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Blowfly is the X-rated alter ego of Clarence Reid, a songwriter/producer who had quite a bit of success under his own name in the '70s, writing and producing hits for Gwen MacRae, KC & the Sunshine Band, Betty Wright, and others while on the staff at the preeminent Florida disco label of the era, TK Records. It's as Blowfly that Reid is best remembered in certain circles, though. The Redd Foxx of the Southern soul circuit, Blowfly specializes in dirty parodies of current soul and pop hits; his over two dozen albums, almost all of them recorded live in the studio with the ambience of a liquor-fueled all-night party, are an entertaining mixture of filth and wit that's neither too disgusting to be funny nor too refined to be dirty.
Born in Cochran, GA, on Valentine's Day, 1946, Reid got his nickname in the early '60s when his grandmother caught the adolescent singing dirty lyrics to a popular hit and proclaimed that her grandchild was "nastier than a blowfly." Reid moved to the more dirty-word-friendly climes of Miami in the mid-'60s and hooked up with producer and label owner Henry Stone. Under his own name, Reid released several solid albums of straight R&B, and had several chart singles, starting with 1969's Top Ten soul hit "Nobody but You Babe," for Stone's Alston and TK imprints.
Reid never lost his knack for filthying up Top 40 hits, though, and after a few years of performing his parodies for friends and co-workers, Reid resurrected his adolescent nickname and went in the studio after hours with some studio musician buddies in 1970 and recorded Blowfly's debut album, The Weird World of Blowfly. Of course, Stone's labels couldn't touch the results, so Reid pressed the album on his own Weird World imprint, housing it in a bizarre homemade-looking sleeve featuring Reid standing on a trash can in a comically hideous monster mask, a pair of homemade wings, a blue sweater with "BF" printed on it in yellow and a pair of tighty-whiteys and knee socks, holding a rubber chicken in one hand and clawing at two large-Afro'ed nude women kneeling before him. A weird world indeed.
Sold on the same semi-underground circuit that traded in Rudy Ray Moore's Dolemite albums and other cultural oddities, the Blowfly records were massively popular. Although it was an open secret from the beginning that Blowfly was Clarence Reid, Reid always appeared in some sort of elaborate and/or strange costume on the record sleeves. His reticence to be publicly identified as Blowfly stemmed not only from his religious upbringing--despite his dirty mouth, Reid is a devout Christian who forswears liquor and cigarettes and has worked as a minister--but from the criminal prosecution that Reid's latter-day buddies 2 Live Crew found out about the hard way. Stores have been prosecuted for carrying Blowfly albums in some communities, and Reid was sued by the then-president of ASCAP, Stanley Adams, after Blowfly parodied Adams' jazz standard "What a Difference a Day Makes" as "What a Difference a Lay Makes."
Reid released Blowfly records under a variety of label names through the '70s, '80s, and '90s, collaborating with like-minded folks like 2 Live Crew and even Flea from the Red Hot Chili Peppers. Blowfly is enough of a cultural icon that he even recorded his own holiday single in the mid-'70s. Of course, the songs were called "Jingle Fuckin' Bells" and "Queer for the New Year," but this is Blowfly we're talking about here, not Bing Crosby. Blowfly also starred in the low-budget documentary The Twisted World of Blowfly in 1991, and several of his albums were reissued on CD through the '90s, capped by The Best of Blowfly: Analthology in 1996.+ recenzija poslednjeg albuma "blowfly's punk rock party", takodje sa AMG-a:
Blowfly (aka Clarence Reid) has been the undisputed master of filthy party R&B since the late '60s, so you can't blame the guy for deciding it was time to conquer some new creative territory after all these years. Still, was anybody really expecting the guy to make a punk rock record? Perhaps emboldened by his recent presence on Alternative Tentacles Records, Blowfly and his new band dive head first into the fast and loud thing on Blowfly's Punk Rock Party. While the old-school funk grooves that have previously dominated Blowfly's music have been replaced by growling downstroked guitars and crashing drums, lyrically this finds the master of dirty rappin' in classically freaky form as he transforms the Ramones' "I Wanna Be Sedated" into "I Wanna Be Fellated," Black Flag's "TV Party" becomes "V.D. Party," and "Should I Stay or Should I Go" by the Clash is mutated into "Should I Fuck This Big Fat Ho?" Just for old times' sake, Blowfly and company attack the O'Jays' "Love Train" with a punk rock slant as "Suck and Fuck Train," and they manage to find a funky undertow in "Holiday in Cambodia" (here called "R. Kelly in Cambodia" and featuring a guest vocal appearance from Jello Biafra), though a more faithful cover also appears. While punk may not be Blowfly's usual stock in trade, Reid actually proves to be a commendable rock & roll howler on these sides and he seems to be reveling in the spirit of the material, while the bandmembers sound as if they actually practiced these songs before recording them (not always the case on a Blowfly album). While the harder edge of the music tends to make Blowfly's songs sound noticeably harsher and less forgiving than usual, this isn't any more "offensive" than what Blowfly has been doing for the past three decades, and it's amusing to discover Blowfly can actually make the work of Turbonegro and Antiseen sound even sleazier than it did in its original form, no small accomplishment. But the funniest thing on Punk Rock Party is the presence of six "All Ages Radio Edits" that close the album and reduce the tunes from XXX to PG-13 status -- does anyone really want a radio-friendly version of Blowfly?
