When I edited Mean magazine for 9 months in '99-00 (or whenever it was), I managed to track her down via her lawyer but she wouldn't talk. The Mojo piece was... Well, she talked but she didn't say anything, either because she can't remember or she thinks it improper to talk about some stuff. (or, giving her the benefit of the doubt, there really is nothing to say...) My feeling is there's a lot more there than she's letting on, and any woman who was at/near the nexus point between Hendrix and Miles Davis, when they were at (or nearing) creative peaks, who apparently singlehandedly moved Miles into fusion/rock/what-have-you, has got to have something insightful to relay. Add that she made three pretty amazing, pretty hardcore records in a row, well.... Ay yi yi!
― JayBabcock (jabbercocky), Monday, 7 November 2005 19:17 (eighteen years ago) link
I'm In Love With Betty Davis
Two interesting tidbits:
"While Miles was working on Bitches Brew, Davis cut an album with a dream-team band consisting of Wayne Shorter and Tony Williams from Miles' band with Miles producing, and Billy Cox and Mitch Mitchell. Afraid of Betty's success, Miles insisted the album be shelved."
Who knows if that will ever see the light of day.
Also, Talkin' Trash: The Definitive Betty Davis was supposed to come out a long time ago on Aztec Music, but I haven't seen anything.
― Fastnbulbous (Fastnbulbous), Monday, 7 November 2005 20:05 (eighteen years ago) link
― Dominique, Friday, 23 February 2007 18:54 (seventeen years ago) link
― sexyDancer, Friday, 23 February 2007 18:59 (seventeen years ago) link
― xhuxk, Saturday, 24 February 2007 13:43 (seventeen years ago) link
― GOTT PUNCH II HAWKWINDZ, Saturday, 24 February 2007 14:07 (seventeen years ago) link
― xhuxk, Saturday, 24 February 2007 14:09 (seventeen years ago) link
― scott seward, Saturday, 24 February 2007 15:56 (seventeen years ago) link
― Dominique, Saturday, 24 February 2007 17:49 (seventeen years ago) link
― Bimble, Monday, 7 May 2007 02:01 (seventeen years ago) link
― BIG HOOS aka the steendriver, Monday, 7 May 2007 02:25 (seventeen years ago) link
― Brigadier Lethbridge-Pfunkboy, Monday, 7 May 2007 02:31 (seventeen years ago) link
― abanana, Monday, 7 May 2007 02:38 (seventeen years ago) link
― The Reverend, Monday, 7 May 2007 03:40 (seventeen years ago) link
― Capitaine Jay Vee, Monday, 7 May 2007 06:01 (seventeen years ago) link
― m coleman, Monday, 7 May 2007 09:57 (seventeen years ago) link
― Geir Hongro, Monday, 7 May 2007 10:49 (seventeen years ago) link
― Shakey Mo Collier, Monday, 7 May 2007 17:43 (seventeen years ago) link
― I eat cannibals, Monday, 7 May 2007 19:00 (seventeen years ago) link
― Andy K, Monday, 7 May 2007 19:09 (seventeen years ago) link
― If Timi Yuro would be still alive, most other singers could shut up, Tuesday, 8 May 2007 05:17 (seventeen years ago) link
― curmudgeon, Tuesday, 8 May 2007 15:10 (seventeen years ago) link
You can laugh at me, but it seems to me that everything that is so raunchy and nasty about Led Zeppelin...this is the female funky equivalent of that. Fucking amazing.
Also thanks to Geir for posting the sleeve of Bette Davis Eyes...it's totally unrelated to this thread, of course, but it was like my favourite single in the world when I was 9 years old or whatever and seeing that sleeve again makes me feel real nice. I remember how disappointed I was when it got bumped off the #1 slot on Kasey Casem's Billboard Top 40 countdown.
Betty Davis "Anti Love Song" - where has this woman been all my life?? Really? Where the hell has her music BEEN all my life?
― Bimble, Saturday, 19 May 2007 03:50 (sixteen years ago) link
She out cools Curtis Mayfield. And this is not easy to do.
― Bimble, Saturday, 19 May 2007 03:55 (sixteen years ago) link
One random line from Bette Davis in All About Eve rocks out harder, is funkier, is more soulful, etc. than anything on these awful Betty Davis albums.
P.S. "Bette Davis Eyes" is better too.
― Kevin John Bozelka, Saturday, 19 May 2007 05:18 (sixteen years ago) link
Stand by...my bullshit metre is picking up signals...
― Bimble, Saturday, 19 May 2007 05:29 (sixteen years ago) link
Article about Madamoiselle Mabry in today's San Francisco chronicle, including her "only interview": http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/05/18/DDGS7PS9F61.DTL&type=movies
and the salient part:
As he began the bold experiments that would transform black music, Miles Davis put full trust in her ears. Then he took the helm to record her in what may be one of the greatest lost albums.Her sensibility, she says, was "rock-oriented" and "progressive." Backed by an all-star lineup of Wayne Shorter, Billy Cox, John McLaughlin, Mike Shrieve and Tony Williams and produced by Teo Macero, she recorded a long version of Cream's "Politician" and at least one other side of songs. Was her record the missing link between "In a Silent Way" and "Bitches Brew"? We may never know. Columbia Records, at what is widely believed to have been at Miles Davis' request, shelved the tapes.
Her sensibility, she says, was "rock-oriented" and "progressive." Backed by an all-star lineup of Wayne Shorter, Billy Cox, John McLaughlin, Mike Shrieve and Tony Williams and produced by Teo Macero, she recorded a long version of Cream's "Politician" and at least one other side of songs. Was her record the missing link between "In a Silent Way" and "Bitches Brew"? We may never know. Columbia Records, at what is widely believed to have been at Miles Davis' request, shelved the tapes.
Those are tapes I would very much like to hear.
― Sparkle Motion, Saturday, 19 May 2007 06:31 (sixteen years ago) link
You're trying to get me to off myself aren't you?
― Bimble, Sunday, 20 May 2007 00:42 (sixteen years ago) link
Got the reissues in Friday's mail. Left 'em in the office, but the debut seemed pretty good (better than Chuck described above, but not by that much) on first listen.
― unperson, Sunday, 20 May 2007 01:24 (sixteen years ago) link
I read this as: You're trying to get me off to myself aren't you? Which given the shite subject of this thread would make sense.
― Kevin John Bozelka, Sunday, 20 May 2007 14:42 (sixteen years ago) link
Hmm...well don't read threads about subjects you think are shite, then.
― Bimble, Sunday, 20 May 2007 17:09 (sixteen years ago) link
Quite the opposite. It's called the strength of weak ties. Hop on a thread about a shite artist to find out what your ears/ass got wrong.
But in this instance, I didn't learn anything my ears/ass didn't already know. Look, I'm sorry for being so snarky but I was really taken in by the hype on Ms. Davis and got Room Temperature Mama in return. She reads much much much better than she sounds.
― Kevin John Bozelka, Sunday, 20 May 2007 20:30 (sixteen years ago) link
Okay, but it's not my fault that something is wrong with your ears.
― Bimble, Sunday, 20 May 2007 21:05 (sixteen years ago) link
No, it's Betty's.
― Kevin John Bozelka, Monday, 21 May 2007 00:51 (sixteen years ago) link
it's so funny that the people that don't like betty are so fucking wrong. like, what is the rest of your life like? do you only drink herbal tea, ride a recumbent bicycle, carry a man-purse?
― GOTT PUNCH II HAWKWINDZ, Monday, 21 May 2007 05:57 (sixteen years ago) link
Yes, you're absolutely right. Only don't read the Funkadelic poll thread else you'll lose your illusion.
― Kevin John Bozelka, Monday, 21 May 2007 06:08 (sixteen years ago) link
Cred appeal: Sex funk. Reference: Funkadelic. Purpose: Assert authority of opinion, re:Betty Davis. Status: Pending.
― I eat cannibals, Monday, 21 May 2007 06:35 (sixteen years ago) link
these records are great, kinda surprised any funk fan would find something to dislike about them
― Shakey Mo Collier, Monday, 21 May 2007 16:30 (sixteen years ago) link
Neil Schon never played better in his life!
"Any funk fan" "Neil Schon" "Any funk fan" "Neil Schon" "Any funk fan" "Neil Schon" Keep repeating "Any funk fan" "Neil Schon" Soon the surprise will dissipate "Any funk fan" "Neil Schon"
― Kevin John Bozelka, Monday, 21 May 2007 18:55 (sixteen years ago) link
his playing on the first Betty album is great, certainly as sharp and funky as a lot of contemporary shit-hot funk lead guitarists like the Isleys or Graham Central Station. He doesn't approach Eddie Hazel-heights of weirdness but few do.
― Shakey Mo Collier, Monday, 21 May 2007 19:03 (sixteen years ago) link
I mean what do find so awful about these albums? Be specific.
― Shakey Mo Collier, Monday, 21 May 2007 19:04 (sixteen years ago) link
Cuz to me they combine the best of a lot of other funk bands in a really tight and unique way - Sly Stone plus Funkadelic plus a woman who can out-shriek and growl Parlet and the Brides combined
― Shakey Mo Collier, Monday, 21 May 2007 19:05 (sixteen years ago) link
Chuck said it all above so I doubt I could add anything really compelling to his argument. In the absence of hooks, song structure, and a great (hell, even a decent) voice, these songs needed to be waaaaaaaaaay sharper and funkier than they are for them to work. Out-shrieking and growling Parlet and the Brides is hardly a recommendation because their albums are bad too (though not as bad as Davis'). And Sly Stone plus Funkadelic = Parliament and I'll take Trombipulation over any of these.
Also, I'm with Chuck re: the backstory which really is a great one. But I fear these are records people want to be better than they actually are. I want them to be too.
Not sure what I Eat Cannibals is getting at upthread but I think he's saying that I need to reference a much less "mainstream" group than Funkadelic to establish my Betty-bashing authority. I hope I got that wrong, tough, cuz it's an absurd premise.
And fwiw, I don't even know what a recumbent bicycle is.
― Kevin John Bozelka, Monday, 21 May 2007 21:08 (sixteen years ago) link
Actually I didn't know what it was, either, but here's the wiki on it:
http://en.wikipedia.org/wiki/Recumbent_bicycle
― Bimble, Monday, 21 May 2007 21:17 (sixteen years ago) link
Actually, I wish I still had a copy of Never Buy Texas From A Cowboy.
But yeah, people are pretty clear up thread about why they have misgivings about Betty Davis despite the fact that she dresses really cool. It'd be nice if her hardcore defenders here actually addressed, say, her mediocre singing voice and lack of decent tunes instead of simply dismissing those who are more ambivalent about her as "so fucking wrong." (I don't think anybody has said that they didn't want to like her. That'd be nuts.)
― xhuxk, Monday, 21 May 2007 21:39 (sixteen years ago) link
I can see why folks say the first album is better, though. The second one is a bit low-key at times when that's exactly what I don't want. I haven't heard the third one yet.
Complaining about lack of tunes seems weird to me, though - The Fall don't need tunes, Can don't need tunes...
― Bimble, Monday, 21 May 2007 22:35 (sixteen years ago) link
...because they have other compensating features, e.g. Mark E. Smith and funk-as-puck gooves in The Fall's case and in Can's case...well, I'm no lover (would prolly flunk your Tago Mago test Bimble) but Ege Bamyasi (I think) contains several tracks funkier than anything on the Davis discs. Plus their Pink Floyd-James Brown fusion is more interesting to ponder, talk about at parties, etc.
― Kevin John Bozelka, Monday, 21 May 2007 23:34 (sixteen years ago) link
grooves too
― Kevin John Bozelka, Monday, 21 May 2007 23:35 (sixteen years ago) link
yeah I don't get that criticism either - does James Brown have "tunes"? These songs are about polyrhythmic vamping (and the actual polyrhythms are just insanely tight). I'll grant that she doesn't have a traditionally "good" singing voice but I don't get that as a criticism either - she's not singing showtunes, she's presenting this aggro, sexed-up persona and her voice reflects that perfectly - its composed of all the essential vocal tics from Sly, James Brown, etc. but twisted along her own feminine lines. I didn't know vocal range was a prerequisite for women in funk - I do think of her more like a female James Brown, leading the band with her own idiosyncratic grunts and sqwuaks and sheer force of ego/personality, while the backing band cuts the shit out of what are essentially minimalist, rhythmic experiments. Personally I can't think of a better acid-funk combo than Pete Cosey's wah-wah'd chords over that stomping drum lick in "Shoop B Doop and Cop Him" (which chuck thinks is worse than its title! so whatever)
(and Kevin deferring to chuck's opinion about what is funky = weak! sorry but have you actually heard chuck ramble on about how funky various shitty 70s buttrock bands are? cuz it gets old real quick)
― Shakey Mo Collier, Monday, 21 May 2007 23:36 (sixteen years ago) link
"Sing it just like that, with the gum in your mouth and all, bitch."
― velko, Thursday, 21 July 2016 18:41 (seven years ago) link
THere was a 76 Betty Davis up on Dime a couple of weeks back. THink it was somewhere in Europe but not sure if it's that France.ah right it's le Castellet 25/7/76
― Stevolende, Thursday, 21 July 2016 19:54 (seven years ago) link
Absolute classic
― In a slipshod style (Ross), Wednesday, 22 November 2017 06:29 (six years ago) link
Reports on twitter that she has passed away :(
― Pfunkboy AKA (Oor Neechy), Wednesday, 9 February 2022 16:37 (two years ago) link
Betty Grey Mabry Davis July 26, 1945-February 9, 2022RIP Betty Davis, a multi-talented music influencer, pioneer rock star, singer, songwriter, arranger, model, and fashion icon. From Pittsburgh (Homestead) https://t.co/HwqGXZk3DN— MF MOCK (@brentinmock) February 9, 2022
― Pfunkboy AKA (Oor Neechy), Wednesday, 9 February 2022 16:38 (two years ago) link
RIP
― peace, man, Wednesday, 9 February 2022 20:48 (two years ago) link
:( RIP for no apparent reason the phrase "'cause I'm a piece of sugar cane" popped into my head earlier today
― rob, Wednesday, 9 February 2022 21:33 (two years ago) link
The documentary on her - Betty: They Say I'm Different - is streaming on Amazon Prime, btw.
― peace, man, Wednesday, 9 February 2022 22:33 (two years ago) link
rest well. respect.☮️
― get shrunk by this funk. (Austin), Wednesday, 9 February 2022 22:42 (two years ago) link
Belated RIP to Betty Davis the singer.
― am.curious.sometimes, Thursday, 10 February 2022 16:44 (two years ago) link
I think the first I ever heard of her was through New Kingdom sampling her on their second album
― calzino, Thursday, 10 February 2022 20:50 (two years ago) link
RIP LEGEND
― ✖✖✖ (Moka), Thursday, 10 February 2022 21:10 (two years ago) link
I had no idea. I liked her song F-U-N-K.
RIP.
― No Anal Staircase For You, Gotcha (I M Losted), Saturday, 12 February 2022 00:29 (two years ago) link
Light In The Attic Announce Four Career-Spanning Betty Davis ReissuesIn Celebration of Betty Davis’ 50-Year Reign As The Queen Of FunkOut August 25th Titles Include Davis’ 1973 Self-Titled Debut,They Say I’m Different, Is It Love Or Desire?,& First-Ever Davis-Approved Release of Crashin’ From PassionListen To Unearthed Single, “Crashin’ From Passion,” Now
https://www.youtube.com/watch?v=R1CIsGum6Pw
― dow, Thursday, 29 June 2023 23:49 (ten months ago) link
“When I created the music, I just did it from my heart and from my soul. I didn’t really think about, ‘Well, who’s gonna like this, who isn’t gonna like it?’ I just created the music.” — Betty Davis This year marks the 50th anniversary of Betty Davis’ self-titled debut — an electrifying artistic statement that launched one of modern music’s most revolutionary figures. To celebrate the visionary singer, songwriter, producer, and fashion icon’s broadly influential career, acclaimed reissue label Light in the Attic is revisiting four essential titles from The Queen of Funk’s catalog: Betty Davis (1973), They Say I’m Different (1974), Is It Love Or Desire? (recorded in 1976, released in 2009), as well as the first-ever vinyl release of Crashin’ From Passion, which captures Davis’ final 1979 sessions. All four tiles were produced in close collaboration with Davis, who sadly passed away in 2022. Betty Davis, They Say I’m Different, and Crashin’ From Passion were remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). For the aforementioned three titles, the accompanying booklets include a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Davis’ close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last-ever interviews. They Say I’m Different also includes a fold-out 24x36 poster. Is It Love Or Desire? was remastered by GRAMMY®-nominated engineer John Baldwin and pressed on vinyl at Record Technology, Inc. (RTI). The album includes liner notes from journalist, DJ, and professor Oliver Wang. Each album will be available on CD, black wax, and in a variety of exclusive color variants. All titles will be released on August 25th. Read below for more information on Davis and the individual albums. Pre-order Betty Davis Reissues Listen To Unearthed Single, “Crashin’ From Passion” (from 1979’s Crashin’ From Passion) Watch Trailer Far ahead of her time, Queen of Funk Betty Davis (1944 – 2022) defied the limits of gender, race, and genre during her all-too-short career. She innovated with her space-age blend of funk, R&B, and blues and enraptured audiences with her raw and powerful vocals – then shocked (and awed) them with her provocative, sexually liberated lyrics. Unapologetic and independent, Davis smashed glass ceilings with gusto. To count a few, she was among the first Black models to grace the covers of Seventeen and Glamour, while later, she became the first Black woman to write, produce, and arrange her own albums. When Davis released her self-titled debut in 1973, she was already a force in New York, London, and Los Angeles. She had opened one of NYC’s most vibrant private nightclubs, penned songs for The Chambers Brothers and The Commodores, collaborated with Hugh Masekela, and inspired her then-husband Miles Davis to create the roots for jazz fusion on Bitches Brew. While she received numerous offers from record labels in those early years, Davis also recognized the power of retaining control over her music. Fiercely DIY, she eventually signed a contract with Woodstock organizer Michael Lang’s Just Sunshine imprint, under which she released Betty Davis (1973) and They Say I’m Different (1974). In 1975, she made her major label debut under Island Records with Nasty Gal. Davis would go on to record two more albums—Is It Love Or Desire? and Crashin’ From Passion—both of which remained unreleased for decades. Often relegated to cult figure status and frequently misunderstood, Davis’ album recording career spanned less than a decade. While her music earned critical acclaim and respect from peers, it was regularly banned or disregarded, due to its sexual nature. As a Black woman in an industry controlled by white men, Davis found herself in a constant battle for creative control, often to the detriment of her career. Never given the chance to succeed commercially, a disillusioned Davis retired from the spotlight in 1980. From a modern lens, the path that Davis forged can be traced clearly throughout the decades, traversed by those who pushed the needle farther and fought for equality in the industry. Many of music’s brightest stars have counted Davis as an influence, including Prince, Erykah Badu, and Janelle Monae, while rappers like Ice Cube, Method Man, and Talib Kweli have all sampled her work. In recent years, Davis has captured a new generation of fans, thanks to the use of her songs in such series as Mixed-ish, Girlboss, Pistol, and Orange Is the New Black. In 2017, she was the subject of the acclaimed documentary, Betty: They Say I'm Different. *** Betty Davis (LP, CD, Digital) Released in 1973, Betty Davis’ self-titled debut served as a bold introduction to the artist, showcasing her futuristic funk, her provocative lyricism, and her utterly unique vocal abilities. Produced by Sly and the Family Stone drummer Greg Errico and recorded in the Bay Area, the album featured a who’s who of local talent, including guitarist Neal Schon (Santana, Journey), keyboardist Merl Saunders, bassist Larry Graham (Sly and the Family Stone), and horn players from Tower of Power. Backing Davis on vocals were the likes of The Pointer Sisters, future disco star Sylvester, and singer-songwriter Kathi McDonald. “[Davis] screams, squeezes, and stretches her voice in ways that…had never [been] heard before,” writes Maggio, who calls the artist’s vocals “the most shockingly innovative aspect” of the album. Also ahead of its time was Davis’ songwriting, in which her sexuality was front and center. “If I’m In Luck, I Might Get Picked Up” was banned by radio stations for its references to sex work, while “Your Man My Man” extolls the virtues of non-monogamous relationships. Other highlights include the supremely groovy “Game Is My Middle Name,” as well as the empowering and refreshing “Anti-Love Song,” which flips romantic balladry on its head. Pitchfork praised Betty Davis as “a groundbreaking slab of funk…fus[ing] soul, sex, and hard rock like the best Sly or Funkadelic disc, albeit from a female perspective. But if George Clinton waved his freak flag proudly, Betty Davis wore it as underwear then rubbed your face in it.” Betty Davis Tracklist:1. If I’m In Luck I Might Get Picked Up2. Walkin’ Up The Road3. Anti Love Song4. Your Man My Man5. Ooh Yeah6. Steppin’ In Her I. Miller Shoes7. Game Is My Middle Name8. In the Meantime9. Come Take Me *10. You Won’t See Me In The Morning *11. I Will Take That Ride * *CD and Digital-Only Bonus Track Pre-order Betty Davis They Say I’m Different (LP, CD, Digital) Giving Ziggy Stardust a run for his money, Betty Davis is transformed into an Afrofuturist superhero on the cover of They Say I’m Different, her 1974 follow-up to Betty Davis. A hero she certainly was, as the album established Davis as the first Black woman to have sole credits as producer, writer, and arranger on her own LP. Recorded in the Bay Area, They Say I’m Different found the North Carolina-born artist exploring her blues roots and assembling nearly an entirely new collection of musicians, including guitarist Buddy Miles (Band of Gypsys), percussionist Pete Escovedo, drummer Mike Clark (Herbie Hancock), and Betty’s cousin, bassist Larry Johnson. Davis also enlisted a fresh line-up of backing vocalists (Trudy Perkins, Elaine Clark, and Debbie Burrell), whom she lovingly christened “The Ladies.” While They Say I’m Different certainly has plenty of brash, tantalizing moments (“Shoo-B-Doop and Cop Him” and the S&M-themed “He Was a Big Freak,” among them), the album also finds Davis getting more personal with her writing. In the title track, the artist recalls her youth, her family, and such musical heroes as Lightnin’ Hopkins, Bessie Smith, and Muddy Waters. In the moody “70s Blues,” she employs a classic blues song structure, while revealing her vulnerable side, while she channels James Brown in the joyful “Git In There.” Another standout track is “Don’t Call Her No Tramp,” which, Maggio explains, “is directed towards Betty’s ‘haters.’ Instead of shaming women with derogatory labels like ‘tramp’ or ‘dirty,’ Betty argues for terms like ‘elegant hustler.’” In 2007, The Guardian praised the album as “undoubtedly [Davis’] finest work,” declaring “They Say I’m Different was so far ahead of its time, it’s taken the world 33 years to get ready for it.” They Say I’m Different Tracklist1. Shoo-B-Doop And Cop Him2. He Was a Big Freak3. Your Mama Wants Ya Back4. Don’t Call Her No Tramp5. Git In There6. They Say I’m Different7. 70’s Blues8. Special People9. He Was A Big Freak (Record Plant Rough Mix) *10. Don’t Call Her No Tramp (Record Plant Rough Mix) *11. Git In There (Record Plant Rough Mix) *12. 70’s Blues (Record Plant Rough Mix) * *CD and Digital-Only Bonus Track Pre-order They Say I’m Different Is It Love Or Desire? (LP, CD, Digital) Following the release of They Say I’m Different, Davis assembled a touring band comprised of her cousins (drummer Nicky Neal and bassist Larry Johnson) and old friends from North Carolina (guitarist Carlos Morales and keyboardist Fred Mills). Funk House, as they were called, became a fixture in Davis’ life – not only joining her on the road for her thrilling live performances, but also becoming the studio band on her major label debut, Nasty Gal, which Island Records released in 1975. After touring concluded, the band spent a month at Bogalusa, Louisiana’s Studio in the Country to record their follow-up. Bringing in local talent, including the celebrated blues artist Clarence “Gatemouth” Brown, Davis recorded some of the most expressive songs of her career. As Neal recalls, it was “the best [album] she ever put together.” Throughout the record, complex arrangements and inventive production techniques keep listeners on their toes, while Davis frequently takes a softer, more soulful approach to her vocals. Among the highlights is the stripped-down “When Romance Says Goodbye” (featuring the artist at a near whisper) and the bluesy “Let’s Get Personal,” in which Davis’ vocals are panned to one side, creating a sense of intimacy with her listeners. Other standout tracks include “Whorey Angel,” a duet between Davis and Mills, the danceable title track, and “Stars Starve, You Know,” an autobiographical number, in which Davis rips into her critics – delivering equal parts sass and vitriol. Amid creative differences with the label, Davis’ masterpiece was shelved, where it remained unreleased for more than 30 years. First issued by LITA in 2009, the album drew broad praise. PopMatters hailed the LP as Davis’ “career high watermark,” while AllMusic called it “a revelation…Is It Love or Desire? is so forward and so complete, it moves the entire genre toward a new margin.” Is It Love Or Desire? Tracklist1. Is It Love Or Desire?2. It’s So Good3. Whorey Angel4. Crashin’ From Passion5. When Romance Says Goodbye6. Bottom Of The Barrel7. Stars Starve, You Know8. Let’s Get Personal9. Bar Hoppin’10. For My Man Pre-order Is it Love Or Desire? Crashin’ From Passion (LP, CD) In 1979, when Betty Davis entered an LA studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire?, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project. With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings. Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow. The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon. Crashin’ From Passion Tracklist1. Quintessence Of Hip2. She’s A Woman3. No Good At Falling In Love4. Tell Me A Few Things5. I’ve Danced Before6. You Make Me Feel So Good7. I Need A Whole Lot Of Love8. Hangin’ Out In Hollywood9. All I Do Is Think of You10. Crashin’ From Passion11. You Take Me For Granted Pre-order Crashin’ From Passion About BettyDavisBold Scholarship Fund:Established in 2022 in remembrance of the bold talent and infectious spirit of Betty Davis, BettyDavisBold Scholarship is open to youth around the world pursuing careers in entertainment and fine arts fields. The selection process will include the submission of essays, music, and art. Grants will also be awarded to greater Pittsburgh area agencies/organizations that promote and support the arts. About Light in the Attic:Since rising to worldwide prominence off the grassroots success with reclusive singer-songwriter Sixto Rodriguez, whose unlikely story of personal triumph received long-overdue worldwide acclaim in the 2012 Academy Award®-winning documentary Searching for Sugar Man, Light in the Attic (LITA) has gone onto earn GRAMMY®-nominations in multiple categories, including Best Historical Album for Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966–1985 in 2014 and Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 in 2019. Their exuberance and dedication to spreading joy through music has propelled LITA through the release of 200+ titles worldwide (from Nancy Sinatra to Donnie & Joe Emerson, Betty Davis to Haruomi Hosono, Karen Dalton to Serge Gainsbourg, and so many more), setting the pace for reissue labels and the archival process. LITA is co-owned and operated by high school friends Matt Sullivan and Josh Wright. In addition to the label’s acclaimed output, the company also distributes 100+ record labels. In 2010, LITA expanded from their native Seattle, opening an office in Los Angeles, which includes a successful music house focused on licensing for film, television, and advertisements, along with music supervision. LITA also operates a thriving brick-and-mortar record store, Light in the Attic Record Shop, located in Seattle at KEXP’s Gathering Space. For more info, visit LightInTheAttic.net and follow on Facebook, Twitter, Instagram, YouTube, Spotify, and Apple Music.
For more information, contact:Sam McAllister | Pitch Perfect PR – sam at pitchperfectpr.com
― dow, Thursday, 29 June 2023 23:52 (ten months ago) link
oops, here's trailerhttps://www.youtube.com/watch?v=KVmq0dWRKoY
― dow, Thursday, 29 June 2023 23:54 (ten months ago) link