Betty Davis - Crashin' From Passion - Red - VINYL LP
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In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said Inchfunk youInch to the music industry and social norms. In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her tag and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project. With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce InchChoc'letInch Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin' From Passion, was her most musically diverse, blending elements of reggae and calypso (InchI've Danced BeforeInch), jazz (InchHangin' Out in Hollywood,Inch InchTell Me a Few ThingsInch), dark synth-pop (InchShe's a WomanInch), and even disco (InchAll I Do Is Think of YouInch). Equally exploratory are Davis' vocals, as she trades in her signature sass and snarls for more nuanced stylings. Among the album's few funk tracks i
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- GenreRhythm & BluesDescriptionIn the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said Inchfunk youInch to the music industry and social norms. In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her tag and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project. With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce InchChoc'letInch Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin' From Passion, was her most musically diverse, blending elements of reggae and calypso (InchI've Danced BeforeInch), jazz (InchHangin' Out in Hollywood,Inch InchTell Me a Few ThingsInch), dark synth-pop (InchShe's a WomanInch), and even disco (InchAll I Do Is Think of YouInch). Equally exploratory are Davis' vocals, as she trades in her signature sass and snarls for more nuanced stylings. Among the album's few funk tracks iArtistBetty DavisTitleCrashin' From Passion - RedFormatVINYLLabelLight in the Attic
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In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said Inchfunk youInch to the music industry and social norms. In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her tag and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project. With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce InchChoc'letInch Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin' From Passion, was her most musically diverse, blending elements of reggae and calypso (InchI've Danced BeforeInch), jazz (InchHangin' Out in Hollywood,Inch InchTell Me a Few ThingsInch), dark synth-pop (InchShe's a WomanInch), and even disco (InchAll I Do Is Think of YouInch). Equally exploratory are Davis' vocals, as she trades in her signature sass and snarls for more nuanced stylings. Among the album's few funk tracks i
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Betty Davis was a musical maverick with vision. Image, substance, S*x, and grit combined with a badass band that could deliver the funk bed backbone to the sultry music between the sheets. After cutting two notorious discs for the Just Sunshine tag (_Betty Davis_ and _They Say I'm Different_), and _Nasty Gal_ for Island Records, Davis went to work on her most personal and expressive record yet. After capturing 10 hard-hitting tracks in 1976 at the remote Studio In The Country (Louisiana), a creative difference with her then tag caused the platter to be unexpectedly shelved. Davis would cut one final album and soon retreat from the music business, completely disappearing from the public eye. _Is It Love Or Desire_ is a little-known gem in the Davis catalog. Mastered from the original tapes, and untouched for over 30 years, this features detailed liner notes, the originally intended artwork housed in a lavishly packaged digipak, rare photos, archival material, and recent interviews with Davis and her skin-tight band Funk House. Never bootlegged, never released, never heard until now, the secret story of this lost album will finally enter the history books and cement this bold soul sisters contributions to music and popular culture. It's time to get down... Long live Betty Davis!
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