How you like me now dance

Kool Moe Dee’s ‘How Ya Like Me Now’ Turns 35

Jesse Ducker

Happy 35th Anniversary to Kool Moe Dee’s second studio album How Ya Like Me Now, originally released November 3, 1987.

Very few of hip-hop’s pioneering artists have released great albums. Acts like Grandmaster Flash and the Furious Five, Kurtis Blow, Grandmaster Caz, and Afrika Bambaataa & the Soulsonic Force all laid the foundation for rap music’s development in the late ’70s and the early ’80s, elevating the artform and developing what it meant to be a rapper or rap group. All of them were trailblazers who recorded and released classic songs that are essential to hip-hop’s identity. But I challenge anyone to name more than two albums total from that collective of artists without the aid of Google.

Mohandas “Kool Moe Dee” Dewese bucked that trend. He successfully made the transition from old school pioneer to top flight emcee as the genre exploded during the mid to late ’80s. He helped create innovative rhyme flows during the music’s formative years and during its creative golden age. He released a string of dope albums, including How Ya Like Me Now 35 years ago. While emcees like KRS-One and Rakim began to really build their legends in 1987, Kool Moe Dee existed as a seasoned veteran, who still could shock and amaze as hip-hop grew from party music in the clubs and parks into a genre that could sustain albums.

Kool Moe Dee is frequently associated with his distinctive look as an emcee/performer: the wrap-around “futuristic” sunglasses he was rarely photographed without wearing, the Kangol golf hat or a leather kufi he rocked as headwear, and the leather jacket to accompany both. But Moe Dee’s true legacy is as a lyricist, and he should be considered one of the first pure lyricists in the history of hip-hop.

The Harlem native was in the thick of New York City’s evolving hip-hop scene in the late ’70s, forming the Treacherous Three, comprised of Special K, LA Sunshine, and DJ Easy Lee. They recorded such classic tracks as “Body Rock,” “Feel the Heartbeat,” “Action,” and the Spoonie Gee supported “New Rap Language,” the latter of which featured all four emcees flexing the prototype of a double-time rhyme flow. Moe Dee eventually split off from the crew to start his own solo career, releasing his self-titled album in 1986. The album featured the single “Go See the Doctor,” a humorous ode to the dangers of not practicing safe sex.

It’s an understatement to say that Moe Dee has long taken the art of emceeing seriously. He’s one of the first intellectual rappers, valuing vocabulary as much as keeping the party live. Years later, the man literally wrote a whole book about the art of rapping. In There’s a God on the Mic (2003), Moe Dee ranked the 50 best emcees rapping at the time, breaking each down by such categories as versatility, vocabulary, flow, vocal presence, live performance, poetic value, etc. He also includes various other lists (such as the 10 Best Hip-Hop Pop Kings) and provides detailed explanations for many of his “battle laws.

Battling has also helped define Moe Dee’s career. His legendary battle with Busy Bee at the Harlem World club back in 1981 is considered one of the great live battles in hip-hop history and Moe Dee’s verse is regarded as one of the great battle performances ever. And, of course, he’s perhaps best known for his protracted battle on wax with LL Cool J. But more on that later.

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Like many early hip-hop albums, Moe Dee’s self-titled debut was mostly a collection of singles. The follow-up effort How Ya Like Me Now was Moe Dee’s first fully realized album. It’s a cohesive collection of songs that covered a wider array of topics and showcased Moe Dee’s sharp emceeing abilities. The production was definitely of the time, contrasting drum machine aesthetics with break-beat records, frequently scratched by Treacherous 3 hold-over DJ Easy Lee. Kool Moe Dee is listed as the producer on all of the tracks, though he received uncredited help from the legendary Teddy Riley on at least for of the songs. Riley’s work as a hip-hop producer remains underrated, as he crafted the beats on some of the album’s best songs.

The album leads off with the title track, one of the biggest hits in Moe Dee’s catalogue. The beat re-purposes horns and vocals from James Brown’s “Papa’s Got a Brand New Bag.” Moe Dee’s lyrical performance is impeccable, as he varies his flow, alternating short, clipped stanzas with lengthy, interlocking rhymes. He expresses the power of his lyrics, rapping, “Vernacular’s pure and I can ensure / Life or death with my breath, my voice is a cure / I heal life from the words I spread / I’ll make a sick man rock on his death bed.”

The song is well-known for the shots that Moe Dee throws at the aforementioned LL Cool J, who Moe Dee had been beefing with for a little while by the time of the album’s November 1987 release. After Moe Dee proclaims that he’s “bigger and better, forget about Defer” and promises to “splatter and shatter his pipe dreams,” he announces, “My word’s the law, that’s why you don’t beef / You’re nothing but a punk, track star, and a thief.

The Moe Dee/LL battle on wax was hip-hop’s first definitive beef, and is literally up front on How Ya Like Me Now; the album’s cover famously features a red Kangol in LL’s Bermuda Bucket style being crushed underneath the front tire of Moe Dee’s Jeep Wrangler. The genesis of their differences apparently stems from Moe Dee believing that LL wasn’t paying significant respect to the architects that came before him, which is the type of thing that rappers used to argue about in the ’80s. It’s interesting to note that Moe Dee always maintained that he respected LL’s abilities, but still wanted to teach him a lesson. LL retaliated in response to “How Ya Like Me Now” with the classic “Jack the Ripper,” to which Moe Dee responded with the B-side “Let’s Go.” The pair always managed to keep the battle music-based, and the competition ended with both of them sharper.

The album is also well known for its second single, “Wild, Wild West,” Moe Dee’s ode to his neighborhood and crew while growing up in Harlem. It’s the type of track that would never get released as a single today: an unironic cowboy-western influenced track, complete with the replay of the legendary theme song from The Good, the Bad, and the Ugly. Ostensibly the song concerns Moe Dee and friends on his block learning tough streets lessons. After getting chased out of a house party after someone pulls a gun, he links up with his friends and vows to roll deep whenever they leave the safety of their neighborhood. Moe Dee brags that his new crew prefers the use of fisticuffs (using firearms only if their “enemies choose them”), and is always ready to “fight you on like a man, and beat you down with our hands and bodyslam you.” The song remains perhaps the best popular song Moe Dee ever recorded and is an infectious crowd mover.

Moe Dee continues to demonstrate his storytelling abilities, as well as his sense of humor, on the album’s third single, “No Respect.” Over a replay of Aretha Franklin’s “Respect” (speaking of something rappers could never get away with today), Moe Dee chastises wannabe drug dealers, pimps, and criminals for trying to be big shots. He slams the aspiring “Macaroni Tonys” for forgetting that their chances of incarceration remain high and their prospects for survival remain slim, rapping: “Word, I spell it out, I’ll yell it out / For those brothers that keep selling out / ’Cause local clout is all you're about / A few bullshit bitches and hanging out / And every day’s like a title bout / When the next man wants you taken out /  I’d like to know what you're thinking about / It sure ain’t dying without a doubt.”

How Ya Like Me Now (Expanded Edition)


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Considering how much acumen in illegal activities is valued in the lyrics of rap music in the last 30 years, it’s fascinating to think of a time when rappers liked to remind you that crime doesn’t pay. Which is not to say that “No Respect” is preachy; it’s remarkably funny at times. Throughout the breaks between verses, he adds a little levity as he plays the role of a former boss who was once the baddest man on the block, now reduced to an existence as a wino begging for change.

Moe Dee dedicates three songs on How Ya Like Me Now to his interactions with the opposite sex, the best of which is “I’m a Player.” Though the song isn’t progressive in its worldview, Moe Dee uses enough tongue-and-cheek humor to make it clear he’s winking at his audience. “Get Paid,” where Moe Dee speaks about money being a powerful aphrodisiac, is musically interesting, with a clock-like drum track that’s reminiscent of “Do You Know What Time It Is?” from his previous self-titled album.

The album is the most enjoyable when Moe Dee is in full verbal assault mode, delivering battle rhymes over break beats and hard and heavy drum machine tracks. Songs like “Don’t Dance,” “Suckers,” and “Rock You” showcase Moe Dee’s verbal dexterity and range in delivery. “Suckers” is one of the best songs on the album, as it features Moe Dee rhyming with reckless abandon on top of a deep, blaring, alarm-like keys and a cowbell-accented drum track. It’s one of his best lyrical displays on the album, as he raps, “Now I ask you who’s the best and everybody replied / But if you guess I’m not the best, you’re just as wrong as apartheid / Double up thoughts, think twice, but not about / Me being cool, because I’m ice, without a doubt.”

Moe Dee pays tribute to his old school roots with “Way Way Back.” He kicks familiar lyrics and lines from park jam era songs and routines over a complicated drum-track, while his DJ scratches the horn refrain from the Incredible Bongo Band’s “Apache.” It’s notable that he’s exhibiting nostalgia for an era that was about five to ten years in the past, celebrating the first era in what was at the time a musical art form still in its nascent stages. But contrasting the call and response nature of the rhymes on “Way Way Back” with the more complicated lyrical structure of much of the rest of the album showed how much lyricism grew in a short amount of time.

How Ya Like Me Now is Moe Dee’s most successful album, going platinum not long after its release and featuring his most beloved and revered songs in his catalogue. It isn’t his best album (that would be 1989’s Knowledge Is King), but it showed that he had staying power as an artist.  And it helped solidify his credentials as a rapper who took the art of emceeing seriously. Post-recording career, he has demonstrated a sustained interest in getting his peers to speak about their craft, as well as other important facets of musical culture. Moe Dee may not receive as much acclaim for his greatness as he deserves. Nevertheless, he has definitely left a few monuments that reinforce his indisputable prowess on the microphone.


Editor's note: this anniversary tribute was originally published in 2017 and has since been edited for accuracy and timeliness.


Kool Moe Dee – How Ya Like Me Now (1987, Vinyl)

More images

A1How Ya Like Me Now

Written-By – M. DeWese*, T. Riley*

Written-By – M. DeWese*, T. Riley*

A2Wild Wild West

Written-By – M. DeWese*

Written-By – M. DeWese*

A3Way Way Back

Written-By – M. DeWese*

Written-By – M. DeWese*

A450 Ways

Written-By – M. DeWese*

Written-By – M. DeWese*

A5No Respect

Written-By – M. DeWese*, T. Riley*

Written-By – M. DeWese*, T. Riley*

B1Don't Dance

Written-By – M. DeWese*

Written-By – M. DeWese*

B2I'm A Player

Written-By – W. DeWese*, T. Riley*

Written-By – W. DeWese*, T. Riley*


Written-By – M. DeWese*, T. Riley*

Written-By – M. DeWese*, T. Riley*


Written-By – M. DeWese*

Written-By – M. DeWese*

B5Rock You

Written-By – M. DeWese*

Written-By – M. DeWese*

B6Get Paid

Written-By – M. DeWese*

Written-By – M. DeWese*

  • Marketed By – RCA Records
  • Distributed By – RCA Records
  • Phonographic Copyright ℗ – Zomba Productions Ltd.
  • Copyright © – Zomba Productions Ltd.
  • Pressed By – Hauppauge Record Manufacturing Ltd.
  • Published By – Willesden Music Inc.
  • Published By – Zomba Enterprises, Inc.
  • Recorded At – Battery Studios, London
  • Mixed At – Battery Studios, London
  • Mastered At – Frankford/Wayne Mastering Labs
  • Booking – Norby Walters
  • Engineer, Mixed By – Bryan "Chuck" New
  • Management, Creative Director [Direction] – La Vaba*
  • Mastered By – ¢*
  • Other [Grooming] – Kofi Tuda for Timbuk II
  • Photography By – Doug Rowell
  • Producer – Bryan "Chuck" New, LaVaba Mallison, M. Dewese*, Pete Q. Harris, Teddy Riley

Issued with a printed black & white paper inner sleeve with lyrics to track A1, sleeve notes and the infamous Kool Moe Dee 'Report Card' on other MC's and hip-hop groups.

Some copies are issued with a pink with black print 'hype' sticker attached to front cover: 'HE'S BIGGER AND BETTER FORGET ABOUT DEFFER- "HOW YA LIKE ME NOW" "50 WAYS" "WILD WILD WEST" "DON'T DANCE" KOOL MOE DEE RATES THE RAPPERS 1079-1-J'

Track durations are stated on the center labels.

℗ & © 1987 Zomba Productions Ltd.

Printed in U.S.A.

  • Barcode (Text): 0 1241-41079-1
  • Barcode (Scanned): 012414107916
  • Matrix / Runout (A side runout, etched): 1079.1.JA F/W ¢ A-1
  • Matrix / Runout (B side runout, etched): 1079.1.JB A-1
  • Matrix / Runout (Both sides, runout, stamped): ᐉ
  • Rights Society: ASCAP
  • Rights Society: BMI

Recently Edited

How Ya Like Me Now (CD, Album)Jive1079-2-JUS1987

Recently Edited

How Ya Like Me Now (Cassette, Album, Club Edition)JiveJ4-1079US1987
How Ya Like Me Now (LP, Album)JiveHIP 53UK1987
How Ya Like Me Now (LP, Album, DMM)Jive6. 26730Germany1987

Recently Edited

How Ya Like Me Now (Cassette, Album, White Shell, Smooth Edge)Jive, Rooftop Records1079-4-JUS1987
  • Bigger And Deffer (BAD)

    L.L. Cool J*

  • King Of Rock


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    Prince And The Revolution

  • Run-D.M.C.


  • Raising Hell

    Run DMC*

  • Thriller

    Michael Jackson

  • The Chronic

    Dr. Dre

  • Off The Wall

    Michael Jackson

  • Around The World In A Day

    Prince And The Revolution

  • Enter The Wu-Tang (36 Chambers)

    Wu-Tang Clan

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Read "Just dance... (SI)" - Shigina Valentina - Page 39

The melody Moby 'Enter the Matrix' spread throughout the room and Dance began to move to the beat. Now disconnected from her thoughts, the girl with her eyes closed did all the movements. With every turn, with every wave of a leg or arm, images appeared in my head: the death of my parents and grandmother, moving and broken dreams of a dance school, unrequited love for Dimka, death again and moving again. These images flashed through the blond head so often that the girl was afraid to go crazy from such an influx of emotions.

Here is the first meeting with Matvey, the first kiss, the second, the third, his hands on her bare back, heavy breathing, boundless joy, and then blackness. There is nothing more, and there won't be. With the last chord of the melody, the girl collapsed to her knees and, covering her face with her hands, began to cry. Quiet but sad. She was in pain, and in public to show that she could not feel bad. She's strong and can handle everything. One. But why do you want support so much? Why do you so want your loved one to be there and be able to calm and protect from the whole world, from grief and misfortune. But Dana was unhappy. Despite the smiles and the people around her, she understood that she was still alone in this big world.

- Dana, what happened? - Dimka appeared next to the girl. He sat down on his knees and hugged his friend.

Olga was not the only one who noticed that something had happened between Dana and Matvey. Arkhip decided to talk to the girl after the rehearsal, but she never left the room. Then the young man decided to find her. When he entered the hall, Dana was dancing.

- What are you doing here, Dana? Why are you crying?

- I'm rehearsing a solo album.

- What happened? Tell me, - gently asked the guy, trying to calm the girl.

Instead of answering, Dans climbed up to kiss Dima. It took him a little time to figure out what was what. While he was sorting it out, Dana's hands got under his T-shirt. This turn of events shocked the boy. The girl never showed interest in him as a guy, but here ... Although, you can still understand why she does it. The guy delicately removed Dana's hands and leaned back.

- Why are you doing this?

- You didn't like it? - Dana looked into Dima's eyes. - You don't like me?

- You are like a sister to me, - answered Dimka. - Even if I liked you, I would not take advantage of the situation - I'm not a scumbag. And as for a normal guy, it would be a little humiliating, especially knowing that the girl is doing this to spite someone. Because you don't like me either. Are you doing this because of Matt? Do you want to take revenge on him?

- Sorry, Dima! - the girl sobbed again. - I... I... I don't know what to do now! Dima, I'm so tired! You know, I once heard a long time ago that a person has to share both grief and joy equally, but for some reason I have only grief!

- What did you get, silly? - affectionately stroked the girl's hair. - You just started to live. What happened?

- He is getting married! Matvey is getting married! - after these words, tears flowed with renewed vigor. As if someone had turned on the faucet and was not going to turn it off. Because of the veil of tears, Dana could not see Arkhipov.

Dmitry was silent for a while, continuing to calm the sobbing girl with strokes. This is what her today's endurance and smiles resulted in. What work it cost her not to burst into tears in the middle of a rehearsal.

After half an hour, Dana was able to tell her friend what the matter was. He listened carefully without interrupting. The young man was afraid of repeated tears. Like most males, Arkhip was lost at the sight of crying girls.

- Can you leave? - Dima suggested with doubt in his voice. He, of course, did not want his girlfriend to leave, but here it would only be harder for her.

- I can't!

- Why?

- I have a brother. We've lost too much life - I can't do that. We only have us. We may not always get along, but we are a family, or rather what is left of it. You know, Dim, I always talked with a boy, almost from childhood, but I couldn’t find a common language with my brother.

- You get along well! - Dima was surprised.

- We don't get along, - tears appeared in the girl's eyes again. - Danilka loves me, but he is constantly offended by me. I know that he has reasons for this, but I am so afraid that something will happen to him, but I simply don’t have anything more valuable than him! Understand? We can talk, play, laugh, but he won't let me near him. It is closed to me, and this is very disturbing.

- Dana, stop it! Your brother is a good guy.

- But I can't understand what's in his soul. You know, sometimes at night I feel that he comes to me and lies down next to me, and then runs away. And I can't do anything and it makes me feel disgusting! I couldn't tell anyone.

- You had a close friend, why didn't you share it with him?

- I didn't want to show him my weakness. I wanted him to love me, but the weak are not loved!

- You're wrong, Dana! - Dimka patted the girl on the bright top of her head. - They love not for something, but in spite of. You cannot fall in love with a person because of a beautiful car or because of a lot of money. Even the most beautiful and rich suffer. I have a friend who has been unlucky in her life.

- What kind of friend? And how was she unlucky? - Dans asked, thinking that the situation could not be worse than her situation anyway.

- She is from a rich family, insanely beautiful, but in life she was not lucky at all. Her mother died, on the same day she lost her loved one and best friend, whom she considered her sister. There was a lot more, but she passed all the tests with dignity and is now really happy. And your happiness will come! Do not doubt! Do you hear?

The conversation with Arkhipov brought Dana to her senses, and she no longer felt so miserable. One guy could not let her go, so he volunteered to see her off. They didn't say a word the whole way. Just near the house itself, Dans hugged Dima and whispered just one word into his chest: 'thank you'. The young man kissed her on the top of her head and sent her home to rest.

Upon entering the house, the girl immediately went to her room. She did not want to meet with Matthew. I also wanted to take a shower, but Dana collapsed on the bed dead and fell asleep almost immediately, only having time to think that she was going to the bathroom in five minutes.

The door to her room opened slightly, and Matvey appeared on the threshold. At first, the guy mixed music for their performance, and when he heard the sound of a slamming door, he decided to talk to Dana again. He looked at the sleeping girl for a long time. There were traces of weariness on her face now. Small circles under slightly reddened eyes.

- Honey, - Mat sat on the edge of the bed and ran the outside of his hand along Dana's cheek. - Why didn't you appear in my life earlier?

The girl was in no hurry to answer, but only hugged the pillow tighter, trying to drive away the night monsters that came to her in a dream. Then the prince galloped up and saved her, then put her on a horse and took her away to beautiful distances.

If Matvey knew that Danya was dreaming...

The next day was insanely eventful. Dance from the very morning was kind of twitchy. Today she was already worried about the semi-finals. If Dana loses the rhythm, like yesterday, then this will definitely not ensure their victory.

After taking a shower and having breakfast, the girl put on black pants and a red T-shirt, purchased especially for this day. Now it remains to find Vetrov, whom she has not seen since the morning.

The guy was found in the living room in the company of Dimka, Tanya and Alice. The latter threw angry glances at the blonde, but she didn't care that much. And without these showdowns, it's sickening to live. Young people could not boast of a variety of clothes, but the girls today decided to conquer everyone with their outfits.

Tanya was wearing short white shorts, a T-shirt with a large inscription on the chest, saying that the girl was a fan of the 'Black and Red'. Alice dressed up today in a pale blue sarafan, conquering everyone with its length and neckline.

- Ready? - Mat turned to Dana and squinted at Tatyana. Does he really think that the girl will tell about what happened? But the guy thought that he did not want Kotlova to see his attitude towards Dance. He may not love his fiancee, but she does not want to hurt her.

Siktir ol git - translation into Russian | Turkish-Russian EnglishespañolFrançaisPortuguêsRussianTürkçe

English phrases | Russian phrases | Turkish phrases

EnglishSpanishFrenchPortugueseRussianTurkishEnglishSpanishFrenchPortugueseRussianTurkish / Turkish → Russian / [ S ] / Siktir ol git

199 parallel translation

- Siktir ol git be.

Fuck you. - I do not care!

- Siktir ol git!

- Get off me!

- Kesecek misin beni? - Siktir ol git!

- How you scared me!

Yoksa, arabamdan siktir ol git.

And if not, get the fuck out of my car!

Defol üstünden serseri! Siktir ol git buradan.


gitmemi mi istiyorsun 48
gitti 877
gitmek 43
gitmiş 384
gittim 82
gitme 1049
git başımdan 465
gitmedim 39
gitmem lazım 361
gitmişti 26

git yat 43
gitsin 41
gitmelisin 203
gitmedi 39
gittik 20
gitmem gerek 808
gitmek istiyorum 180
gitmiyor 31
gittin mi 16
gitmeyeceğim 167

gitti mi 195
gitmeliyim 1495
gitmem 53
gitmen gerekiyor 24
gitmek istemiyorum 210
gitme zamanı geldi 35
gitmiyorum 214
gitmelisiniz 56
gitmem gerekiyor 305
gitmeden önce 102

gitmek istiyorsun 19

Siktir ol git.

Get your ass out of here.

Siktir ol git, dingil!

Go to hell, you bastards!

Git! Siktir ol git!

What the hell are you doing?

Çabuk siktir ol git!

Get out of here! Hear, shut up!

- Allah kahretsin! Siktir ol git başımdan!

Get the fuck off me at last!

Siktir ol git başımdan!

Go away! Fuck off!

Siktir ol git!

Fuck off!

Siktir ol git.

You know, you go.

E siktir ol git o zaman.

And you say: "The fuck do you live here?"

"Yahudi değilsen olmaz." Siktir ol git.

"You're not good enough because you're not a Jew." Go fuck yourself.

Siktir ol git!

Fuck off!

- Siktir ol git!

- No, fuck you!

-... salla şu lanet kıçını, benden hoşlanmış gibi davran! - Siktir ol git! Koç!

You said you like me, so dance the damn thing.

Siktir ol git!

- Get your hands off me!

Siktir ol git buradan!

Get the fuck outta here.

...... Sadece siktir ol git. "

Just get the fuck out of here."

" Bobby, masanı boşalt ve buradan siktir ol git Mağlupsun!

"Bobby, clear the crap off your desk and get the fuck out of here. You are a loser (loser). Get the fuck out of here."

Şimdi siktir ol git buradan.

Get the fuck outta here.

Siktir ol git!

Get off. Bastard.

Ve sonra bana siktir ol git dedi.

And then... she told me to go to hell.

- Bana siktir ol git diyerek mi?

- Telling me to go to hell?

Siktir ol git! Hemen!

Get the hell out of here!

- Şimdi, siktir ol git oradan!

- And now - get the fuck out of here!

Siktir ol git şuradan bir tarafını kırmayayım.

Get out of here before I kick you out!

Kızım, siktir ol git!

Look, back off.

Siktir ol git buradan!

Get out of here.

Verandamdan da, hayatımdan da siktir ol git!

Get off my porch and out of my life.

Şimdi siktir ol git yolumdan.

Now get the fuck out of my way.

Şimdi siktir ol git!

So get the fuck outta here.

Siktir ol git buradan.

Get the fuck outta here!

Bruce, sıradan siktir ol git, uyanık seni.

Hey Bruce, get the fuck out of line, dodger.

Şimdi siktir ol git odamdan.

Now get the hell out of my room.

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