Colleen Lovett
Good Grief, It's Candy
Laff Fecords A-137
Undated (circa 1970)
tracks :
Candy
I Was A Teen Age Stripper...How I Loved To Bump And Grind
Last Season I Made My Debut
I Made A Pass At A Football Player-Oh, Did He Tackle Me
A Farm Boy Taught Me How
I'm Just A Hip Musicians Wife, My Husband Loved To Blow
I Fell In Love With An Astronaut, What A Big Ass-Tronaut He Turned Out To Be
Who Took Me Home, After The Office Party?
I Was A Nurse At City Hospital, All Of My Patients Are Men
I Caught My Husband In Another Man's Arms, Do You Think He's A Little Queer?
I Married An Oil Man Of 75 But His Pumping Days Are Over
Colleen Lovett (born in Texas), since the age of six, has
flourished as a recording artist and performer in North America, Asia
Pacific, and Europe in nightclubs, musical theater, and television.
Before marrying bandleader Teddy Phillips in 1957, she was known as one of
the Lovett Sisters, a singing duo with her sister, Charlotte Lovett.
See https://www.45cat.com/artist/colleen-lovett
and https://www.45cat.com/artist/lovett-sisters (1954-1957)
 |
| Laff Records logo |
Laff Records was a small
comedy record label based in Los Angeles that had a troubled, yet
glorious run from the 1960s through the mid-80s. While the label is
mostly known for their funky and filthy black comedians, Laff also
repackaged and reissued nightclub acts from Las Vegas, popular east
coast Jewish comedians, and even some raunchy song collections and
45rpm singles.
Among their most popular
artists were Richard & Willie, La Wanda Page, Wildman Steve,
Skillet & Leroy, Reynaldo Rey, Dynamite, and Jimmy Lynch. But
there was one name more famous than all the rest: Richard Pryor. His
first Laff album, Craps (After Hours), was the foundation on which he
built a career that lasted over 35 years and made him a legend.
It wasn’t just what
you heard
that made Laff releases stand out, it was also what you saw—those
raunchy covers that featured double entendres and nude models. The
nude covers came with a sticker over the model’s breasts that could
later be removed by the buyer. Some of these covers have become
collector’s items that fetch top dollar. In almost all cases, a
release with a nude cover would also have a non-nude version with
different artwork.
Laff Records was
notorious for releasing some records with subpar audio quality. They
would also buy up stock from defunct labels and paste a Laff Records
slick on the back cover; others were given new Laff covers but kept
the old vinyl. Recordings from the 50s and 60s were reissued as if
they were new releases, while other Laff albums were later “reissued”
with a new title and cover artwork. When one looks at the entirety of
the Laff discography, one thing becomes clear: they were trying to
make a buck any way they could.
What made Laff Records
legendary were their albums from black comedians whose live sets were
released completely uncensored. These records are revered in the
black community and among fans of comedy in general. It’s no wonder
that rap artists have often sampled from Laff albums. These party
records were built on the success of ones released in the 50s and
60s, most notably by Redd Foxx; Laff even put out a few records by
Mr. Foxx himself. If you want a taste of what makes Laff Records
legendary, a great place to start is their 1980 collection, This Is
The Funniest, Funkiest, Filthiest Record Ever. It is a classic.
Laff Records went out of
business around 1985 but some of their more popular titles have been
reissued on other labels, including Uproar Entertainment (which is
owned by David Drozen, who ran Laff Records with his father, Louis
Drozen).
Prior to the 1970s,
there were a few other labels called “Laff Records”, but there is
only one LAFF RECORDS. Just look for the jester logo and those unique
covers—while they might not always indicate a quality album, it
will surely be a unique piece of comedy history.
[From https://www.rassoodock.com/data-pages/laff_records.html]
