Dumb Dick (Richard) – Moe Dee keeps with the storytelling, this time spinning a tale about a guy name Dick who thinks with his, um, dick. Moe Dee uses very clever wordplay (“he hated to go (to school), but he loved to cum”) over an empty drum beat. Even with the empty beat, Moe Dee’s lyrics are engaging and entertaining enough to keep this song from getting boring. This was enjoyable.
Bad Mutha – Moe Dee hits us with a battle rap, not necessary aimed at Mr. Smith, although he does refer to a “ biting barbaric” who rhymes over “fresh beats with weak lyrics”. Hmmm…I love how he takes a shot at Slick Rick, claiming to like his songs a lot, only to turn around and call him an “average” emcee. I have to admit, Moe Dee killed it on this one, living up to the song title.
Little Jon – Just so opposing emcees can regroup after being destroyed on the previous song, Moe Dee goes back to his proficient storytelling. This time he gives us a tale about Lil Jon (no, not the crunk captain that reigns in ATL, YEAH!) who is overcome by the demons of street life. Though I wasn’t crazing about the beat, the syntherzied track sounds more complete the most of what we’ve heard up to this point on Kool Moe Dee, thanks to a few guitar licks, and the Roger Troutman-like vocal on the hook. This was decent.
Do You Know What Time It Is? – Moe Dee sends a warning to the ladies: you won’t get in his pockets, though, he’ll try to get in your pants, because he knows the time. This was…okay…I guess
Rock Steady – I failed to mention this earlier, but the entire album was produced by Moe Dee and the Godfather of New Jack Swing, Teddy Riley (and a few other dudes I’ve never heard of). Moe Dee would continue to work with Riley on his latter work, a few which became major hits. Oh yeah, back to the song, it sucked.
Monster Crack – Ah, clever Moe Dee… smooth transition from “Rock Steady” into “Monster Crack”. Moe Dee tackles the issue of crack use from several different perspectives. Once again, Moe Dee’s rhymes are proficient, but the track left a lot to be desire. Though the rhymes are pretty good, unlike some of the earlier songs, they’re not interesting enough to ignore the lacking track, making this just, okay.
The Best – Right from the jump, Moe Dee in your face with a lecture on the elements that make up a great emcee, and he never lets up. Moe Dee is college educated, and I think I read somewhere at one point he was a college professor. Over one of the more engaging beats on the album, Moe Dee rips this to shreds, while learnin’ opposing emcees a lesson or two. I will no longer sleep, Moe Dee can spit! This was really nice.
I’m Kool Moe Dee – Moe Dee poses the question “Are you crazy?”, to anyone questioning his position in the emcee food chain. Moe Dee proclaims himself as the greatest of all time, while calling out emcees who’ve made their name by “screamin and yellin’” (if this isn’t a direct shot at LL, then I don’t know what one is). The simple drum beat works well with Moe Dee’s rhymes on this one, as he completely destroys this one. Moe Dee is a beast! Great way to end your solo debut.
I’ll admit, my knowledge of hip-hop from the early 80’s is limited. I’m always searching the net, local pawn shops, and record stores for more albums from those early days. That said, from the stuff that I’ve listened to from this era, Koo Moe Dee definitely deserves to be mentioned in the conversation as the best (at least during that era). Looking back at the reviews I’ve done up to this point, Moe Dee makes Run DMC, the Beasties, and Whodini, all sound like amateurs compared to his lyrical output on Kool Moe Dee. Young LL had one album under his belt upon this album’s release, and while he would improve, and in my eyes ultimately when the war of words with Moe Dee, Mr. Smith wasn’t fuckin’ with Moe Dee at this point. Kool Moe Dee proves that Moe Dee he is a bona-fide lyricist (with a bit of a chip on his shoulder) ready to take on anyone who crossed his path or questions his ability and dominance. Although Moe Dee, Mr. Riley, and the rest of the production team’s beats needed a lot of work (like most earlier 80’s hip-hop artist), Moe Dee’s emcee skills carry this album to make it an overall enjoyable listen. Sorry for doubting you Mr. Moe Dee.