The roots of rapping, rather than the hip-hop sound, would be impossible to pinpoint. In the early 70s, when ghetto narrative started crystallising into the form heard on those early Enjoy sides, protagonists seemed divided between serious social commentators such as The Last Poets (presaging The Message), while lowdown and dirty street comedians such as Blowfly and Rudy Ray Moore spouted expletive-riddled ribaldry.
Beaming in from Cleveland, Moore was a popular stand-up comedian in his 40s when the blaxploitation craze drew out his loquacious pimp alter-ego Dolemite (immortalised in 1975’s eponymous movie). Throughout the 60s and 70s, he made comedy records in the Redd Foxx/ Richard Pryor mode, roaring his XXX-rated ghetto blasts over bluesy grooves, crowds howling at every “ass”, “pussy” or “motherfuckin’ dick”. Hailed as the Godfather Of Rap in the 90s, he recorded with the likes of Big Daddy Kane, Snoop and, inevitably, 2 Live Crew.
Moore, who died in 2008 aged 81, is honoured here with a mercilessly profane selection of repertoire highlights, including below-the- belt thigh-slappers such as Bitches N’ Beans, The Streaker and Pimpin’ Sam, which still make today’s low-trousered show-offs sound like sniggering schoolboys. This vital historical document is not for the PC or Coldplay-minded; even younger hip-hop fans might gag. Otherwise, it’s an uproarious LMFAO scenario.
