Betty Davis - Nasty Gal DTS

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Betty Davis - Nasty Gal DTS
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Artist...............: Betty Davis
Album................: Nasty Gal
Genre................: FUNK
Year.................: 1975
Channels.............: 5.1 / 44100 HZ / 16 Bit
Included.............: WAV, CUE
Burn test............: 9/29/2012
Posted by............: MrMalikai on 7/9/2010, 9/30/2012

Information..........: pLAY iT lOUD

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Tracklisting
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01. Nasty Gal
02. Talkin' Trash
03. Dedicated To The Press
04. You And I
05. Feeling
06. F.U.N.K.
07. Gettin' Kicked Off, Havin' Fun
08. Shut Off The Light
09. This Is It!
10. The Lone Ranger

Playing Time.........: 00:40:27
Total Size...........: 408.00 MB
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It's a stereo to DTS 5.1 conversion. Burn it to a standard CD-R.
Can be played on home theater systems that have a DTS decoder
and on PC's with the software to play DTS.
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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. 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.