Betty Davis

Betty Davis - Betty Davis
FUNK | APE | CUE | LOG | 400DPI | 279MB | 43:05
Just Sunshine 1973

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 the raw, flamboyant, hooky guitar lines of Schon or Rodriguez make the perfect accompaniment to these songs; Graham's slinky bass is the instrumental equivalent of Davis' vocal gymnastics, and Rodriguez makes his guitar scream during "Your Man My Man." It's hard to tell whether the musicians are pushing so hard because of Davis' performances or if they're egging each other, but it's an unnecessary question. Everything about Betty Davis' self-titled debut album speaks to Davis the lean-and-mean sexual predator, from songs to performance to backing, and so much the better for it. All of which should've been expected from the woman who was too wild for Miles Davis. [The 2007 Light in the Attic edition includes bonus tracks.]

~ John Bush, All Music Guide

PERSONNEL:
Betty Davis - Vocals
Larry Graham - Bass
Hershall Kennedy - Organ
Patryce Banks - Percussion
Greg Errico - Drums
Doug Rodrigues - Guitar
Greg Adams - Trumpet
Richard Kermode - Piano (Acoustic)
Michael Gillette - Brass
Skip Mesquite - Saxophone
Richard Kermode - Piano
Victor Pantoja - Conga
Jules Broussard - Saxophone
Willie Sparks - Drums
Anita Pointer - Vocals
June Pointer - Vocals
Merl Saunders - Piano (Electric)
Pete Sears - Piano (Acoustic)
Doug Rauch - Bass
Neal Schon - Guitar
Annie Sampson - Vocals


TRACKLISTING:
1. If I'm in Luck
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

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Betty Davis - They Say I'm Different
FUNK | FLAC | CUE | LOG | COVERS | 342MB | 52:02
Just Sunshine 1974

Betty Davis' second full-length featured a similar set of songs as her debut, though with Davis herself in the production chair and a radically different lineup. The openers, "Shoo-B-Doop and Cop Him" and "He Was a Big Freak," are big, blowsy tunes with stop-start funk rhythms and Davis in her usual persona as the aggressive sexual predator. On the title track, she reminisces about her childhood and compares herself to kindred spirits of the past, a succession of blues legends she holds fond -- including special time for Bessie Smith, Chuck Berry, and Robert Johnson. A pair of unknowns, guitarist Cordell Dudley and bassist Larry Johnson, do a fair job of replacing the stars from her first record. As a result, They Say I'm Different is more keyboard-dominated than her debut, with prominent electric piano, clavinet, and organ from Merl Saunders, Hershall Kennedy, and Tony Vaughn. The material was even more extreme than on her debut; "He Was a Big Freak" featured a prominent bondage theme, while "Your Mama Wants Ya Back" and "Don't Call Her No Tramp" dealt with prostitution, or at least inferred it. With the exception of the two openers, though, They Say I'm Different lacked the excellent songs and strong playing of her debut; an explosive and outré record, but more a variation on the same theme she'd explored before.

~ John Bush, All Music Guide

TRACKLISTING:
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

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Betty Davis - Nasty Gal
FUNK | APE | CUE | LOG | COVERS | 254MB | 40:27
Island 1975

Funk diva Betty Davis was supposed to break big upon the release of her third album, Nasty Gal. After all, her Just Sunshine Records contract had been bought up by Chris Blackwell and Island Records, and they were prepared to invest not only big money in the recording, but in the promotion of the 1975 release. Davis and her well-seasoned road band, Funk House, entered the studio with total artistic control in the making of the album. This set contains classic and often raunchy street funk anthems such as the title track (with its infamous anthemic lyric: "...You said I love you every way but your way/And my way was too dirty for ya now...." ), "Talkin' Trash," "Dedicated to the Press," and the musically ancestral tribute "F.U.N.K." It also features the beautiful, moving, uncharacteristic ballad "You and I," co-written with her ex-husband, Miles Davis, and orchestrated by none other than Gil Evans. It's the only track like it on the record, but it's a stunner. The album is revered as much for its musical quality as its risqué lyrical content. This quartet distilled the Sly Stone funk-rock manifesto and propelled it with real force. Check the unbelievable twinning of guitar and bassline in "Feelins" that underscore, note for note, Davis' vocals. The drive is akin to hardcore punk rock, but so funky it brought Rick James himself to the altar to worship (as he later confessed in interviews). And in the instrumental break, the interplay between the rhythm section (bassist Larry Johnson and drummer Semmie "Nicky" Neal, Jr.) and guitarist Carlos Moralesis held to the ground only by Fred Mills' keyboards. In essence, the album is missing nothing: it's perfect, a classic of the genre in that it pushed every popular genre with young people toward a blurred center that got inside the backbone while smacking you in the face. Heard through headphones, its spaced out psychedelic effects, combined with the nastiest funk rock on the block, is simply shocking. The fact that the album didn't perform the way it should have among the populace wasn't the fault of Davis and her band, who went out and toured their collective butts off, or Island who poured tens of thousands of dollars into radio and press promotion, or the press itself (reviews were almost universally positive). The record seemed to rock way too hard for Black radio, and was far too funky for White rock radio. In the 21st century, however, it sounds right on time. Light in the Attic Records has remastered the original tapes painstakingly for the first North American release of this set on CD. As is their trademark, they've done a stellar job both aurally and visually, as the digipack is spectacular. The set also features a definitive historical essay by John Ballon.

~ Thom Jurek, All Music Guide

PERSONNEL:
Betty Davis - Vocals
Fred Mills - Keyboards, Vocals
Carlos Morales - Guitar, Vocals
Larry Johnson - Bass
Semmie Neal Jr. - Drums
James "Hal" Smith - Arp
Crusher Bennett - Conga
Buddy Williams - Drums


TRACKLISTING:
01. Nasty Gal
02. Talkin Trash
03. Dedicated to the Press
04. You and I
05. Feelings
06. F.U.N.K.
07. Gettin Kicked Off, Havin Fun
08. Shut off the Light
09. This Is It!
10. The Lone Ranger

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Betty Davis - Is it Love or Desire
FLAC | FUNK | CUE | LOG | BOOKLET | 353MB | 34:00
Light In The Attic 2009

Whatever the reason that Betty Davis' Is It Love or Desire -- also known as Crashin' from Passion -- remained unreleased until 2009 no longer matters. Davis remembers a personal rift with Island's Chris Blackwell. Studio In the Country manager Jim Bateman (in Bogalusa, LA) claims the studio was never paid and therefore refused to release the masters to Island, etc. It makes no difference, because hearing this album, a ten-song set that was to be

Davis' and Funk House's final recording, is a revelation. (In 1976, funk was slowly giving way to the popularity of disco). Hindsight is 20/20, but had this album been released at the time, things might indeed have been different. Musically, Is It Love or Desire is so forward and so complete, it moves the entire genre toward a new margin. It is as groundbreaking in its way as the music Ornette Coleman was making with Prime Time à la Dancing in Your Head, and the blunt-edged fractured jazz-funk James Blood Ulmer laid down on his own a couple of years later on Tales of Captain Black and Are You Glad to Be in America?. The songwriting is top notch; some of it transcends the proto-sexual excesses of her earlier records though that's still in this wild mix, too. The production is so canny, it seems to get at the very essences of singers, songs, and musical arrangements, and then there's the music itself created by Funk House, one of the most amazing funk bands in the history of music. Being Davis' road and studio band had gelled the unit, which also practiced when they weren't working with her in a practice space at home in North Carolina. Check the dark voodoo-groove bassline Larry Johnson plays on "It's So Good," with Carlos Morales guitar filling the spaces with spidery, silvery lines, and the machine-gun snare groove laid down by drummer Semmie Neal, Jr with breaks and pops that underscore the outrageous distorted keyboards of Fred Mills, the band's music director. Speaking of Mills, his duet vocal on "Whorey Angel,"a spooky, psychedelic soul number that is far better than its title, is scary good. Check out the gris-gris choruses by Davis and her backing chorus with all that bass leading the entire band in its slow, backbone-slipping attack. The sheer sonic attack of "Bottom of the Barrel," may be country in its lyric intro, but the music is diamond-hard funk that makes no secret of its-anti disco sentiment. The ballad on the set, "When Romance Says Goodbye," is a steamy, sultry jazz noir number that gives the listener an entirely new aural portrait of Davis - Mills' piano work on the tune, with its sparse chords and spacious approach, gives Davis' natural singing voice -- rather than her sexual growl -- plenty of room to shine here. There's a bluesy number in &"Let's Get Personal," and a strutting rutting, gutter anthem in "Bar Hoppin' with some in excellent interplay between Mills' synth and Morales' guitar. The final track, a nocturnal, midtempo sexy number called "For My Man," features the violin talent of Clarence "Gatemouth" Brown, to boot. It's easy to say that this the best thing Davis ever cut, especially when a record has existed in mythology for as long as this one has, but that makes it no less true. Many thanks to the Light in the Attic imprint for bringing Is It Love or Desire out of the realm of myth and the dustbin of history, and into the hands of music fans.

~ Thom Jurek, All Music Guide

PERSONNEL:
Betty Davis - Vocals
Larry Johnson - Bass
Carlos Morales - Guitar, Vocals
Fred Mills - Keyboards, Vocals
Semmie Neal Jr. - Drums
Nathaniel Corbett - Percussion
Clarence "Gatemouth" Brown - Violin


TRACKLISTING:
01. Is It Love Or Desire
02. It's So Good
03. Whorey Angel
04. Crashin From Passion
05. When Romance Says Goodbye
06. Bottom of the Barrell
07. Stars Starve You Know
08. Let's Get Personal
09. Bar Hoppin
10. For My Man

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Betty Davis - Betty Davis (1973)

01 - If I'm In Luck I Might Get Picked Up (5:00)
02 - Walkin Up The Road (4:31)
03 - Anti Love Song (3:08)
04 - Your Man My Man (5:12)
05 - Ooh Yea (2:55)
06 - Steppin In Her I. Miller Shoes (3:39)
07 - Game Is My Middle Name (3:14)
08 - In The Meantime (2:43)

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Betty Davis - Hangin' Out In Hollywood - 1996

Artist: Betty Davis
Title Of Album: Hangin' Out In Hollywood
Year Of Release: 1996
Label: Charly
Genre: Funk/Soul
Quality: FLAC
Bitrate: Lossless
Total Time: 00: 47:44
Total Size: 297MB

1 Hangin' Out In Hollywood 02:57
2 I Need A Whole Lot Of Love 04:50
3 Quintessence Of Hip 02:39
4 All I Do Is Think Of You 04:11
5 Tell Me A Few Things 04:07
6 You Make Me Feel So Good 03:58
7 No Good At Falling In Love 03:46
8 You take me for granted 04:28
9 Crashin' From Passion 05:57
10 I've Danced Before 03:38
11 She's A Woman 07:07

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Betty Davis - They Say I'm Different




Album: They Say I'm Different
Genre: Hard Funk
Release Date: 1974
Quality: MP3 CBR @ 320
Size: 78 MB+covers
Ripper:EAC
Encoder:Lame 3.97



01. Shoo-B-Doop and Cop Him
02. He Was a Big Freak
03. Your Mama Wants Ya Back
04. Don't Call Her No Tramp
05. Git in There
06. They Say I'm Different
07. 70's Blues
08. Special People

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Betty Davis - Is It Love or Desire

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