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)
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| 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]
