A More Teddy Riley "Pump It Hottie?"

So, ever since my "New Jack Swing" post, I've been on a bit of a new jack swing kick. And tonight I've been rocking some Redhead Kingpin 12"s, and I went right to one I usually skip right over: "Pump It Hottie." The Hip-Hop purist in me, the one that just capitalized "hip-hop" because Krs-One says to, is always like, that's his mainstream dance song. You know, usually "We Rock the Mic Right," "Superbad Superslick," or even "Do the Right Thing" are my go to's. But now I just want some good ol', thumpin' Teddy Riley instrumentation, so today is "Pump It Hottie"'s day. And there's every reason to blog about this 12" here, because it's got some exclusive 12" remixes not found on the album. It's almost more surprising I didn't write about this one in 2008 or so. But what can I say? There's a million great rap records, it's taking me a while to get through all of 'em.  8)

So anyway, 1989's "Pump It Hottie" is like pure Yo! MTV Raps. It's a dance song before dance music separated from hip-hop, and I can still picture the music video with the FBI Crew on a little stage performing for a room full of bicycle short-wearing models. At the end, each member walks off with a girl in arm, and Redhead taps his girl on the shoulder and it's a bearded guy in a dress, so he runs away. Times were simpler then...

In a lot of ways, the song's simple, too. Red's just rapping about girls dancing in a club, and the beat's a loop of Krafwerk's "Numbers," the same break used on "Planet Rock," "Traveling At the Speed of Thought" and 75% of early Miami bass records. What makes it compelling is the extra Teddy Riley music on top of that, the killer horn riffs and the funky bass... except, it's not quite as Teddy Riley as a lot of his classics of the time, like "My Prerogative" or "I Get the Job Done." The horns, as dope as they are, sound more like simple repeating loops; and actually if you look at the credits, Teddy isn't credited as producer. Redhead and Riley's brother Marky Mark are. Teddy is listed as mixer and arranger, though, so who can really say how that really adds up in terms of who played what notes and who decided where they should be placed in the song?

Those credits are also exactly the same for the 12" Mix, which is quite different, and maybe even more what I was after. Because this version keeps a lot of the core elements, like the bassline and famous horn riffs. But it drops "Numbers" from most of the beat (it does fade back in at times) with a new break, which sounds like live instrumentation. This one has a big horn solo in it. Over all, maybe it doesn't thump quite as hard, but it sounds much more like an original funk creation. If you're in a new jack swing mood, definitely seek this version out.

There's another remix on here, too. The Street Mix is by Joe the Butcher. His version is back to "Numbers," but replaces all of the other music with a some cool funk guitar samples and stuff. It's a little more minimal, too barren even. It's kinda interesting, but it comes up short compared to the other two versions. It's interesting to have, though.

And speaking of inferior but interesting to have, we also get Teddy's A Capella. Now, the acapella of "Pump It Hottie" has to be one of the least desired rap acapellas I can think of. Nobody was thinking, man, I need that verse where a girl tries to get Red to go home with her and he tells her no, just dance instead - I've gotta put that over something jazzy! But this isn't Redhead's A Capella, it's Teddy's. What does that mean? Well, first of all, it's not acapella; it's full of music. But you know the intro to the song, where they're going, "we got Philly hotties coming to the party tonight," etc? Well, it's basically that stuff an the hook laid over the a dub mix. In fact, it's largely the hook just repeated a billion more times, but there's more little improvised dialogue like, "we gotta get the girl with the afro outta here." There's also sound effects of cats meowing mixed into the track. Kind of a weird curiosity piece.

Finally, this 12" also includes "Kilimanjaro Style," which is an album track. It's a good 'un, though, and not at all a crossover dance track like "Pump it Hottie." This is his reggae-style track; but what I like about it is that it's got a sick reggae-inspired beat with the famous "Bam Bam" horns, but Redhead doesn't attempt a faux-Jamaican accent. He takes a bit of the style, mixes it with his own, and just kicks some freestyle rhymes in his own natural voice, and it sounds great. DJ Wildstyle has a nice and subtle scratch session at the end. When you've decided it's time to come down from your new jack swing high, this is a great track to get you off it.

Do the Many Varied Right Things

This has to be the seminal union of new jack swing and conscious rap: Redhead Kingpin & the FBI's 1989 hit "Do the Right Thing." The song was originally meant to be a Teddy Riley joint for Wrecks-N-Effect to appear on the soundtrack to Spike Lee's film of the same name. But it wound up being left off the soundtrack and going to Redhead instead; but that didn't stop it from being a huge hit. And it should be pointed out that while Teddy Riley gets arrangement credit (and Joe the Butcher mixed it), "Do the Right Thing" was actually written and produced by Markell Riley (a.k.a. Marky Mark of Wrecks-N-Effect) and Redhead himself.

This is just one of those timeless rap hits... the music, the hook... Having grown up in the time this came out, I don't even have to play this song to quote you guys the lyrics:

"Brothers are stealin' and dealin' and big wheelin',
And to a younger mind, that stuff is appealin'.
So what do they do? They gather up a crew,
Go out and steal and rob, instead of getting' a job.
Now your mother tried to bring you up better than that;
The same way she loved you, you loved her right back.
But now you think you're grown and you argue a lot
Over money you got from dealin' stuff on the block.
Now you're not the only one in the world that has problems;
Keep your head straight, and you can surely solve them."

And I call this new jack swing 'cause of the artists involved, the hook, and a few sparse keyboard riffs... But this is pretty hardcore for new jack swing with it's aggressive "UFO" ringings, a lot of cuts that aren't played soft on the mix, and a driving funk guitar sample taken right off an NWA record (It shares George McCrae's "Rock Your Baby" with MC Ren's rugged solo cut "Quiet On the Set"). Even those distinctive Teddy Riley horns (somebody needs to bring that sound back!) sound harder than ever here; and it's all laid over "Impeach the President."

So it had a hot animated video, a ton of radio play and while it didn't wind up in Spike's movie, it did eventually find a home as the final anthem in Wes Craven's The People Under the Stairs. Wait; what? I asked Kingpin about this in my interview with him back in 1998 and he answered, "Yeah. I didn't understand that, though. I went to the movies and saw that, and I'm like, 'Ok. They're chasin' monsters through walls, they're killing monsters, and then they're doing the right thing?' I don't get it. It was a check, though. I just didn't get it, personally."

So with a hit this big, you wind up with a lot of versions of the single... little 7"'s, white labels with fewer tracks (though that's the only way to get the proper album version or the instrumental), etc. But really, there's basically two proper singles, with matching picture covers (shown above). First is the yellow.

The yellow 12" has five mixes: US Street Mix, 12" Mix, US Radio Mix, A Capella and the Butcher Mix. And the A Capella is self-explanatory. So let's compare the other three mixes.

The US Street Mix is like the version you're familiar with, the album version, the version they use in the video, etc. Except they remove the sung hook and replace it with a vocoder version. And there's additional scratching - some during the hook, and especially at the end, where the DJ is really allowed to go for solo. The back-up singing is also removed from the shout-outs at the end.

The 12" mix is similar, but a lot more chopped up. It opens with just the "UFO" sounds, and the whole instrumental is constantly being scratched and juggled around by a DJ (I presume WildStyle is doing all the scratching on all the mixes, but it's not specified in the credits). Even Red's vocals are sometimes stuttered. We also get to hear more from the singers (Guy?) who do the hook, and some extra funky bass at the end of the song. Labels like to remix hit records, because it's easy to sell a record that's already a hit. But records that are already perfect the first time also don't need remixing; and we're given a bunch of inferior versions for no good reason. But this mix is actually an interesting, compelling alternative. I can't see it replacing the original, as that's the most clean and natural sounding version, but this is a funky extended mix that shows off everybody's talents. So if you like "Do the Right Thing" at all, you'll have to appreciate this mix.

So, ok, there are no curse words in the any of the mixes; so what is the US Radio Mix? Well actually, surprisingly, it's not just a slightly trimmed version of the Street version. In fact, it's substantially longer. It's like the US Street Mix, but the singing is brought back (though we hear the vocoder briefly, too), including the extra vocal flexing we heard in the 12" Mix. Oh, and this mix also features a little vocal introduction with someone saying "yo Red, kick that one;" and there are a few other little added details like that throughout the extra couple minutes.

Finally, we have the Butcher Mix. The label doesn't say so, but I think we can safely assume this remix is performed by Joe the Butcher. This is as broken down as it gets. Joe is mixing up just the drum and bassline, sometimes juggling the bass note for note for the short duration. That's it; no vocals or anything else. It's pretty cool as a bonus track.

Ok, now we come to the green cover, which I actually prefer... not just because green is my favorite color, but because the green and the red border jive with his African medallions much more than a giant swath of yellow. So I prefer the cover... not the music.

This 12" has four mixes: Jazzy 12" (in the UK, which is actually the version I've got, this was released as Happiness Remix; but it's the same thing), Jazzy 7" (just a shortened version of Jazzy 12"), Sky 12" (or 212 'Sky' King Remix in the UK) and Sky Instrumental. So basically there's two new remixes.

The Jazzy Remix really isn't so jazzy... it's called that because it's remixed by Jazzie B and Nellee Hooper. It's got a funky congo break, and a cool little bassline... but the rest: thumping dance club claps, and a piano loop that doesn't really fit with the rest of the song, don't work. This is listenable, the bassline starts to get pretty catchy by the mid-point, and it's neat that Red changes up the shout-outs at the end (calling out different countries instead of US cities), but it's nothing to go out of your way for.

The Sky Mix by Gail 'Sky' King is weirder... it features some old school horn stabs and stuff, some clubby elements, and some percussion (and "ooh ahh" vocals) that sound like an old Egyptian Lover record. As Redhead raps, the beat changes to other breaks and sample sets. It's... interesting, and surely not what you'd expect to stumble upon on a Redhead Kingpin record. I don't know if I can say it's really any good, but somebody's at least trying to get creative with it, and bring in some funky new scratches and elements.

All in all, I've gotta call the green remix 12" a miss. Dedicated Redhead Kingpin fans will get some enjoyment out of this (I did - heh), but it's really nothing I can recommend. The yellow 12" is definitely better... but casual hip-hoppers should note that the straight up album version, which will probably be your ideal mix, isn't on either of these. So you're probably better off just picking up Redhead's album or this nice little white label. But if you're a fan of some good new jack swing, I think the yellow 12" will be worth your time.

Don't Stop Pumping It

"3-2-1 Pump" was the fifth single off of The Redhead Kingpin and the FBI's second full-length, The Album With No Name. And by the time it rolled out, I think audiences were finished with the whole album, so it got a pretty thrifty release. That's a shame, because I think it had the potential to be a bigger hit, and made a much better choice for a catchy single than the first four.

This 1991 Virgin Records release is clearly meant to be a sort of sequel to his previous hit, "Pump It Hottie;" and not wanting to repeat himself may be why Redhead held off releasing this as a single for so long. It's produced by Kingpin himself, using the bassline from Earth, Wind and Fire's classic "Let's Groove" with a lot of original instrumentation/ programming, and DJ Wildstyle expertly slicing up Trouble Funk's (or maybe it's Melle Mel's version; there's no telling) "Pump It Up" on the hook.

Naturally, the lyrics aren't mind-blowing or anything... this was Redhead Kingpin, after all, not early Ras Kass; and one of his club songs on top of that. But he's got genuine talent on the mic, able to kick a sly line that would fit in nicely alongside the T.I.s or Jay-Zs of today. And when he spells his name to the rhythm in a cool off-beat/on-beat kind of way, it's really pretty fresh; it's too bad he got caught up in gangsta rap driven, anti-New Jack/R&B/dance backlash:

"You can try and try again,
But the situation's worthless.
You may think you're doing damage,
But you haven't scratched the surface.
The girls are always screamin' for the Redhead one to rock...
[Pause, then spoken:] I'll be right down, baby.
Now ask your girlfriend,
'Does he look better than me?'
She'll say 'I hate to break your heart,
But I prefer the R-E-D
H-E-A-D K-I-N-G
P-I-N; he's the one.
I need a night alone with him
'Cause he's a freaky son of a gun."'

As an interesting side note, by the way: in addition to the proper 12" pictured above, there's also this white label version I found online. There's no official printing anywhere on it, but the handwriting on the sleeve incorrectly labels it as "Pump It Hottie" remixes (the seller I got it from also thought it was "Pump It Hottie"... I just don't think people can wrap their heads around the notion that there's two Redhead Kingpin singles with the word "Pump" in the title). The track-listing is exactly the same as the proper version, though. I just thought I'd point it out.

Anyway, there's two mixes on this 12". Both sides of this record are labeled A; so I'm just going to baselessly assume that the Extended Power Mix comes first. It's credited to someone named Jerry Moran. I've no idea who that is (I'm gonna go out on a limb and guess it's not the Kansas City Republican congressman), except that he later provided another remix for Redhead, on The Private Investigators' "Who Am I (God)?" single. This mix takes it back to the Earth Wind and Fire original, replacing some of Redhead's original production with more elements from "Let's Groove," including the vocals on the hook. The remix also features a faster beat and new breakdown, where Redhead tells us he and his crew are gonna do their dances (guess you had to see it performed live), and DJ Wildstyle gets a chance to showcase his scratching. I tell you, that guy's skills were underrated. And when it ends with the original Earth, Wind and Fire horns... I'm sorry. No matter how much you might hate on New Jack Swing or Redhead, it's just one of those great musical moments I don't think anyone could front on.

The other remix, the Street Mix, is also credited to Mr. Moran. Here he takes it back to a slower, more straight hip-hop and less dance-oriented vibe (just like you'd expect from a "street mix"). This one actually slows things down a bit too much, making the broken down hook dull and lifeless. It also features some Planet Patrol/Soulsonic Force-type samples that you'd expect to hear on a faster Miami bass record and tries to blend them into the groove. All in all, it's kinda wack; but the Extended Power Mix is definitely worth checking for if you're a Redhead fan.

There's also a cassingle, which is the only release with a picture cover and features the Edit version (basically the album version slightly shortened - it's also the one they used in the music video) and Power Mix, plus the fun but forgettable album track "Harlem Brown." The regular (as opposed to Extended) Power Mix included here feels a bit short, though, especially at the end where it fades out just as you're starting to get into the horn loops; so you'll want to stick with the 12" in the long run.

(Werner Necro'd) Pretty Slick, Kingpin

This is part 1 in a series of "Werner Necro'd" posts I'll just be dropping into the mix sporadically, of old interviews I've done in the past. Enjoy!

In 1989, The Redhead Kingpin and the FBI were on top of the game with their debut LP, A Shade of Red, the Spike Lee theme song, "Do the Right Thing," and their hot dance record, "Pump It Hottie," was getting heavy rotation on Yo! Redhead stole the show with his dynamically playful rhymes on Wreck-N-Effects' "Friends to the End." He returned in 1990, with the lead single to his second album, The Album with No Name, entitled, "We Don't Have a Plan B." After several other singles, Redhead seemed to have left the scene, but he and his crew resurfaced under a new moniker, The Private Investigators, with their Re-Act Like Ya Knew LP. Now, it's 1999, and it might seem as though Redhead has left the music scene for good. But if you pay close attention to your album credits, you'll see Redhead's still in the game, behind the scenes.

So tell us about what you're doing now.

Well, right now, it's like... I would use the analogy, it's like Keyser Soze in The Usual Suspects. I'm not really sticking my head up until ... It's like, you see so many on the "Where are they now" list, you know? They come up prematurely. They get hungry, like, "I gotta get back out there. I gotta get back out there." It's more important to regroup. And when you come out, it's real, almost like the first time. It's not just a hunger to be doin' something. So, basically, we?re working with a lot of acts; got a studio out in Jersey. We've got two R&B acts and one hip-hop act and we're makin' moves real soon ... very soon.

You worked on that Mona Lisa record last year, right? How'd you hook up with that?

Well, Mona Lisa's project was with Tim Dawg ... My man Tim Dawg was handlin' the project, so basically, they came to our studio and heard a lot of tracks. We had done work before, when he was at Uptown Records, so we ended up hookin' up. Mona was real good to work with. A lot of people don't know that my main thing is producing R&B. Playing keys, playing guitars; not like somebody talkin' about, "Play this. Play that," and the next thing you know, it's produced by Redhead. It's real.

Would you say there's any chance of you coming out and rapping again? Maybe doing an album?

The funniest part about that is: you might be a person that wants to come out and everything, but, by the time you come out with your record and everything, you realize that you're not the kind of person who likes the people to know who you are and you don't know who they are. So, really, I keep rhymes no matter. I kick rhymes, you know, for cats on the street. So, it ain't like it ain't there, lyrically. But as far as a record: I doubt if I ever wanna do records anymore, I just do it for the love. Producin' records is where I'm at. Give me the check, and I'll stay behind the scenes.

And what's up with Wildstyle and the FBI?

Wildstyle and them guys ... Everybody's basically livin' life, as far as families... I mean, we're all family men right now. Wildstyle, he's like one of those cats that... and I can say he's happy doing it, too... he's one of those cats that catches people doin' insurance fraud. Like, when you 're claiming that your back hurts, but you're working on your house, carrying mad hundred, two hundred-pound boxes, out your house. He's the cat with the camera bustin' you. One of my brothers, Poochie, is the road manager for a group, The Black Eyed Peas, which is comin' up right about now. My other dancer, Boroc, owns a barbershop down in DC. So, everybody's basically happy with their lives. There's no ... no one's lying in the gutter kinds of stories.

Okay, take us back. How'd you get started with Virgin Records?

Me and the crew around the way had some people who invested a few bucks for me to go in the studio and do some songs. And a friend of mine, Teddy... This is before Teddy was like TEDDY RILEY... so, we had a demo and got Ted to listen to it. Ted heard the tape, liked it, and the next thing you know, we're just doin' records. I was originally with Virgin and London, that's the main base company, but you find yourself paying taxes ... If you're signed to a major overseas, you're paying taxes to a country you don't even live in, and you pay taxes here. So, it's like dead. I went to Virgin American and do that ... so, you know, everything is everything.

Then, on the second album, you did a duet with Kwamé ... What's it like working with him?

Yeah. First of all, me and Kwamé went to high school together, and the cat is nuts, straight up. He's crazy. We had little house parties here and there, before either of us came out. We used to get on and do little shows, routines, and stuff together, so that was that. I think, more on the second album, I was finding myself more as far as producin' like some R&B stuff. Kinda wishy-washy, you know. My son, he'd reach for the album, and I'd be like, "Don't listen to that. Listen to the first one. Listen to the Private Investigators. Don't listen to that one. I was finding myself. There was a lot of soul-searchin' there."

I remember in an interview at the time, you were saying you felt you had to come with a harder style... This is when "Plan B" was about to come out.

Yeah, it was like - again, going back to saying that, even right now - I gotta keep lyrics, just for the love of it. Gotta keep lyrics just for walkin' through Washington Square Park. You know, somebody'll be just rhyming, and they'll put you on the spot to rhyme, you just can't be rhymin like '74. You gotta be on some new improved ... ready to flow for the love of it. That's the best way I know as far as keeping a grip on what the people want.

Then you came out almost undercover with the Private Investigators album in '93...

Well, the Private I album was the one album that I was very, very happy with. But Virgin really didn't really understand. It wasn't like I was trying to flip from this clean-cut cat to this grungy whatever. But, it was more that I was bringin' my crew in, like they would see at any party. 'Cause they wouldn't just see the Redhead Kingpin, they'd see the FBI, too. On the Redhead albums, it wasn't really like a visual part. Like, doing an interview, like now, it'd just be me, as opposed to everybody else who has a big input on it creatively. I really tried to bring that, and mesh that together with the Private Investigators. And Virgin couldn't really... I think it was just different from what they were used to seeing. Like the dancing cat, the clean-cut guy. It wasn't like I was singin' any negative songs, but it was just a realer outlook. I wasn't gonna do too many ... let's say candy-ass songs. It's just a realer outlook. It's not like I was trying to switch, it's just that anybody that lives in this country, you know, with eye-balls, can see reality, and I was trying to bring some reality to the spectrum which Virgin wasn't trying to hear.

But they have a major problem, over there, seriously, and I'm not scared to say it. The problem with Virgin is Virgin doesn't know how to use ... Like a lot of other labels will have a big, big star and use that star to help everything else under it happen. So, Virgin, with me, had a falling out over this Skat Cat thing. Here I am with a loop that I'm using, and they're telling me I can't use it ... cause Skat Cat is coming out. They're tellin' me I can't use a song because of a cartoon that can't even go on tour, you know what I'm sayin'? So, now, they play me out for Paula Abdul. They play Paula Abdul out for Janet Jackson. Janet Jackson... Spice Girls. Yadda, yadda, yadda, yadda ... That's just something that's going on, that they do. I don't know if that's their policy, or whatever, but stop me when I'm lyin'.

How'd you hook up with Do the Right Thing and Spike Lee?

Well, originally, it was supposed to be this Spike thing with Teddy doin' some songs on there. And, really, that song was originally supposed to be for Wrecks-N-Effect. But I ended up doing it, and stuff just went the right way. Everything was just timing. I had that single, and it came out at the time of everything that was going on then ... Like, we wouldn't be talking right now. Everything is just timing. And it's so funny, even the video that the world saw for "Do the Right Thing" wasn't the original video. If the original video came out, which was shot on Riverside Drive, for about $7000 with these chicks and these bogus red wigs... it was just ridiculous - nothing would've ever happened. In fact, I'm sure of it. Nothing would've ever happened. So timing is everything.

And, I remember that song came up on the soundtrack to another movie a couple years later, right?

Ummm...

The People Under the Stairs?

Yeah. I didn't understand that, though. I went to the movies and saw that, and I'm like, "Ok. They're chasin' monsters through walls, they're killing monsters, and then they're doing the right thing?" I don't get it. It was a check, though. I just didn't get it, personally. But the real, the kid who starred in that movie, a young brother named Brandon ... Before he starred in that movie, when he was a younger cat, he did the "Moonwalk," the Michael Jackson video. He'd done a lot of acting. He was in our video. We basically taught him some dance steps, and this cat picked it up like that. So, right now, he's in Connecticut, doin' some things...

So, what's up now? You've got that record out with Dana Dane; how did that happen?

That record, originally, wasn't supposed to be for commercial use. It was basically a promotional record. Me and Dana Dane hooked up through a friend of mine. It was just basically gonna be a song we did together; it was like a favor type thing. Dana came out to the studio, and the record just started sounding real hot. Dana basically reinvented himself. I mean, if you didn't know... If somebody didn't tell you, chances are, you wouldn't even know it was Dana. He reinvented himself. So, he loved the record. My partner DJ loved the record. And we decided to just press up a few promotional things. This is before Bentley's actually got closed down, and a few other night clubs. But we took it around New York, you know, street clubs, and it worked out pretty good. The next thing you know, we'd just handed a few records out, and Flex is playin' it... So many brothers is just trying to come out with a record, you know, and it's not even necessary for them to get a deal with someone... or even put out records themselves. You'd be better off, sometimes, just puttin' out a record non-commercially, 'cause you're not sellin' it. That way, you can use that loot, 'cause you're not selling it, press it up, hit the DJ pools and everybody else, and, basically, create a buzz on the street for yourself, and get out that way ... and then spend everybody else's money.

Cool. So what are you working on now?

Well, the next thing you can really look for coming out is a R&B group called Exclusive. These young brothers they go to William Patterson College, and they're killin' it, bottom line. I'm tellin' you. It's Keyser Soze. I'm not stickin' my head out until it's right, ok? Keep it real.

The Other Dana Dane Comeback 12"

In a previous entry about Dana Dane's (notice the link, by the way? that's what I'm talkin' about!) latest comeback record, I mentioned he had an "other" one first. Well, this is it. "Let Me Do My Thing" came out a year before "Fame 2000" on Hardball Entertainment, and it's produced and co-written by, believe it or not, Redhead Kingpin and David Wynn (I don't know much about Mr. Wynn, but there's a definite Teddy Riley connection here, as he's co-produced stuff by artists like Wreckx-N-Effect and Blackstreet).

This was a pretty low-key, limited release... when I mentioned it to Redhead Kingpin in a 1999 interview, he was pretty surprised anybody'd heard of it. Redhead was making a bit of a comeback as a producer at the time, producing for R&B singers like Mona Lisa, Case, Kandice Love and Kym Rae. He was mainly pleased by how different they were able to make Dana sound from his old school work, and that if you were to hear this on the radio, you wouldn't even recognize that it was him (which is true; Dane's famous accent is almost entirely lost in the deep, whispered ultra-laid back delivery on this record). Now, I don't really know how good of an idea it is to take a beloved old school entertainer making his comeback and strip him of his most appealing and sellable aspects on his "debut" single, but hey. It's what they wanted to do, I guess; and they succeeded.

So... the song's not bad. The production is kind of bouncy, but slow, with a very "all music created by a studio technician with no samples or instruments" kind of sound. Dane's rapping is adequate, but completely uninspired. I doubt anybody would really dislike the song, per se; but you'd have to be a pretty serious Dana Dane fan to really care if you heard it a second time. The b-side features a remix, with the same basic instrumental chopped a little differently by Mate Boogie (he also did a remix for that Redhead produced Kym Rae single I mentioned before), who also adds some scratches to the mix... which manages to make it slightly more interesting, but still nothing more than mixtape filler.
Unfortunately, I couldn't find any current links for Redhead Kingpin (though he was recently featured on the 90's remix of Nas's "Where Are They Now?"), but I did find DJ Wildstyle (of the FBI crew)'s myspace. :)