Jeru the Damaja - The Hammer (EP) (June 17, 2014)

Jeru the Damaja’s discography consists of five full-length albums chock-full of East New York holier-than-thou bluster released since 1994. Now, as the hip hop head I assume you to be if you’re still reading today’s post as opposed to waiting until I write about Drake’s Views or something, you’re forgiven if you can only recall the first two of those projects: his debut, 1994’s The Sun Rises in the East, and its follow-up Wrath of the Math two years later. Now there’s a reason why you two only ever bring up those first two albums whenever Jeru comes up in conversation, but it isn’t exactly what you think.

Bonus Post #5

That last review sucked. You know it, I know it, everyone knows it. There was just no reason for that album to even exist in the first place. So for today's bonus, let's look to somebody else within the Gang Starr Foundation... or, at least, someone who was once a part of the inner circle before everything went sideways.

For The Max-Approved Mixtape: Jeru the Damaja - "Me, Not The Paper"

Artist: Jeru the Damaja

Title: "Me, Not The Paper"

Producer: DJ Premier

Album: "Me Or The Papes" (single, vinyl and CD) (1997)

Longtime readers will recognize this track, as I've written about it a number of times over the past eight years, so bear with me as I attempt to find a new way to discuss it today.

"Me Or The Papes", the lead single from Brooklyn-bred emcee Jeru the Damaja's sophomore effort, Wrath Of The Math, found the man trying to clear up some misconceptions regarding a song entitled "Da Bichez" off of his debut, The Sun Rises In The East, which was supposed to be about materialistic women (gold diggers, specifically), but came across to some audiences as misogynistic as shit.  Instead of just letting it be, though, Jeru had to have the last word, and that last word consisted of him trying to clarify his position by writing another song about materialistic women.  This time around, though, his riffing was presented on a radio-friendly concoction and was even accompanied with a nonsensical video clip that had fuck-all to do with the premise of the song, but was popular enough to earn some spins on MTV.  Yeah, that's showing them, Jeru.

Anyway, while "Me Or The Papes" was alright, the real money (or "papes") was found as a b-side for the single.  DJ Premier, who also produced the original take (along with the rest of Wrath Of The Math, the last time he would produce anything for Jeru, to the horror of hip hop heads everywhere, possibly because of some sneaky shit involving a family member of Jeru's, if he is to be believed), "masterfully deconstructs" (a phrase I apparently use all the time when talking about this song) the original's instrumental, using the same general elements (piano keys, programmed drum loop) to craft a darker, starker, completely original take on the proceedings, while our host elects to use the studio time eschewing all of the talk about "bitches" in favor of discussing hip hop for hip hop's sake; as I've written before, Jeru provides a "monologue about how rhyming for money is for chumps, while rhyming for the sake of rhyming, without saying anything of substance, isn't much better". 

"Me, Not The Paper" takes a definitive stance, as opposed to the wishy-washy have-it-all-ways dynamic Jeru tried to present on "Me Or The Papes", and in doing so, it blows the rest of Wrath Of The Math out of the fucking water, which most likely resulted in our host choosing to not include it at all on Wrath Of The Math, a silly-ass decision if there ever was one.  Come on: how much better would the album had been if he had included this shit?  "Me, Not The Paper" isn't Jeru the Damaja's hardest song (the frontrunner for that would still have to be "Come Clean", from his debut), but you can hear the conviction in his voice: he means what he's saying, for better or for worse, and, at least until he finished recording this track, he had a producer in his corner who knew how to help him project that image of rap dominance and unfuckwithable swagger.  Oh well.

Do you agree or disagree with this selection?  Discuss below.

-Max 

Jeru The Damaja - Divine Design (September 23, 2003)

Jeru The Damaja is a rapper in denial.

Let me qualify that statement. Jeru The Damaja is a rapper who refuses to acknowledge that his producer and former friend DJ Premier played a huge role in the critical (if not outright commercial) success of his first two albums, The Sun Rises In The East (which is a HHID-approved classic) and Wrath Of The Math (less so, but still really good). I understand that no rapper really wants to hear that the beats that accompany his or her words are as much an integral part of the product they work their ass off to write, but I'm dead fucking serious: nobody, absolutely nobody, would have checked for Jeru had he not had the Gang Starr Foundation affiliation and, as such, Primo's masterful beats. I wouldn't want to live in a world where somebody else produced "Come Clean", "Dirty Rotten Scoundrels", or "You Can't Stop The Prophet". (I realize that Pete Rock actually remixed "You Can't Stop The Prophet", and while Peter Q. Rockefeller is one of the greatest producers in hip hop history, I hate his remix to that song and will only accept Primo's original beat.)

Jeru won't accept that fact, though, so he has continued to present his music to a steadily dwindling audience after his well-known-and-yet-completely-mysterious fallout with Primo. His third album, Heroz4Hire (credited to Jeru The Damaja and the Supahuman Klik, a "klik" that only consisted of one member), was pretty fucking terrible: his attempt at producing the album all by his lonesome were worrisome at best, aggravating at worst, and his insistence of providing a showcase for female rapper Miz Marvel (who promptly disappeared from the scene, never to be heard from again) instead of, say, Afu-Ra (who held that slot on the Primo-produced discs), led most of his fans to jump ship. Four years later, Jeru released his fourth album, Divine Design, and decided to handle the rapping duties all by himself while delegating the beats to Ed Dantez and Sabor (read: not anybody you've ever heard of).

Truth be told, I have no fucking idea why I own Divine Design. His third album was so awful and disappointing that I was one of those fans who jumped ship, so coming across this in my crates was surprising. Apparently, but not surprisingly, Divine Design was Jeru's worst performing album; it was neither critically acclaimed nor was it a hit on the blog circuit. It contained no singles that took off underground: in contrast, even Heroz4Hire had fucking "Billie Jean (Safe Sex)" and "Seinfeld", songs that I may not have been big fans of, but at least they had people talking.

You know, Jeru, it may be time to hang up the mic entirely. Or possibly form a duo with your former best buddy Afu-Ra. Just a thought.

1. INTRO
Kind of offensive to Asians, to be honest. The presence of a sample from a kung-fu flick creates the argument that Jeru should get off of his high horse and form an alliance with a certain Wu-Tang Clan, although I'm not sure that he and Killah Priest would be able to stand in the same room together without the universe imploding. Hell, I'd take that relationship any day, since it's not like Jeru will ever work with DJ Premier again.

2. LOGICAL
Jeru's lyrics and cadence don't mesh with the beat: the marriage of the two elements should be annulled, they're so fucking mismatched. That said, Jeru's rhymes are already leagues ahead of anything from Heroz4Hire. “You can talk all you want, but you're judges by your works”, he states at one point. Oh, if only Jeru saw fit to remix this shit into a much better song, we might be in business.

3. TRUE SKILLZ
The intro seems to promise a hot beat, but once the rhymes kick in, you walk away seriously disappointed in Sabor's instrumental work. Jeru sounds as if he's spitting too slowly to keep up with the music. You'll probably be moving on, just as I did.

4. MURDA 1
The script from which Jeru recites at the beginning is borderline ridiculous. I've always pictures him as the type that would more likely waterboard alleged terrorists than simply murdering them. I wasn't expecting a Pootie Tang reference, but, sadly, the homophobia I was waiting for came in right on time. Once again, he samples his older work with Primo; what a fucking tease.

5. BABY RAPPA (SKIT)
…

6. DA GAME
The flow Jeru presents on here is much slower than it should be, and it is awkward as shit (some of his bars sound much longer than others, almost as if you were comparing Ulysses to one of Shel Silverstein's poems). It's almost like spoken word poetry set to a weak-ass Dantez beat, and everyone knows how Max feels about that shit by now. Jeru's explanation in the third verse as to why multi-platinum artists are still broke is still a must-hear for up and coming artists, though.

7. WAR
The Michael Jackson reference is off-putting to hear today, but not entirely off center (Jeru did write a song called “Billie Jean (Safe Sex)” for his last album, after all). It was also interesting to hear that Jeru has beef with Ja Rule (but then again, my next door neighbor has beef with that guy). However, other than those two plot points, I found this song boring as fuck. Sigh.

8. PRAISE THE LORD
Jeru's diatribe against materialism approaches “You Can't Stop The Prophet” territory, which is good, but Sabor's beat sounds like the theme song from a dramedy from the eary 1980's, which is very bad. Goddamn it! At least it's short.

9. RASTA POWERS
Speaking of “You Can't Stop The Prophet”, Jeru positions his new Rasta Powers persona as one of the Prophet's resident Supafriendz, comrades in arms in the battle against Mr. Ignorance. This Ed Dantez Beat has much more energy than anything else on Divine Design thus far, and Jeru even manages to stay on beat (for the most part). This was actually not bad.

10. ZILCH THE PIMP
This was only an interlude, but I actually thought it was pretty fucking funny. On purpose, to boot!

11. QUEENS
Meh.

12. DIRTY
Ed's beat sounds as if a broken drum machine were paired up with three (and only three) piano keys. The hook is also pretty embarrassing. I've officially given up hope on this project.

13. RAP WARS
This shit is just weird, but not in a bad way. Jeru tweaks Public Enemy's “Public Enemy #1” just enough that you get the basic idea, but Public Enemy themselves will receive no royalty checks. Even though this sounds like a generic Kidz Bop version of a hip hop classic, Jeru rips this shit to pieces. The only complaint I have isn't a new one: the song fades out before Jeru completes his verse. Why, God, why?!?!

14. RIZE
If you rhyme to a beat that barely makes a dent in your subconscious, is your song really a “song”, or is it spoken word poetry? “Rize” falls in the latter category as far as I'm concerned, especially since he uses the phrase “Rise up, n----s!” no less than eight thousand times in the one-minute-and-forty-four second run time.

15. WHATYAGONNADO
This was actually an interesting concept. Jeru presents three different scenarios to the listener, and the bastard forces you to actually think about how you would handle the situation. They all kind of end the same way, but Jeru gets bonus points for engaging the audience, and Ed's beat is low-key enough to humbly move things along.

16. DIVINE DESIGN
Jeru makes some good points on here, but overall, this was truly a weak way to end things.

FINAL THOUGHTS: Divine Design is a marked improvement over Heroz4Hire, especially thanks to Jeru dropping Miz Marvel (without any sort of explanation, mind you) and going solo once again. That said, this album still isn't very good. Lyrically, Jeru is as thoughtful as ever, but he experiments with his flow too much,with bizarre results, almost coming across as a different artist on each song, albeit one who hasn't yet mastered how to combine the rhyme and the beat. The production work by Ed Dantez and Sabor is also mostly ineffective: with a few exceptions, Jeru may as well have released an acapella album, and the same number of fans (four) would have bought it anyway. Jeru The Damaja may never hook up with Primo again, but there are other producers out there who are just as hungry and perform much better at their jobs.

BUY OR BURN? Burn this is you must. A few of the songs were decent, but most of this project made me want to hack into Jeru's Wikipedia page and list The Sun Rises In The East and Wrath Of The Math as the lone two albums in his discography, and you'll feel the same way if you bother to listen to this one in its entirety.

BEST TRACKS: “Rasta Powers”; “Rap Wars”; “Whatyagonnado”

-Max

RELATED POSTS:
The Damaja's other albums can be observed by clicking here.

Jeru the Damaja Presents Supahuman Klik - Heroz4Hire (September 7, 1999)

Jeru the Damaja's second solo album, Wrath Of The Math, was met with critical acclaim but, ultimately, poorer sales figures than his classic (yeah, I said it) debut, The Sun Rises In The East, which is ironic, as Wrath Of The Math contained Jeru's most blatant stab at radio and MTV airplay ever with "Ya Playin' Yaself", a song that still worked, despite itself. However, after recording that disc, Jeru and his main producer, DJ Premier of Gangstarr and founding member of the Gangstarr Foundation, had a falling out: details floating around on the Interweb describe everything from financial fuckings-over to Primo sleeping with Jeru's sister, whom I cannot actually verify existence.

Regardless of the facts, Jeru broke apart from the crew that essentially raised him from a young pup, and decided to venture out on his own. (The real winner of this situation was neither Jeru nor Primo: it was Jeru's former errand boy Afu-Ra, who would capitalize on the opening to become a newer and improved Jeru with his solo debut, The Body Of The Life Force.) He created his own label, Knowsavage Records, and quietly recorded his third album, Heroz4Hire, which was released in 1999.

Heroz4Hire features wall-to-wall production from Jeru the Damaja himself, a far cry from the usual Primo compositions audiences were used to. Jeru also shares top billing this go round with a female rapper named Miz Marvel, who for all I know was Jeru's former guidance counselor or aunt or something: I'm personally still trying to figure out how she ended up on the album. Among other things I'm still trying to figure out: why the album is credited as Jeru the Damaga Presents Supahuman Klik, when there are only two rappers in the fucking "klik". But I digress.

Heroz4Hire was met with overly positive reactions, primarily from critics (there weren't many bloggers back in 1999) who refused to believe that Jeru the Damaja could suck horribly on a record. However, the tide soon turned against the project: bad word of mouth made its way around the Interweb, and its sales faltered. To date, Heroz4Hire is the only album that Knowsavage Records has ever released, and probably for good reason.

Let's find out why.

1. SUPAHUMAN THEME
Fucking lame. That's all I got.

2. GREAT SOLAR STANCE
This isn't bad. Jeru sounds like his old self over his own beat. It's nowhere close to the collaborative work he's done with Primo, but this is a decent substitute. Maybe this listen won't be as bad as I remembered.

3. VERBAL BATTLE (FEAT MIZ MARVEL)
Oh wait, no, I was wrong: the album has already gone downhill. There are many, many problems with this song. For starters, Jeru hands the microphone to Miz Marvel, a female rapper I had never heard of prior to Heroz4Hire and haven't heard from since, for a solo song, which is simply a bad move due to the fact that people bought what they believed to be a Jeru album. Secondly, Miz Marvel fails to impress on this track, which isn't inherently bad, but once again, people thought they bought a Jeru album. Finally, the song is called "Verbal Battle" but it's a Miz Marvel solo: there is no verbal battle of any sort to speak of. Sigh.

4. BITCHEZ WIT DIKZ (FEAT MIZ MARVEL & LIL' DAP)
Um...okay. Not a song about pre-op transsexuals, as I had expected, but a track about guys that act like bitches, which may be closer to what you were expecting. Just hearing the chorus is enough to make you want to hit the skip button. However, it's good to see that Jeru hasn't cut all of his ties to the Gangstarr Foundation, even if it is only Lil' Dap (from Group Home).

5. SEINFELD
The really sad aspect of this disc so far are the beats: it's obvious that Jeru tried his best to sound like the nineteenth coming of DJ Premier, but something got fucked up along the way. It doesn't help that, on this song especially, he seems to be entirely cognizant to the fact that the beat is lacking, making this song ostensibly about "nothing" even more meaningless.

6. RENEGADE SLAVE
Seriously, the fact that Jeru was brash enough to incorporate a quick sample from one of his Primo-produced tracks in the hook (in a Primo-esque style) is less of a loving flashback and more like a fucking slap in the face to the fans.

7. PRESHA
No, thank you.

8. SUPERHUMANZ N LUV (INTERLUDE)
You gotta be fucking kidding me. Also, if you're going to go through the trouble to misspell the word "superhumans", at least be consistent throughout the album, motherfucker.

9. ANOTHA VICTIM (FEAT MIZ MARVEL)
Another Miz Marvel solo track, although on this she sounds much better. However, her final verse fades out before the song is finished, and my two readers know how much I love that shit.

10. BILLIE JEAN (SAFE SEX)
"Billie Jean" is the best Michael Jackson song that he will ever create. Ever. (Disagree? You can comment below, but deep down, you know I'm right.) I'm not even a fan of the "alleged" (note the quotation marks) child molester, but "Billie Jean" and Thriller are my shit. But that track makes for a strange starting point of a rap song. Jeru is obviously just fucking around on this track, but since he's never really branched out like this before, it's not bad. For what it is, anyway.

11. BLAK LUV
Meh.

12. WHAT A DAY
This is actually not bad, even if Jeru gets a bit preachy while informing listeners of what he thinks his perfect day would be like. And by "a bit", I mean, of course "really fucking preachy". This is Jeru we're talking about, folks.

13. MIZ MARVEL (FEAT MIZ MARVEL)
Um, seriously, enough with the solo songs already!

14. 99 PA CENT
To my knowledge, this was the only actual single from Heroz4Hire. The beat is pretty good, and Jeru sounds as decent as ever, even if the lyrics are essentially one long potshot at his former partners Guru and DJ Premier. (But he's not bitter.) While this song is really good, it's too little, too late.

FINAL THOUGHTS: Heroz4Hire is a fucking mess. Jeru seems confused: he wants to prove to the hip hop masses that he can make it without Primo's help, but he then goes out of his way to create instrumentals that sound like they could have come from Primo on a sick day. He also defers to guests more often than he ever has on his own record, and the primary co-star, Miz Marvel, is clearly not the Ghostface Killah to Jeru's Raekwon: she isn't really talented enough to carry entire songs by herself. (Perhaps if she just popped up in cameo spots, we wouldn't be having this discussion.) Here's the rub, though: even though I personally feel that Jeru the Damaja will never ever ever top the work that he's done with DJ Premier, because that shit is fucking classic, I still think that he's good enough to proceed in his career without the brand-name help. Just not on this album.

BUY OR BURN? I can't think of any reason why you would need to do either one. This disc just made me angry. I'm going to simply pretend that Jeru gave up rapping after Wrath Of The Math to take on an activist role, and it would be best if you did the same.

BEST TRACKS: "99 Pa Cent"; "Great Solar Stance"

-Max

RELATED POSTS:
Read the other Jeru the Damaja posts by clicking here.

Jeru The Damaja - Wrath Of The Math (October 15, 1996)

Since I brought out the first album, I may as well bring out the second. Jeru's Wrath Of The Math was his second album on Payday/FFRR (a label name I always admired for its ridiculousness). It was also his second and final album working with the legendary DJ Premier (now famous for making Christina Aguilera sound gully).

Like the first album, Wrath Of The Math was produced entirely by Primo, and only features one guest (once again, Afu-Ra). Unlike the first...well...the album cover is blue. Blue! How crazy is that, people??

The album was well-received in hip hop circles, although it is missing the crucial "classic song" factor. Also, this album didn't see any copies, either, which shouldn't be a shock, as Jeru is too into his Afrocentricity and black militant stance to even consider giving chicks something to dance to.

After this album's release, Jeru and the Gang Starr Foundation parted ways, and Jeru produced a song of his own, "Friends", which supposedly dissed the hell out of his former, well, friends. I say "supposedly" because I have never actually heard this song, but if any of the two readers of this blog could hook me up, I would appreciate it. Just leave a comment.

1. WRATH OF THE MATH
Title track? Nah. Rap album intro. Groan.

2. THE FRUSTRATED N---A
The drums knock like vintage Gang Starr. The rhymes remind me of a less-polished Nas. The album cover reminds me of the Smurfs, for reasons unknown.

3. BLACK COWBOYS
Dissing the Fugees. The fucking Fugees. Like easy targets much?

4. THE BULLSHIT
Jeru's interpretation of materialistic rap. Considering the shit that's on the radio today, he's not that far off.

5. WHATEVER
Well, if you're not going to respond properly, then the hell with you.

6. PHYSICAL STAMINA (FEAT AFU-RA)
Sequel to the similarily-named track off the first album. Compared to the original, the beat is a fucking mess.

7. ONE DAY
The centerpiece of the album. Hip Hop is kidnapped and taken hostage by Foxy Brown and Puff Daddy. For fans who used to love H.E.R. Good song, though. And it's short, which helps my attention span.

8. REVENGE OF THE PROPHET, PT. 5
My favorite song off the album, for the same reasons I love the original. Parts 2 through 4 are fucking awesome, though; some top shelf shit right there.

9. SCIENTIFICAL MADNESS
As opposed to that good ol' fashioned "regular" madness.

10. NOT THE AVERAGE
Not the median, either. Or the mean. Maybe the mode.

11. ME OR THE PAPES
Sequel to "Da Bichez", but this song sounds much better. There's a video, as well. But wait, there's more!*

12. HOW I'M LIVIN'
Day to day? Paycheck to paycheck? Like a villian? How am I supposed to know if you won't tell me?

13. TOO PERVERTED
Not about what you're thinking.

14. YA PLAYIN' YASELF
The "hit" single. Jeru doesn't appreciate that Primo worked with Biggie, and yet he accepts a beat from Primo that basically is Junior M.A.F.I.A.'s "Player's Anthem" played in reverse. Hypocritical much? The video is mad silly, although I can't get over the fact that my dad actually enjoyed it. Oh well.

15. INVASION
Sounds more like an extended outro that happens to feature some rapping.

FINAL THOUGHTS: Wrath Of The Math isn't as good as the first album. Yet, it sounds much better than any of Jeru's "solo" work. If you're looking for great Primo beats, though, you should look elsewhere. Like at Primo's house. I'm sure he has them all there.

BUY OR BURN? Burn it, unless you find it for two dollars or something. Although who could pass up the opportunity to make their CD collection look better than it really is? You could, that's who.

BEST TRACKS: "One Day"; "Revenge Of The Prophet, Pt. 5"; "Ya Playin' Yaself"

*A final note if anybody still gives a fuck. The B-side to the "Me Or The Papes" single is a Primo remix titled "Me, Not The Paper". The remix features brand new Jeru lyrics, but the draw is the beat, which is a masterful deconstruction of the already sparse piano keys on the original. Hunt down the remix when you can; it's better than any of the songs on the album itself.

-Max

RELATED POSTS:
Jeru The Damaja - The Sun Rises In The East

Jeru The Damaja - The Sun Rises In The East (May 24, 1994)

This is one of those albums that jumped onto this list after I saw it on another blog. Jeru The Damaja is an artist out of New York who used to be a Gang Starr affilliate. He made his debut appearance on "I'm The Man" off of their Daily Operation album.


This means he was down with DJ Premier.


And for his first two albums, anyway, he exploited the hell out of this connection.


I don't mean that in a bad way. Some of Primo's best production work has been with the Damaja. The Sun Rises In The East may not be considered an overall classic, but it has a few songs that rank amongst the best rap songs ever. In fact, it contributed to the East Coast revival that we all experienced in the mid-90's, a movement that remained until people started listening to that "bounce" crap.


Jeru and Primo don't work together anymore. (It's still not altogether clear why, although Primo's working with the Notorious B.I.G. may have had something to do with it.) In fact, he severed ties from the entire Gang Starr Foundation (which isn't that big of a deal, since Gang Starr hasn't made an album together in three or four years). Unfortunately, Jeru's "solo" work could never compare to his militant yet nimble wordplay over a DJ Premier beat.


Huh. I just noticed that the cover of the booklet shows the Twin Towers on fire. Why the hell have I never noticed that before?


1. INTRO (LIFE)
I swear to God, just once, is all I ask. Sigh.


2. D. ORIGINAL
Great beat, although it's weird that the end of this song features a vocal sample from a song that appears...later on this album. Could it be that Jeru mastered the art of time travel? (Probably not.)


3. BROOKLYN TOOK IT
And if you want it back, you'll have to ask really fucking nicely. A donation may be in order.


4. PERVERTED MONKS IN THA HOUSE (SKIT)
Oddly, not from the Nicolas Cage film of the same name.


5. MENTAL STAMINA (FEAT AFU-RA)
I've never been a big fan of Afu-Ra. It may stem from the fact that he stole my balloons right out of by balled up fist at the county fair when I was five. Or maybe I don't like his flow. I'm not sure which.


6. DA BICHEZ
I had to check that four times to make sure I spelled that ignorantly enough.


7. YOU CAN'T STOP THE PROPHET
LOVE it. My favorite Damaja song. Perfect beat and lyrics, even if they don't really rhyme. The video is cool, too.


8. PERVERTED MONKS IN THA HOUSE (THEME)
This is a first: an instrumental version of a skit.


9. AIN'T THE DEVIL HAPPY
The song itself is cool, but the only thing I remember is the sample of that creepy-ass RZA laugh.


10. MY MIND SPRAY
One of the literally millions of rap songs to sample Bob James' "Nautilus".


11. COME CLEAN
Classic. Three words: chinese water torture. If you've never heard this song, take a listen, and you'll get it.


12. JUNGLE MUSIC
Three words: DJ Premier's beat is better than the lyrics here. (Stupid word counter!)


13. STATIK
Kind of a weak way to end an album.


FINAL THOUGHTS: This was the first time I had heard this CD in a while (which is the point of this blog, if you think about it). This isn't the best CD in the world. Even some of the beats are weak. But when the beats and the rhymes click, the shit knocks.


BUY OR BURN? Buy this shit. Support real hip hop! Or at least, support the artists by buying their shit! Because Jeru doesn't have a house in the fuckin' Hamptons. (And for that matter, neither do I. Leave a comment if you like this site!)


BEST TRACKS: "You Can't Stop The Prophet"; "Come Clean"; "D. Original"


-Max