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.
Don't hate this album because it has been beautifully marketed, for if you do you'll miss out on something extraordinary. Italian mezzo-soprano Cecilia Bartoli reportedly worked on it for three years, even suggesting a mystery-novel tie-in, and her label, Decca, kept the contents under wraps until the album's release, dropping hints via Internet videos. When the album appeared, it was issued in a limited-edition hardbound package including numerous essays covering aspects of the life of the composer involved, Agostino Steffani.
After a successful career as a vocalist in the Charmers and Uniques vocal groups, Lloyd ‘Charmers’ Tyrell made his mark as one of Jamaica’s most influential record producers. From 1969 to 1973, he produced and released an array of local hits on his Splash Records label, featuring himself along with some of the island’s leading performers, most notably Ken Boothe, Bob Andy and BB Seaton.
In 1969, the Zombies landed their biggest hit with the moody, light psychedelia of "Time of the Season," but it was too late for the group to enjoy it much, as they had been broken up for over a year when the track from Odessey and Oracle belatedly took off on American radio. However, no one in the record business will ever pass on an opportunity to follow up a hit, and since original members Rod Argent (keyboards) and Chris White (bass) had been writing songs together with a new group in mind, it took only so much persuading to get them to cut a few singles under the name the Zombies, most patterned after the languid but artful tone of Odessey and Oracle…