Betty Davis
Betty Davis (Bonus Tracks)
Play Betty Davis (Bonus Tracks)
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MOG Editorial Review
Betty Davis, born Betty Mabry, was famous at first for being an ex-wife of Miles Davis, and for holding the namesake of his quintet’s great tune “Mademoiselle Mabry.” But as a songwriter and A-list model, she was known for her raunchy and frank sexuality, her outspoken personality and high style. The amount of sensual allusion on her debut full-length Betty Davis and its follow-up They Say I’m Different leaves no groove ungunked. Borrowing slick SF Bay Area players from Sly & the Family Stone among others, Davis crafted an album that's essentially hard-funk/rock by a female James Brown. Listen for Oakland’s The Pointer Sisters on “Steppin’ In Her I. Miller Shoes” and Santana guitarist Neal Schon all over the record. Santana once said of Davis, “She was the first Madonna, but Madonna is more like Marie Osmond compared to Betty Davis. Betty was a real ferocious Black Panther woman. You couldn't tame Betty Davis." Can't argue with that!
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AMG Review of Betty Davis [Bonus Tracks]
John Bush
All Music GuideBetty 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.]








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