Betty Davis CD

2007 digitally remastered reissue of the 1973 debut album from Funk diva Betty Davis (not to be confused with the actress Bette 'Mommie Dearest' Davis). In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over the intensely strong but sensual funk of Betty Davis. One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of this R&B pioneer. In addition to the restoration of the incredible original cover art, the albums feature compelling and heartbreaking liner notes written by author and respected soul music scholar Oliver Wang (O-Dub/Soul Sides) and include her second interview in decades, making these essential reissues for any soul or funk-rock collection. In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard Funk and sweet Soul self-titled debut. The album was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters. Light In The Attic.

Personnel: Patryce Banks, Pointer Sisters, Kathi McDonald, Anita Pointer, Annie Sampson, Sylvester (vocals); Douglas Rodrigues, Neal Schon (guitar); Skip Mesquit (saxophone); Jules Broussard (baritone saxophone); Greg Adams (trumpet); Michelle Gillette (trombone); Hershall Kennedy, Merl Saunders, Richard Kermode (Clavinet); Doug Rauch, Larry Graham (bass guitar); Greg Errico (drums); Victor Pantoja (congas); Pete Sears (unknown instrument).
Audio Remasterer: Dave Cooley.
Despite an abundance of talent, a crack back-up band (which included most of Graham Central Station), and some of the most stinging funk tracks of the era, it's really not all that surprising that Betty Davis never became a star: the girl was a stone-cold freak, and her self-titled 1973 debut more than illustrates that fact. Second wife to Miles Davis and Jimi Hendrix's former girlfriend, Davis is often credited (by Miles himself in fact) with steering Miles toward the sounds that would give rise to his fusion period, and one listen to the acid-tinged wah-drenched guitars on the album's opening track, "If I'm in Luck I Might Get Picked Up," makes it clear that Betty was on a decidedly different trip than almost all of her contemporaries. The album can be quite odd, yet Davis is so unhinged and brimming with such confidence (particularly on the cult fave "Walkin' up the Road") it's impossible not to be amazed. Frustratingly, Davis remains in relative obscurity to this day despite providing the template for the sexually confident female performer that has been used by Lil'Kim, Foxy Brown, and Kelis, among others.
Betty Davis' debut was an outstanding funk record, driven by her aggressive, no-nonsense songs and a set of howling performances from a crack band. Listeners wouldn't know it from the song's title, but for the opener, "If I'm in Luck I Might Get Picked Up," Davis certainly doesn't play the wallflower; she's a woman on the prowl, positively luring the men in and, best of all, explaining exactly how she does it: "I said I'm wigglin' my fanny, I'm raunchy dancing, I'm-a-doing it doing it/This is my night out." "Game Is My Middle Name" begins at a midtempo lope, but really breaks through on the chorus, with the Pointer Sisters and Sylvester backing up each of her assertions. As overwhelming as Davis' performances are, it's as much the backing group as Davis herself that makes her material so powerful (and believable). Reams of underground cred allowed her to recruit one of the tightest rhythm sections ever heard on record (bassist Larry Graham and drummer Greg Errico, both veterans of Sly & the Family Stone), plus fellow San Francisco luminaries like master keyboardist Merl Saunders and guitarists Neal Schon or Douglas Rodriguez (both associated with Santana at the time). Graham's popping bass and theThe Wire (p.43) - "Davis gets over on pure attitude alone. The obvious comparisons are to Madonna, Lil' Kim and Kelis....The music on BETTY DAVIS is as loud and nasty as she is..."
CMJ (p.46) - "Every word hisses and slithers out of Betty's chompers like a cobra leering and ready to strike..."
Down Beat (p.62) - 3.5 stars out of 5 -- "[T]he grooves of her music still have power after 30-plus years....This stuff is upside-down funky, and tilts toward the raw side..."
No Depression (p.86) - "She doesn't sing her originals so much as attack them, sometimes like a 300-pound bouncer, other with ninja-like stealth, and always with powerful impact."