Betty Davis

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?

She out cools Curtis Mayfield. And this is not easy to do.

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.

Stand by...my bullshit metre is picking up signals...

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.

Those are tapes I would very much like to hear.

You're trying to get me to off myself aren't you?

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.

You're trying to get me to off myself aren't you?

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.

Hmm...well don't read threads about subjects you think are shite, then.

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.

Okay, but it's not my fault that something is wrong with your ears.

No, it's Betty's.

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?

Yes, you're absolutely right. Only don't read the Funkadelic poll thread else you'll lose your illusion.

Cred appeal: Sex funk.
Reference: Funkadelic.
Purpose: Assert authority of opinion, re:Betty Davis.
Status: Pending.

these records are great, kinda surprised any funk fan would find something to dislike about them

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"

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.

I mean what do find so awful about these albums? Be specific.

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

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.

Actually I didn't know what it was, either, but here's the wiki on it:

http://en.wikipedia.org/wiki/Recumbent_bicycle

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.)

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...

...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.

grooves too

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)

a female James Brown

Wow.

Her voice sounds thin, like I said. (Nobody said anything about wanting her to do show tunes.) And she doesn't vamp all that well either (well, her voice doesn't.) And believe it or not, some funk songs are catchier than other funk songs. Not really that difficult a concept to grasp, I woudln't think.

And honestly, does she even use her voice as a rhythm instrument all that much? That's what James Brown and Mark E Smith and great rappers do (and some Fall songs are catchier than other Fall songs, too, by the way, and not all Can songs are as catchy as, say, "I'm So Green.") If anything, her singing generally seems oblivious to the rhythm.

But again, I basically like her. Hell, she has an album in my heavy metal book (which nobody ever complained about, strangely.) She was obviously an original, which counts for a lot, and she clearly had a badass sense of humor. All I'm saying (and a few people are saying above) is that her songs fall short of her hype, and her hair, and Nona Hendryx.

then why do you present your complaints as being about the music, if what you're really upset about is the hype?

James Brown ref is in terms of her relation to the band and the music - as a leader that doesn't play an instrument, yet nevertheless is the music's clear center.

honestly I don't give a shit about hype in relation to anybody. I'd heard her stuff WAY before I saw anything written about her (she merits about a paragraph in Miles' autobio, for example, and her music isn't mentioned at all)

but, y'know, way to be disappointed in other people getting excited about something they haven't been able to hear before

well, I think her voice *is* thin, I think some of the songs are a bit thin lyrically outside of good phrase (or just song title). However, these records really groove. I don't know; it's possible relating to the musicians helps here? the band really sounds good behind Davis, very tight, and they *are* funky (tho not Meters funky, or James Brown funky -- but I still think most of the beats and riffs here would sound just fine on Osmium or Cosmic Slop). I mean, on a desert island, I still take my Funkadelic records first, but then Funkadelic is one of my favorite bands. Betty Davis records are just good, hard, very little bullshit funk.

The documentary on her - Betty: They Say I'm Different - is streaming on Amazon Prime, btw.

rest well. respect.☮️

Belated RIP to Betty Davis the singer.

I think the first I ever heard of her was through New Kingdom sampling her on their second album

RIP LEGEND

I had no idea. I liked her song F-U-N-K.

RIP.

Light In The Attic Announce Four Career-Spanning Betty Davis Reissues
In Celebration of Betty Davis’ 50-Year Reign As The Queen Of Funk
Out 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 Passion
Listen To Unearthed Single, “Crashin’ From Passion,” Now

https://www.youtube.com/watch?v=R1CIsGum6Pw

“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 Up
2. Walkin’ Up The Road
3. Anti Love Song
4. Your Man My Man
5. Ooh Yeah
6. Steppin’ In Her I. Miller Shoes
7. Game Is My Middle Name
8. In the Meantime
9. 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 Tracklist
1. Shoo-B-Doop And Cop Him
2. He Was a Big Freak
3. Your Mama Wants Ya Back
4. Don’t Call Her No Tramp
5. Git In There
6. They Say I’m Different
7. 70’s Blues
8. Special People
9. 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? Tracklist
1. Is It Love Or Desire?
2. It’s So Good
3. Whorey Angel
4. Crashin’ From Passion
5. When Romance Says Goodbye
6. Bottom Of The Barrel
7. Stars Starve, You Know
8. Let’s Get Personal
9. 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 Tracklist
1. Quintessence Of Hip
2. She’s A Woman
3. No Good At Falling In Love
4. Tell Me A Few Things
5. I’ve Danced Before
6. You Make Me Feel So Good
7. I Need A Whole Lot Of Love
8. Hangin’ Out In Hollywood
9. All I Do Is Think of You
10. Crashin’ From Passion
11. 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

oops, here's trailer
https://www.youtube.com/watch?v=KVmq0dWRKoY