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DOL 108LP
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RSD 2019 release, re-released. "As prelude to the upcoming Eddie Murphy-starring Netflix film Dolemite Is My Name, the eponymous Dolemite Records presents this record store day-exclusive vinyl reissue from cult comedian Rudy Ray Moore. Despite never achieving major mainstream success in his career, the scope of influence from cult comedian Rudy Ray Moore is palpable and far-reaching. A consummate performer and raconteur, Moore's comedy emphasized raw and explicit story-telling and wisecracking, often told in rhyme, and featuring a backing band; a style of performance that inadvertently set a blueprint for early hip-hop music. Following in the footsteps of comic legends Redd Foxx and Moms Mabley, his stage presence would inspire the likes of Katt Williams and Snoop Dogg, find widespread underground success among inner cities in the 1970s, and would lead him to collaborate with a wide swath of artists into his later years, from Big Daddy Kane to Insane Clown Posse. His various bits and sketches would even become sampling fodder in tracks by Madlib, A Tribe Called Quest, DJ Shadow, 2 Live Crew, and innumerable others. Above all else, Rudy Ray Moore's best known and most beloved claim to fame is his tales of the legend of Dolemite the pimp. Derived from various obscene stories he overheard while working in a record store, Moore's most famous routine saw him take on the role of Dolemite, and recount humorous stories and anecdotes which framed the hustler as something of a ghetto folk hero. These anecdotes proved to be incredibly popular in urban clubs and parties, and would later be adapted into the hit 1975 blaxploitation film Dolemite, of which Moore would produce and star. In celebration of Rudy Ray Moore's extensive works, as well as the upcoming Eddie Murphy-starring Netflix biopic featuring him, Dolemite Records proudly presents this vinyl reissue of one of his 1975 release, Return Of Dolemite. Coming just on the cusp of the feature film's release, Return sees Moore at the top of his game, spinning anecdotal yarns about sexual conquests, hustling stories, and in his own parlance: 'F*ckin' up motherf*ckas!' Exclusive to Record Store Day 2019, this deluxe reissue comes decades after its initial release, and the first time pressed on vinyl in over 40 years."
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DOL 107CD
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"Rudy Ray continued to cut his comedy party records, rappin' out his street rhymes with a little music behind. The room was packed with guys and gals, friends and partiers from the neighborhood. Dudes, pimps, gangsters, players, winos, and just plain Bad Ass Kids! And this album is breakout time! I Can't Believe I Ate The Whole Thing blew the doors open, set the trend, the one that a decade later in 1986 launched 2 Live Crew when they sampled Rudy Ray Moore on hit singles 'Throw That D' and 'Get it Girl' from their debut album The 2 Live Crew Is What We Are. Through word of mouth and pure outrageousness the 2 Live Crew album sold over half a million copies. And it didn't stop there!! Rudy Ray was now deep in the Hip Hop mix. 2 Live Crew's 'Movin' Something' audaciously sampled 'Romeo and Juliet,' Rudy Ray's nasty duet with Lady Reed, aka Queen Bee from the Dolemite movies and one of Rudy's early label signings back in the day. Ice Cube with Funk Master George Clinton throws out in 'Bop Gun' a Rudy Ray Moore line from on this very album, 'No One Knows Where the Nose Goes.' Big Daddy Kane loves the track 'Dangerous Dan.' I Can't Believe I Ate The Whole Thing is the album that sets the tone for the Hardcore Hip Hop scene. Here you can hear where Dr. Dre, N.W.A. Snoop Dogg, Busta Rhymes, and Ice T got their stuff. Also where comedian Robin Harris took Rudy's joke 'Piccolo Player' and made it one of his own laugh line bits. All of it jumped off this album and swayed a generation. Straight off the street from shooting dice, playin' the horses in a bookie joint, and cruising in a lowrider car to smoking weed and late night listening when the kids are all asleep. Yeah, right! As Rudy Ray Moore said, 'Rappin' and cappin' is my game. And all those young men are rappin' good! BUT, when it comes down to rappin', I was through with it before they even learned what to do with it!!' --Liner Notes by Donald Randell"
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DOL 106CD
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" 'Although the cover lists it as his third, this was actually Rudy Ray Moore's seventh full length comedy album release. After the massive success of Eat Out More Often and This Pussy Belongs To Me in 1970, Moore had developed a formula taking long traditional spoken monologues, or 'toasts', and freshening them up for the 'now generation' as he would call it. The release of The Cockpit in early 1971 continued this formula and also introduced the world to 'Petey Wheatstraw: The Devil's Son-In-Law', a character which Moore would later base a feature length film around in 1977. The Cockpit remains one of Moore's most popular albums. It also needs to be noted that this was the first time Rudy used completely topless women in his artwork and this may in fact be the first major record release that includes a man on the cover with semi-naked women! '--Mark Jason Murray, Biographer"
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DOL 105CD
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"In the early 1970's, Rudy Ray Moore was pushing out 'raw' comedy albums just as quick as the public would buy them. Thanks to the sexual revolution started in the 1960's, the public was becoming less ashamed and more interested in their own sexuality. Masters and Johnson had concluded extensive research into the sexuality field and delivered groundbreaking books on the subject. If those seemed heavy handed for the average person, 1969's The Sensuous Woman (written by 'J') and 1971's The Sensuous Man (written by 'M') were more palatable for readers and became massive paperback sellers. A companion album to The Sensuous Woman was also released as 'J' described how and what turns her on. Then along comes 'The Prince' (aka Rudy Ray Moore) who pulls no punches and wants to tell the Brothers out there just where it's at. 'The Prince' throws aside the 'high class and falootin' gynecological terms and tells it like it is. The first half of the album features Moore describing and instructing various sexual techniques and practices in such great detail the devil would blush! For its second half, Moore answers questions from his 'audience' and cracks some nasty jokes. I dare you to try to master all the techniques on this album and remember to shake your ass and stroke!"
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DOL 104CD
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"Rudy Ray Moore was a lot of things. In his Dolemite persona, he was a Kung Fu master. In a smoky club late at night, a comedy master. And his comedy was known to be of the sort that would make Red Foxx blush. The Rudy Ray Moore Zodiac Album is just that sort of record -- and then some. Risqué from its cover art, right through the A-side and right through the B-side. When released in the early 70s, this was the sort of record kept under the counter or sold in a brown paper bag. On Zodiac, Rudy Ray is joined by The Madam -- as they talk the listener through some solid sexual advice for men and women based on the signs of the zodiac. The illustrations on the cover art give you an idea as to the sort of advice they're offering up... and from the sound of it perhaps demonstrating. This one is among Rudy Ray Moore's filthy best!"
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DOL 103CD
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"Throughout the 1970s, Rudy Ray Moore made his name as one of the most uniquely explicit, anti-establishment underground comedians working. With his profane, controversial material, and frequently taboo stories surrounding his famed pimp character Dolemite, Moore commanded a cult-fanbase throughout the decade, remained a star of blaxploitation films of the era, and was a strong influence on rap stars such as Snoop Dogg, Big Daddy Kane, and 2 Live Crew. His party records were considered too vulgar to be displayed in record shops, but word of mouth made his albums the stuff of legends. Though Rudy Ray Moore was widely known for his provocative stand-up, less is known about his musical side. Though he found success as a comedian he had always wanted to be a famous singer, and deeply loved to perform music. (His stand-up shows regularly featured a backing band, providing his monologues a backdrop of jazz and R&B music.) In 1972, as his comedy career was booming with cult-popularity, Moore released The Turning Point, and fans were treated to the raunchy raconteur's previously unheard croon. The album features smooth R&B renditions of songs by Curtis Mayfield, The Impressions, The Platters, and other favorites of the comedian, even featuring two originals written by Moore himself. The music on The Turning Point could easily stand toe-to-toe with the smooth, silky 70s soul of greats like Isaac Hayes or Lou Rawls. Over 35 years later, Dolemite Records, with a dedication to bringing Rudy Ray Moore's legacy to a modern audience, now brings you this compact disc reissue, complete with retrospective liner notes from Rudy's former manager Donald Randell."
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LP
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DOL 102LP
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2017 repress. "Rudy Ray Moore was a storyteller extraordinaire, a hilarious, low-down dirty man, and a legit trailblazer in the world of no-holds-barred, fuck-the-censors comedy. This classic, live Christmas album shows Moore in the 1970s form that cemented his late-night legacy. Side 1 is for early evening listening, when family and respectable friends might still be around. (The dirty stuff is for the flip.) The song 'Merry Christmas, Baby' starts things off -- a slow, dusty blues number bolstered by a wobbly but upright backing band. The song itself is PG, extolling the virtues of a caring partner and the joy of the season. Truth be told, it's a warm and wonderful holiday song. With the band gently strolling behind him, he then lays into Christmas tales from childhood up through modern day trials, tribulations and hilarities. 'I can remember when me and my brother were six years old,' he says. 'We hung our stockings up on the mantelpiece, and the health department made us take them down.' Good old fashioned family fun. But with the man also known Dolemite, the 'down and dirty' is never far away. Side 2 is where things get good (and X-rated), for the late night listening pleasure. It all starts with Rudy retelling The Night Before Christmas -- with his grooving backing band -- in his trademark raunchy style, complete with mice and rats getting it on. Also included on this side is a psychedelic blues number, detailing Brother Rap's visit to heaven (to get dirty, of course). And it all finishes up with a thematically appropriate Christmas themed tale, with the term motherfucker used in potentially record-breaking numbers. It's what you'd expect from the legendary, foul-mouthed, groundbreaking comedy legend. A perfect way to keep the holidays from becoming too much of a Hallmark moment."
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LP
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DOL 101LP
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"You might think that a certain bad-hair-having, shit-talking presidential candidate is obnoxious, but there's one man who would definitely be more dangerous in the White House: Dolemite. Traffic Entertainment Group is proud to reissue this hilarious and downright filthy album to celebrate the mud-slinging we'll all be experiencing this fall. And, of course, to remind the world of Rudy Ray Moore's unique comedic genius. Originally released in 1972 in the middle of the disaster now known as the Nixon Years, the album is filled to the brim with Moore's bawdy but debatably insightful takes on politics, sex and American society, funneled through the lens of his most famous persona, Dolemite. As it warns on the cover: 'Rated XXX: For Adults Only.' And they aren't kidding. The album's lengthy first cut, 'Campaign Speech,' is worth the price of admission alone. Ranting for ten minutes straight, Moore lets it all hang out, with every bit of profanity he can muster. It's certainly interesting to hear some of his words more than four decades later. 'I'm not promising you a chicken in every pot,' he bellows, in his trademark raspy scowl. 'I'm not promising you a God-damn thing. If I am elected, I promise to legalize prostitution, marijuana, stealing, and every other motherfuckin' thing you want to do.' Making fun of Nixon, George McGovern and Spiro Agnew, he continues, 'We're still waiting for that 40 acres and that motherfucking mule.' Towards the end, he brings forth a metaphor that, interestingly, would come true in the year of Moore's passing, 2008: 'The next thing I'ma do, I'm gonna move on my first act. I'm gonna get me 2,000 raggedy-ass painters, and paint the motherfucking White House black!' The rest of the album's 13 songs are equally loud, offensive, funny and even -- when the audience isn't expecting it -- serious. With a live soul group grooving behind him and a live audience yelling support along the way, he gives his fans what they want on cuts like 'Dance Of The Freaks,' 'Long Island Duck,' 'Farting Contest' and 'Chester & Mr. Dillon.' Released on black vinyl with its eye-catching original front and back artwork, it's a great way to relive the comedic bravery and brashness of a truly unique man, Rudy Ray Moore."
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