They Say I'm Different
They Say I'm Different

Betty Davis

They Say I'm Different

Sale price38,00 €

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  • Édition vinyle étendue avec jaquette gatefold et livret de 20 pages comprenant des photos rares, des paroles et de nouvelles notes de Danielle Maggio interviewant Betty.
Release LP SKU: LITA027LP
  • September 15, 2023
  • Repress
  • New
  • Black

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Réédition officielle, 2022.

On peut difficilement imaginer la magie musicale de Outkast, Prince, Erykah Badu, Rick James, The Roots, ou même les premiers Red Hot Chili Peppers sans l'influence de la pionnière du R&B Betty Davis. Son style de punk-funk brut et révélateur défie toute idée selon laquelle les femmes ne peuvent pas être des visionnaires dans le monde du rock et de la pop. Ces dernières années, les rappeurs, d'Ice Cube à Talib Kweli en passant par Ludacris, ont rimé sur sa musique intensément forte mais sensuelle.

Il existe un témoignage universel sur Betty Davis : elle était une femme en avance sur son temps. Dans notre époque contemporaine, ce n'est peut-être pas aussi évident qu'il y a trente ans - nous vivons à une époque qui a été profondément modifiée par l'étalage flamboyant de la sexualité féminine : de Parlet à Madonna, de Lil Kim à Kelis. Pourtant, en 1973, lorsque Betty Davis est apparue pour la première fois avec ses bottes go-go argentées, son sourire éblouissant et sa coupe afro imposante, à qui auriez-vous pu la comparer ? Marva Whitney avait la voix mais pas l'indépendance. Labelle n'allait pas devenir sexy avec son "Lady Marmalade" avant un an, tandis que Millie Jackson n'était pas Feelin' Bitchy avant 1977. Même Tina Turner, le prédécesseur le plus évident du style féroce de Betty, n'est sortie complètement de l'ombre d'Ike que plus tard dans la décennie.

L'histoire unique de Mme Davis, malheureusement encore très peu connue, ne ressemble à aucune autre dans la musique populaire. Betty a écrit la chanson "Uptown" pour les Chambers Brothers avant d'épouser Miles Davis à la fin des années 60, de l'influencer avec le rock psychédélique et de lui faire découvrir Jimi Hendrix, ce qui a personnellement inspiré l'album classique Bitches Brew.

Mais sa capacité à écrire des chansons était également très en avance sur son temps. Non seulement Betty a écrit toutes les chansons qu'elle a enregistrées et produit tous les albums après le premier, mais la jeune femme a écrit les chansons qui ont permis aux Commodores de signer chez Motown. Le label de Detroit ne tarde pas à appeler, proposant un contrat d'écriture de chansons pour la Motown, que Betty refuse. Motown voulait tout posséder. En route pour le Royaume-Uni, Marc Bolan de T. Rex incite la dynamo créative à commencer à écrire pour elle-même. Le fil conducteur de la carrière de Betty est son éthique inflexible du "Do-It-Yourself", qui l'amène à refuser rapidement tous ceux qui ne correspondent pas à sa vision. Elle finira par refuser qu'Eric Clapton soit le producteur de son album, le considérant comme trop banal.

Son deuxième album de 1974, They Say I'm Different, présente une couverture futuriste digne de ce nom, qui remet en question le funk de science-fiction de David Bowie en le remplaçant par une véritable soul-fire rock, et qui démarre avec le morceau sauvagement sexuel "Shoo-B-Doop and Cop Him" (plus tard samplé par Ice Cube). Sa suite est pleine de morceaux classiques comme "Don't Call Her No Tramp" et le funk hilarant, dur et profond de "He Was A Big Freak".

Betty Davis

Light in the Attic Records