "Go Stetsa" vocal sample Groove B. Chill would go on to make a hit out of a couple years later), Grand Puba and Just-Ice all come with dope songs. It all ends with a serious track from Master Ace, "Revolution's 'Bout To Start," which is a great narrative and uses the type of scratched up speeches on the hook like I haven't heard since "Black Is Back" or "Dirty Cop Named Harry."

100% must-have. Manhattan Records, the Japanese label that put this album out, has a site at: store.mmagg.com, and yes, they have a myspace page, too. Go get it.

Update 09/15/07: So, any of you who've joined me in any of the many message board or blog discussions of the legitimacy of this album will have already determined that it is quite definitely a hoax. But, surprisingly, The New York Times has actually picked up the story and gotten some real answers - read the whole thing here (brought to my attention by Jaz, who runs the Cold Rock da Spot blog, on the DWG forums). Still, it does leave a few questions unanswered... like who actually produced each track, and when can we get a volume two?

Tonight It's Summertime

Well, it's officially summertime, and once again that means it's time for all the hip-hop radio stations and video shows (if there are any left, that is) to break out everybody's favorite seasonal rap (and their last well regarded song), DJ Jazzy Jeff & The Fresh Prince's "Summertime." Once again, everyone curiously opting to overlook my all-time favorite summertime anthem, Doug E. Fresh and the Get Fresh Crew's "Summertime."

Doug E's came out about two year's before Will Smith's, but it's not "Summertime" squatting rights that makes this my favorite - it's just a great f'ing song. Production is handled by The Get Fresh Crew (Chill Will and Barry Bee also get credit for cuts, but I'll be damned if I can hear any in any version of this song) and prolific dance music producer Todd Terry, but they've enlisted the help of the great 45 King for beat-programming and "Doo-Doo"s (dude, that's what the liner notes say... but once you hear the song, you'll know what they're talking about). Dawn Davis and Dave Bernard Wright provide the hook (there's also a childrens' chorus at the end, which is uncredited... a sample, perhaps?). Finger pops, changing piano loops, bouncing bassline... It's upbeat, dancable, jazzy and soulful all at the same time.

There was a video for this at the time, featuring a brief intro by DJ Red Alert over the radio as Doug E arrives and sets up to host a block party. Then it's Doug E rapping with everybody out dancing on the streets of New York on a bright, summer day. They even cut to cute little kids just like the Fresh Prince version would a few years down the road. Doug E kicks the sort of relaxing, easy listening type rhymes you'd expect from a summerday jam:

"Taking a trip down memory lane,
When me and the boys was playing a game
Of ball in the park;
Hangin' out at the block
Parties. You see a pretty girl you like?
She belong to somebody.
It ain't nuthin',
You keep on huntin';
'Cause sooner or later you'll run into someone
You like, or wanna be with,
Maybe just sleep with.
From that point, I think you'll wanna get deep with
Her or him or them,
Without a fear and a doubt.
Because it's summertime;
And that's what summertime's all about."

It winds up with a new piano loop kicking in for the breakdown, and Doug does a fresh human beatbox solo.

Granted, groups like The Sugarhill Gang ("Hot, Hot Summer Day") had touched on summertimesongs before; but to me this was always will be the ideal and pinnacle of hip-hop summertime raps, and it's a shame it hasn't been kept alive as much as it deserves.

Yes, Doug E Fresh has got a myspace page (Chill Will and DJ Barry Bee each have one, too); and he's also got a relly nice website at: dougefresh.com. According to his site, his upcoming album, Global Warming, with guest spots by Big Daddy Kane and Busy Bee, "will be available on June 15th." So far, it's still not available; but hey he's only a week late. Let's hope it does come out soon.

Tags: Doug E. Fresh and the Get Fresh Crew

Unreleased Slick Rick, Chapter Three

Well, I already had the first version of J-Love's mix CD, but when I saw the second one had a track called, "VANESSA WILLIAMS ( UNRELEASED )," I had to hear the second version as well. I'd never heard of that one!
Upon hearing it (thanks, chr!s), I discovered it actually wasn't anything I didn't already have in my collection. See, back in the early 90's, a guy named Gregory Moore used to advertise in the "Tapes" section of The Source magazine. He sold 60 and 90 minute cassettes of old school live performances... here's a scan from the August, 1994 issue:

You sent away for the list and he had, I dunno.... maybe 50 live tapes (he later added almost a hundred more), of live performances like DJ Hollywood performing classic raps and mixes at Club 371 in 1976, the entire infamous Kool Moe Dee vs. Busy Bee battle (the full show, including performances by the Cold Crush, Force MC's, and even the separate amateur battle event that came first), or a tape of LL Cool J's birthday party, with performances by Ultramagnetic MCs and Afrika Islam. Dude had everything.

Eventually, in 1996, a commercial album was released (on Sounds of Urban London Records, co-produced by Moore) of his tapes, entitled Rap Archives vol. 1, which was made pretty widely available (I got mine on cassette at the Wiz here in my NJ hometown). It featured clips of performances by Run DMC, Master Don, Biz Markie & Big Daddy Kane, and a whole bunch more. One of the performances was Slick Rick and Doug E. Fresh at the Lincoln Project, NY 1984, performing "La Di Da Di" and "The Show."

Now, the highlight of this performance is when, at the end of "La Di Da Di" as we all know it, they announce they're going to "finish it," and Slick Rick bursts into an all new verse about what happens next in the song. And that's what "Vanessa Williams" on the Legends mix is - just a short (1 minute and 15 seconds) snippet of that exclusive verse.

J-Love's listeners might've found it a bit confusing, since he has it come randomly after "Captain Caveman." So, they didn't hear it in the context of the rest "La Di Da Di," where it makes considerably more sense. Here's the end of the classic verse we all know and love...

"I said, 'Cheer up!' and I gave her a kiss.
I said, 'You can't have me; I'm too young for you, miss.'
She said, 'No, you're not,' and then she starts crying.
I says, 'I'm nineteen...' she says, 'stop lying!'
I said, 'I am - go ask my mother.
And with your wrinkled pussy, I can't be your lover!'
And now the new material begins:
"She didn't hear, 'cause I said it kinda low;
And then I broke out because I really had to go.
I saw Miss America - she got millions!
Talkin' about that ho named Vanessa Williams.
She saw me, MC Ricky D.
She came up close and she grabbed my body..."

Unfortunately, I don't believe Mr. Moore is selling tapes from his catalog anymore, but at least Rap Archives vol. 1 is still pretty easily found on CD... Amazon has a couple copies up for about $7. Sadly, there was never a vol. 2.