PRE ORDER 25\/08\/23 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 R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can\u00e2\u20ac\u2122t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music. There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago \u00e2\u20ac\u201c we live in an age that\u00e2\u20ac\u2122s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn\u00e2\u20ac\u2122t get sexy with their \u00e2\u20ac\u0153Lady Marmalade\u00e2\u20ac\u009d for another year while Millie Jackson wasn\u00e2\u20ac\u2122t Feelin\u00e2\u20ac\u2122 Bitchy until 1977. Even Tina Turner, the most obvious predecessor to Betty\u00e2\u20ac\u2122s fierce style wasn\u00e2\u20ac\u2122t completely out of Ike\u00e2\u20ac\u2122s shadow until later in the decade. Ms. Davis\u00e2\u20ac\u2122s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song \u00e2\u20ac\u0153Uptown\u00e2\u20ac\u009d for the Chambers Brothers before marrying Miles Davis in the late \u00e2\u20ac\u212260s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix \u00e2\u20ac\u201d personally inspiring the classic album Bitches Brew. But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty\u00e2\u20ac\u2122s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn\u00e2\u20ac\u2122t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. Her 1974 sophomore album They Say I\u00e2\u20ac\u2122m Different features a worthy-of-framing futuristic cover challenging David Bowie\u00e2\u20ac\u2122s science fiction funk with real rocking soul-fire, kicked off with the savagely sexual \u00e2\u20ac\u0153Shoo-B-Doop and Cop Him\u00e2\u20ac\u009d (later sampled by Ice Cube). Her follow up is full of classic cuts like \u00e2\u20ac\u0153Don\u00e2\u20ac\u2122t Call Her No Tramp\u00e2\u20ac\u009d and the hilarious, hard, deep funk of \u00e2\u20ac\u0153He Was A Big Freak.\u00e2\u20ac\u009d Tracklist: Shoo-B-Doop and Cop Him, He Was a Big Freak, Your Mama Wants Ya Back, Don’t Call Her No Tramp, Git In There, They Say I’m Different, 70’s Blues, Special People, He Was a Big Freak (Record Plant Rough Mixes – Digital Only Bonus Track), Don’t Call Her No Tramp (Record Plant Rough Mixes – Digital Only Bonus Track), Git In There (Record Plant Rough Mixes – Digital Only Bonus Track), 70’s Blues (Record Plant Rough Mixes – Digital Only Bonus Track)<\/p>","protected":false},"excerpt":{"rendered":"
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