Blowfly Rap Dirty Lyrics

[Joy Wida]

Reidwas born in Cochran, Georgia, in 1939 and moved to West Palm Beach, Florida, in his adolescence (c. 1949).[4][5] His stage name was given to him by his grandmother who he would visit in Georgia occasionally. During this time, Reid would make explicit parodies of the country music that was popular on the airwaves in Cochran then, prompting his grandmother to brand him a "blowfly".[5]

"In hillbilly, you'll find some of the best lyrics and morals. I used to listen to Homer and Jethro, and they would rap most of the time, only they didn't call it rap then. They used to call it soul talkin'. As a form of revenge, I would take songs like "The Twist," and I would change it from (sings) "Come on baby, let's do the twist" to "Come on baby, and suck my d-!" My grandma would say that's terrible, you're a poor excuse for a human being. Child, you're nastier than a blowfly."[5]

During the 1960s and 1970s he wrote for and produced artists including Betty Wright, Sam & Dave, Gwen McCrae, Jimmy "Bo" Horne, Bobby Byrd, and KC & the Sunshine Band. During this period he was also a recording artist, cutting many of his own songs, including "Nobody But You Babe" and his first XXX record, "Oddballs" which was reworked into "Rapp Dirty" several years later.[5][6]

Reid wrote sexually explicit versions of hit songs for fun but only performed them for his friends at parties or in the studio. In 1971, he along with a band of studio musicians, recorded a whole album of these songs under the name Blowfly. The album, The Weird World of Blowfly, features Reid dressed as a low-rent supervillain on its cover. Blowfly continued to perform in bizarre costumes as his Blowfly character and record sexually explicit albums throughout the 1970s and 1980s. Reid claimed to be one of the first artists to perform in a mask, and transitioned from a "tuxedo like Dracula" or a "buttless" Clint Eastwood inspired outfit, to the spandex suits that he became known for in response to public demand.[5] The albums were widely popular as "party records". He recorded the explicit version of his song "Rapp Dirty" (a.k.a. "Blowfly's Rapp") in 1980. Blowfly has been described as the root of Gangsta rap[7]

Blowfly's profane style earned Reid legal trouble. He was sued by songwriter Stanley Adams, who was ASCAP president at the time, for spoofing "What a Diff'rence a Day Makes" as "What a Difference a Lay Makes". Reid's own compositions have been sampled by dozens of hip hop, R&B, and electronic artists (such as Beyonce, Wu Tang Clan, DJ Quik, DMX, Method Man & Redman, Main Source, DJ Shadow, Eazy-E, RJD2, Jurassic 5, Big Daddy Kane, Mary J. Blige, Brand Nubian, and the Avalanches) but Reid received almost no money from sampling due to signing away most of his royalties.

Blowfly's Zodiac Blowfly LP (also released on CD in 1996 on Weird World Records) includes the songs "If Eating You Is Wrong, I Don't Want To Be Right", "The First Time Ever You Sucked My Dick", and "Ain't No Head Like My Woman's Head", as well as a version of "Clean Up Woman", which he co-wrote. Another album of this period is The Weird World of Blowfly.

In 2003, Blowfly sold the rights to his entire catalog after years of debt. After 17 years of sporadic touring and occasional re-recording of his classic raps, Blowfly signed with Jello Biafra's independent record label Alternative Tentacles in 2005. Fahrenheit 69, the first album under the new contract, featured appearances from Slug of Atmosphere, King Coleman, Gravy Train, and Afroman.

The last few weeks have seen a remarkable series of iconoclastic musician deaths. Although Clarence Reid, better known by his sometime stage-name, Blowfly, who died of liver cancer in a South Florida hospice facility on January 17th 2016 at the age of 76, may not seem as epochal as David Bowie, composer/conductor Pierre Boulez, jazz piano eminence Paul Bley or Lemmy Kilmister, he was the dominant exponent of a uniquely American idiom. Blowfly was the ne plus ultra of raunchy pop-music parodies, writing profane lyrics to existing songs, which he then re-recorded and performed live. Many compared him to "Weird Al" Yankovic, but his records are the shadowy id to the platinum-selling accordionist's super ego. Speaking to the German magazine Exberliner in 2008, Reid was clear: "Weird Al has said 'Blowfly is an X-rated Weird Al.' Wrong. I was writing parodies when Weird Al was in diapers. He's a goody-goody version of Blowfly."

Vinyl crate-diggers knew Clarence Reid as an often-thoughtful songwriter, producer and a major figure in Miami's soul and R&B independent music business. And the hours following Reid's death saw encomia from Ice-T, Snoop Dogg and the Red Hot Chili Peppers' Flea, each paying tribute to not only his foul-mouthed versions of R&B classics, but also the late-'70s/early-'80s hip-hop he transitioned towards. Blowfly's works presage the gleeful filth of fellow Miami residents 2 Live Crew, with only country singer David Allan Coe's semi-legitimate, contemporaneous lewd (and racist) recordings and Millie Jackson's similarly ribald R&B looming as large in the pantheons of dirty music. And if Blowfly took a cue or two from '50s frat-R&B smut peddlers Doug Clark and His Hot Nuts, the overwhelming majority of current hip-hop and R&B artists owe Blowfly for their frank representations of unadulterated carnality and drug use. Needless to say, radio wouldn't go anywhere near him.

Reid was born on February 14, 1939 in rural Cochran, Ga.; his family was poor and he liked to claim that he had little in the way of a formal education. "'Blowfly was invented when I was seven years old in the fields in Georgia," he told the Exberliner. "I had to quit school to work the farms. I was a mean little f*****, so I turned hillbilly songs like 'Walkin' the Floor Over You' to 'J*****' My Dick Over You.' The white people loved it and gave me money when I'd sing the songs to them. My grandmamma thought I stole the money, and when I told her how I earned it, she said I was a disgrace to the black race and no better than an old Blowfly. But a little white girl told me blowflies lay eggs on dead things and that without them, the world would be consumed by germs."

He made his way to South Florida in the early '60s and cut a number of soul singles for regional labels with the original, self-pressed 1964 version of "Blowfly's Rapp" laying credible claim as the first rap record, Reid having claimed that his delivery therein was influenced by the patter of southern DJs. That recording remains rare.

Once hip-hop emerged, in 1980 Reid recut "Blowfly's Rapp," the first of a series of tall tales delivered via the nascent form. Dipping a toe into the period's CB radio craze (the market-conscious Blowfly consistently responded to technological and cultural trends), the new "Rapp" spun the tale of a Deliverance-style encounter with Ku Klux Klan-accredited truck drivers to light funk backing; "The Incredible Fulk" found our hero undergoing an experiment that makes his manhood so big that it ascends into the sky and "planes had to re-route themselves" while 1981's "Convoy" again found him behind the wheel (and also included an "argument" between "Blowfly" and "Reid"). He adopted what would now be understood as a tag: almost every song from this era features a sinister bellowing laugh, redolent of a twirly mustached villain: "NEEE-AH-AH-AH-AH-AH-AH!!!!" At Blowfly's creative height, he was as agile and resourceful a singer as any he mocked, occasionally ascending into a keening falsetto few could achieve.

After TK Records collapsed in 1980, he recorded for Bo Crane's Pandisc, a label that would become a cornerstone of the Miami Bass sound. Released in 1984, "Electronic P**** Sucker" drew on the emerging synthetic "electro" movement by sampling Cybotron's "Clear," and is one of the genre's cult classics (its narrative finds Blowfly encountering a rogue horny robot at a computer store, with Reid voicing the robot via a sinister vocoder treatment). That election year also saw the release of "First Black President," with Blowfly becoming POTUS and the song running over with sex, drugs and racially stereotypical imagery. (He later re-recorded it in 1988.) His cuts, either very popular or obscure, would be sampled by the likes of Warren G., Jurassic Five, DJ Quik, the Avalanches, and the Ol Dirty Bastard.

From the '90s onwards, Reid was chiefly championed by the bearded and tattooed set. His records had long since stopped selling via traditional channels, and mounting debt and unpaid bills saw him sell the rights to his catalog in 2003; he ceded all future royalties for a nominal sum and had to scramble for the rest of his life, according to the 2010 documentary, The Weird World Of Blowfly. For the past decade, he has worked on the punk rock circuit with his drummer/right hand man "Uncle" Tom Bowker. Blowfly's Punk Rock Party was released in 2006 on Jello Biafra's Alternative Tentacles: the Dead Kennedys takeoff "R. Kelly In Cambodia" not only reflects his intended audience's interests, but also indicates his own alienation towards black audiences. The Weird World documentary, which is largely concerned with the drudgery of his touring life in the late 2000s, saw Reid expressing contempt for other African Americans in terms similar to the extreme respectability politics diatribes of black conservatives like Shelby Steele.

Yet Reid was consistently less interested in the "respectable" long view of 50 years of nasty song parodies. "Blowfly has never 'developed,'" he told the Exberliner. "Blowfly is still the same mean, perverted little bastard he was back in Georgia in the '40s. That's why I still eat pizza and honey like a little kid and watch cartoons every day. I live in my own Weird World."

Well, it wasn't technically an interview or, for that matter, a traditional two-way conversation. It was mostly a Blowfly stream-of-conscious monologue that ran for nearly an hour. The river of words included dirty jokes, singing, recitations of X-rated raps, a serious lecture about the Bible and a "special Blowfly curse" placed on very specific parts of my anatomy.

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