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.
Light In the Attic have outdone themselves again with this latest reissue of what is surely Betty Davis' best and most coveted work. Her iconic voice is transported by the legendary productions of, to name a few, a couple of peeps by the name of Miles Davis, Teo Macero and Herbie Hancock. According to the label, what is special about this release is its pioneering stance on jazz, where across nine songs these greats pretty much already started and finished the free-jazz sound. For the late 1960s, this is some truly special and forward-thinking material; a clear precursor to the mad, improvisational - and often misinterpreted - seminal album by Miles Davis himself, On The Corner. This is mostly unreleased material, and the LP comes with a booklet of interviews and rare photos. Unmissable.
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.
Powerhouse singer Mahalia Barnes, one of the most impressive female vocalists to come out of Australia, and her band The Soul Mates have teamed up with American blues-rock guitarist Joe Bonamassa to release an album of Betty Davis covers called Ooh Yea! The Betty Davis Songbook. Scheduled for release on 2/24/15, it explores tracks from Davis sexy, raw funk records of the early 70s. Betty Davis s unique story is still fairly unknown. She married Miles Davis in the late 60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix…
When he released "Bitches Brew" in 1970, Miles Davis opened up a new angle to jazz which stirred up emotions like no other record before. Some critics accused Davis of selling out, while the public bought it like crazy. It is one of the most examined albums of all time, even garnering a box set of the sessions. To date, "Bitches Brew" is one of the top selling jazz albums of all time. "Miles Electric: A Different Kind of Blue" examines the next step in the creative process…performing these songs live. The 1970 Isle of Wight featured an array of performers from The Who to Jethro Tull to Joni Mitchell. With improvisation playing a big role in the performance, the band (Jack DeJohnette, Chick Corea, Keith Jarrett, Gary Bartz and Dave Holland) had to be "on", yet ready to change on the fly. Directed by award-winning producer Murray Lerner, "Miles Electric" sits down with several of the performers who played with Miles, interspersed with his 1970 Isle of Wight performance, as well as artists such as Carlos Santana and Joni Mitchell, who describe the impact Miles Davis had towards music.
Deluxe 71 disc box set that contains 52 single CD and double CD albums (which includes the previously unreleased full-length audio version of his 1970 Isle Of Wight performance). The essay is complemented by brief annotations written by Franck Bergerot, covering every single one of the 52 albums. The cornerstones of the box set are the studio and live albums that were released during his tenure at the label, more than 40 titles that he recorded in the 1950s, '60s, '70s and '80s.
Along with its sister recording, Pangaea, Agharta was recorded live in February of 1975 at the Osaka Festival Hall in Japan. Amazingly enough, given that these are arguably Davis' two greatest electric live records, they were recorded the same day. Agharta was performed in the afternoon and Pangaea in the evening. Of the two, Agharta is superior. The band with Davis – saxophonist Sonny Fortune, guitarists Pete Cosey (lead) and Reggie Lucas (rhythm), bassist Michael Henderson, drummer Al Foster, and percussionist James Mtume – was a group who had their roots in the radically streetwise music recorded on 1972's On the Corner, and they are brought to fruition here.