Davis, Betty

Vinyl Records and Rare LPs:

	Betty Davis New - Vinyl - JSS 5 Sealed 1973 Original, Some Tears In Shrink Wrap. “Betty Davis' Debut Was An Outstanding Funk Record, Driven By Her Aggressive, No-Nonsense Songs And A Set Of Howling Performances From A Crack Band. 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). It's Hard To Tell Whether The Musicians Are Pushing So Hard Because Of Davis' Performances Or If They're Egging Each Other On, 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.” John Bush All Music Guide. more
	Betty Davis Used - Vinyl - JSS 5 1973 Embossed Jacket Original. Both Jacket And LP Are VG, Hence Price. more
	Betty Davis Used - Vinyl - UFOXY2LP 2002 Reissue Of Just Sunshine JSS 5. Vinyl Appears New, Unplayed. “Betty Davis' Debut Was An Outstanding Funk Record, Driven By Her Aggressive, No-Nonsense Songs And A Set Of Howling Performances From A Crack Band. 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). It's Hard To Tell Whether The Musicians Are Pushing So Hard Because Of Davis' Performances Or If They're Egging Each Other On, 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.” John Bush All Music Guide. more
	Betty Davis New - Vinyl - LITA 026 Factory Sealed 2007 Reissue. Stone Cold Killer Stuff. "Betty 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." - AMG more
	Betty Davis Colored Vinyl - New - LITA 026 Sealed 2017 Exclusive VMP Release. Pressed On 180gm Limited Edition Silver & Blue Vinyl Remastered From Original Tapes. Stone Cold Funk. "Betty 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." - AMG more
	Betty Davis New - Vinyl - LITA 026-1 Sealed 2023 Remastered Reissue; Cut From The Original Tapes And Pressed AT RTI On 180gm Vinyl. Includes An Expanded 20-Page Booklet With Liner Notes From Danielle Maggio. Her Landmark Debut! "Betty 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 On, 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." AMG - John Bush more
	Betty Davis New - Vinyl - LITA 026-1 Sealed 2023 Remastered Reissue; Cut From The Original Tapes And Pressed AT RTI On 180gm Vinyl. Includes An Expanded 20-Page Booklet With Liner Notes From Danielle Maggio. Her Landmark Debut! "Betty 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 On, 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." AMG - John Bush more
	Is It Love Or Desire Colored Vinyl - New - LITA 047-1-2 Sealed 2023 Special Edition, Remastered Vinyl Reissue Pressed On Silver Metallic Wax And Housed In A Deluxe Gatefold Jacket With An Obi-Style Hype Strip. Pressed At RTI And Released With Full Support Of Betty Davis. "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 Davis' And Funk House's Final Recording, Is A Revelation. (In 1976, Funk Was Slowly Giving Way To The Popularity Of Disco). Hindsight Is 20/20, But Had This Album Been Released At The Time, Things Might Indeed Have Been Different. Musically, Is It Love Or Desire Is So Forward And So Complete, It Moves The Entire Genre Toward A New Margin. It Is As Groundbreaking In Its Way As The Music Ornette Coleman Was Making With Prime Time À La Dancing In Your Head, And The Blunt-edged Fractured Jazz-funk James Blood Ulmer Laid Down On His Own A Couple Of Years Later On Tales Of Captain Black And Are You Glad To Be In America?. The Songwriting Is Top Notch; Some Of It Transcends The Proto-sexual Excesses Of Her Earlier Records Though That's Still In This Wild Mix, Too. The Production Is So Canny, It Seems To Get At The Very Essences Of Singers, Songs, And Musical Arrangements, And Then There's The Music Itself Created By Funk House, One Of The Most Amazing Funk Bands In The History Of Music. Being Davis' Road And Studio Band Had Gelled The Unit, Which Also Practiced When They Weren't Working With Her In A Practice Space At Home In North Carolina. Check The Dark Voodoo-groove Bassline Larry Johnson Plays On "It's So Good," With Carlos Morales Guitar Filling The Spaces With Spidery, Silvery Lines, And The Machine-gun Snare Groove Laid Down By Drummer Semmie Neal, Jr With Breaks And Pops That Underscore The Outrageous Distorted Keyboards Of Fred Mills, The Band's Music Director. Speaking Of Mills, His Duet Vocal On "Whorey Angel,"A Spooky, Psychedelic Soul Number That Is Far Better Than Its Title, Is Scary Good. Check Out The Gris-gris Choruses By Davis And Her Backing Chorus With All That Bass Leading The Entire Band In Its Slow, Backbone-slipping Attack. The Sheer Sonic Attack Of "Bottom Of The Barrel," May Be Country In Its Lyric Intro, But The Music Is Diamond-hard Funk That Makes No Secret Of Its-anti Disco Sentiment. The Ballad On The Set, "When Romance Says Goodbye," Is A Steamy, Sultry Jazz Noir Number That Gives The Listener An Entirely New Aural Portrait Of Davis - Mills' Piano Work On The Tune, With Its Sparse Chords And Spacious Approach, Gives Davis' Natural Singing Voice -- Rather Than Her Sexual Growl -- Plenty Of Room To Shine Here. There's A Bluesy Number In &"Let's Get Personal," And A Strutting Rutting, Gutter Anthem In "Bar Hoppin' With Some In Excellent Interplay Between Mills' Synth And Morales' Guitar. The Final Track, A Nocturnal, Midtempo Sexy Number Called "For My Man," Features The Violin Talent Of Clarence "Gatemouth" Brown, To Boot. It's Easy To Say That This The Best Thing Davis Ever Cut, Especially When A Record Has Existed In Mythology For As Long As This One Has, But That Makes It No Less True. Many Thanks To The Light In The Attic Imprint For Bringing Is It Love Or Desire Out Of The Realm Of Myth And The Dustbin Of History, And Into The Hands Of Music Fans." AMG - Thom Jurek. more
	Nasty Gal Colored Vinyl - New - LITA 046 Sealed 2021 Limited Edition Reissue Pressed On Clear Vinyl. Remastered From The Original Tapes. Expanded Gatefold Version With Booklet Included. "Funk Diva Betty Davis Was Supposed To Break Big Upon The Release Of Her Third Album, Nasty Gal. After All, Her Just Sunshine Records Contract Had Been Bought Up By Chris Blackwell And Island Records, And They Were Prepared To Invest Not Only Big Money In The Recording, But In The Promotion Of The 1975 Release. Davis And Her Well-seasoned Road Band, Funk House, Entered The Studio With Total Artistic Control In The Making Of The Album. This Set Contains Classic And Often Raunchy Street Funk Anthems Such As The Title Track (With Its Infamous Anthemic Lyric: "...you Said I Love You Every Way But Your Way/and My Way Was Too Dirty For Ya Now...." ), "Talkin' Trash," "Dedicated To The Press," And The Musically Ancestral Tribute "F.u.n.k." It Also Features The Beautiful, Moving, Uncharacteristic Ballad "You And I," Co-written With Her Ex-husband, Miles Davis, And Orchestrated By None Other Than Gil Evans. It's The Only Track Like It On The Record, But It's A Stunner. The Album Is Revered As Much For Its Musical Quality As Its Risqué Lyrical Content. This Quartet Distilled The Sly Stone Funk-rock Manifesto And Propelled It With Real Force. Check The Unbelievable Twinning Of Guitar And Bassline In "Feelins" That Underscore, Note For Note, Davis' Vocals. The Drive Is Akin To Hardcore Punk Rock, But So Funky It Brought Rick James Himself To The Altar To Worship (As He Later Confessed In Interviews). And In The Instrumental Break, The Interplay Between The Rhythm Section (Bassist Larry Johnson And Drummer Semmie "Nicky" Neal, Jr.) And Guitarist Carlos Moralesis Held To The Ground Only By Fred Mills' Keyboards. In Essence, The Album Is Missing Nothing: It's Perfect, A Classic Of The Genre In That It Pushed Every Popular Genre With Young People Toward A Blurred Center That Got Inside The Backbone While Smacking You In The Face. Heard Through Headphones, Its Spaced Out Psychedelic Effects, Combined With The Nastiest Funk Rock On The Block, Is Simply Shocking. The Fact That The Album Didn't Perform The Way It Should Have Among The Populace Wasn't The Fault Of Davis And Her Band, Who Went Out And Toured Their Collective Butts Off, Or Island Who Poured Tens Of Thousands Of Dollars Into Radio And Press Promotion, Or The Press Itself (Reviews Were Almost Universally Positive). The Record Seemed To Rock Way Too Hard For Black Radio, And Was Far Too Funky For White Rock Radio. In The 21st Century, However, It Sounds Right On Time. Light In The Attic Records Has Remastered The Original Tapes Painstakingly For The First North American Release Of This Set On CD & LP. As Is Their Trademark, They've Done A Stellar Job Both Aurally And Visually, As The Digipack Is Spectacular. The Set Also Features A Definitive Historical Essay By John Ballon." AMG Review By Thom Jurek. more
	Nasty Gal Used - Vinyl - ILPS 9329 1975 Original Funk LP From Miles' Ex-Wife. more
	Nasty Gal Used - Vinyl - ILPS 9329 1975 Original With Custom Inner Sleeve. Saw Cut, Unplayed Condition. more
	Nasty Gal New - Vinyl - ILPS 9329 Sealed 1975 Original. more
	They Say I'm Different Used - Vinyl - JSS 3500 Beautiful 1975 Embossed Gatefold Cover Original Including The Rare Poster. Unplayed Condition. more
	They Say I'm Different Used - Vinyl - JSS 3500 Beautiful 1974 Gatefold Original. No Poster. more
	They Say I'm Different New - Vinyl - LITA 027 SALE PRICED. Factory Sealed 2007 Embossed Cover Gatefold Reissue. Includes 7" With Rough Mixes Of "He Was A Big Freak" And "Don't Call Her No Tramp." " 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. On The Title Track, She Reminisces About Her Childhood And Compares Herself To Kindred Spirits Of The Past, A Succession Of Blues Legends She Holds Fond — Including Special Time For Bessie Smith, Chuck Berry, And Robert Johnson. A Pair Of Unknowns, Guitarist Cordell Dudley And Bassist Larry Johnson, Do A Fair Job Of Replacing The Stars From Her First Record. As A Result, They Say I'm Different Is More Keyboard-Dominated Than Her Debut, With Prominent Electric Piano, Clavinet, And Organ From Merl Saunders, Hershall Kennedy, And Tony Vaughn. The Material Was Even More Extreme Than On Her Debut; "He Was A Big Freak" Featured A Prominent Bondage Theme, While "Your Mama Wants Ya Back" And "Don't Call Her No Tramp" Dealt With Prostitution, Or At Least Inferred It. With The Exception Of The Two Openers, Though, They Say I'm Different Lacked The Excellent Songs And Strong Playing Of Her Debut; An Explosive And Outré Record, But More A Variation On The Same Theme She'd Explored Before." - AMG more
	They Say I'm Different Used - Vinyl - UFOXY3LP Out Of Print 2002 Reissue Of Just Sunshine JSS 3500 With Slightly Altered Cover Art. New, Unplayed Shop Stock. more
	They Say I'm Different New - Vinyl - JSS 3500 Sealed Late 70's Non-Gatefold Pressing. Cover Is VG++. "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. On The Title Track, She Reminisces About Her Childhood And Compares Herself To Kindred Spirits Of The Past, A Succession Of Blues Legends She Holds Fond — Including Special Time For Bessie Smith, Chuck Berry, And Robert Johnson. A Pair Of Unknowns, Guitarist Cordell Dudley And Bassist Larry Johnson, Do A Fair Job Of Replacing The Stars From Her First Record. As A Result, They Say I'm Different Is More Keyboard-Dominated Than Her Debut, With Prominent Electric Piano, Clavinet, And Organ From Merl Saunders, Hershall Kennedy, And Tony Vaughn. The Material Was Even More Extreme Than On Her Debut; "He Was A Big Freak" Featured A Prominent Bondage Theme, While "Your Mama Wants Ya Back" And "Don't Call Her No Tramp" Dealt With Prostitution, Or At Least Inferred It. With The Exception Of The Two Openers, Though, They Say I'm Different Lacked The Excellent Songs And Strong Playing Of Her Debut; An Explosive And Outré Record, But More A Variation On The Same Theme She'd Explored Before." - AMG more
	They Say I'm Different New - Vinyl - LITA 027-1 Sealed 2023 Remastered Reissue. Vinyl Pressed At RTI, Cut From The Original Tapes. Includes An Expanded 20-Page Booklet With Liner Notes From Danielle Maggio. "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. On The Title Track, She Reminisces About Her Childhood And Compares Herself To Kindred Spirits Of The Past, A Succession Of Blues Legends She Holds Fond — Including Special Time For Bessie Smith, Chuck Berry, And Robert Johnson. A Pair Of Unknowns, Guitarist Cordell Dudley And Bassist Larry Johnson, Do A Fair Job Of Replacing The Stars From Her First Record. As A Result, They Say I'm Different Is More Keyboard-Dominated Than Her Debut, With Prominent Electric Piano, Clavinet, And Organ From Merl Saunders, Hershall Kennedy, And Tony Vaughn. The Material Was Even More Extreme Than On Her Debut; "He Was A Big Freak" Featured A Prominent Bondage Theme, While "Your Mama Wants Ya Back" And "Don't Call Her No Tramp" Dealt With Prostitution, Or At Least Inferred It. With The Exception Of The Two Openers, Though, They Say I'm Different Lacked The Excellent Songs And Strong Playing Of Her Debut; An Explosive And Outré Record, But More A Variation On The Same Theme She'd Explored Before." - AMG more
	They Say I'm Different New - Vinyl - LITA 027-1 Sealed 2023 Remastered Reissue. Vinyl Pressed At RTI, Cut From The Original Tapes. Includes An Expanded 20-Page Booklet With Liner Notes From Danielle Maggio. "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. On The Title Track, She Reminisces About Her Childhood And Compares Herself To Kindred Spirits Of The Past, A Succession Of Blues Legends She Holds Fond — Including Special Time For Bessie Smith, Chuck Berry, And Robert Johnson. A Pair Of Unknowns, Guitarist Cordell Dudley And Bassist Larry Johnson, Do A Fair Job Of Replacing The Stars From Her First Record. As A Result, They Say I'm Different Is More Keyboard-Dominated Than Her Debut, With Prominent Electric Piano, Clavinet, And Organ From Merl Saunders, Hershall Kennedy, And Tony Vaughn. The Material Was Even More Extreme Than On Her Debut; "He Was A Big Freak" Featured A Prominent Bondage Theme, While "Your Mama Wants Ya Back" And "Don't Call Her No Tramp" Dealt With Prostitution, Or At Least Inferred It. With The Exception Of The Two Openers, Though, They Say I'm Different Lacked The Excellent Songs And Strong Playing Of Her Debut; An Explosive And Outré Record, But More A Variation On The Same Theme She'd Explored Before." - AMG more