A Quote by Rudy Ray Moore
The godfather of rap, that is what I am known as, and the king of party records, the records I do.
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Good rap records don't get too far, but rap records that are made for crossing over to white audiences do go a long way.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
It's always cool when you get immortalized on records. I am just happy that I have gotten to the level where rappers who can actually rap say my name in records, regardless if it's a diss or not.
I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.
My mom had early rap records, like Jimmy Spicer. In the middle of the records was a turntable and a receiver - I used to scratch records on it - and on top was a reel-to-reel. In front of that wall were more stacks of records. It was either Mom's record or Pop's record, and they had their names on each and every one.
Yes; my brother Bobby used to distribute records at King Records. I had a job there, too, packing records up and shipping them off. But I always wanted to play sessions at Stax, so I figured out a way to do it.
When I was a bit older I had all of the George Carlin records, all of the Steve Martin records, all of the Cheech and Chong records and all of the Richard Pryor records.
I grew up on listening to, like, Mantronix and BDP and EPMD and Kool G Rap and Ultramag and Public Enemy and Fat Boys and Run DMC and a lot of those early records, those Rubin-era records. Those were always snare- and stab-heavy records.
Wray's FBI is stonewalling on Clinton email investigatory materials, Strzok-Page texts, Comey records, McCabe records, FISA court abuse records, Spygate records.
If you really listen to my music my music is more like stories than party records. I never made party records.
The mutability of the past is the central tenet of Ingsoc. Past events, it is argued, have no objective existance, but survive only in written records and in human memories. The past is whatever the records and the memories agree upon. And since the Party is in full control of all records, and in equally full control of the minds of its members, it follows that the past is whatever the Party chooses to make it.
Records have images. There are wet records and dry records. And big records.
I can work with all these different kinds of artists and still be able to come up with huge records. Not just cool records, but game-changing records.
I do love the Nat King Cole stuff, the classic Christmas records. There's something about putting those records on and hearing his voice at Christmastime that brings back a lot of great memories of growing up.
I see myself as real. Like I mean if I was the President I would have a responsibility, because people put me there. Nobody put me here. They just buy my records. They wouldn't buy my records if my records wasn't good. I'm being who i am in the record.
I will sing their praises, I'll sing Donald's [Trump] praises and Marco's [Rubio] praises and everybody else's praises. But I'm going to keep the focus on substance and records. And there's a reason why they scream "Liar." Because when you point to their own records, their own voting records, their own words, they don't like their records because their records are inconsistent with what they're running on.
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