Album Notes

Bringing just the component needed to set the sentimental mood of this poignant piece. A classic Billy Davis move (soft and tender yet penetrating).
A sweet and mellow embellishment of the music is beautifully contradictory to the ironic lyrical acknowledgment of the unpleasantries of falling out
of love. Dichotomy be damned, it is easy to fall in love with this smooth tune. In pursuit of that undying premise of selling one’s soul to the devil in
exchange for fame "Crossroads" has been visited and revisited musically by the best and the rest (Billy’s in the former category). He puts a
refreshing new spin on the old ‘Lucifer-&-his-magic-powers’ spiel. Lookout Satan! After this release, you might get some newly convinced recruits.
"Do As You Choose" is an on-going common enemy thread linking rebel youth (espousing independence) and pitting them against nosy do-gooders.
Coupling the conflict-ridden theme with this pocketed, Don Covay-influenced, hypnotic arrangement allows the ‘body boogie’ to continue uninterrupted.
If you weren’t privy to experiencing it originally, believe that being transported back to ‘Jerk’ ‘Monkey’ ’Pony’ times is a good thing. Do I detect a hint
of Bible prophesy in "Faces and Places"? Certainly an original concept as Blues go today, however (unlike in the song) many believe it’s no dream.
Catchy, likeable and lingering, it’s a safe bet that you’ll get hooked on the intoxicating, dependable, hypnotic guitar & riding backbeat long before the
monster is etched in your brain; if you buy the foreign talking serpent with bloody red eyes, at all. Here, a lively traditional folksy number effortlessly
rocks the essence of Funk/Hillbilly, while capturing a bouncy groove on "Playing My Song". This likable Jump/Swing tune is proof positive that Billy
is a mix-breed (half Blues/half Country). He pridefully promises to "keep on singing" and hopefully somebody will hold him to that. Sorrow settings
have been painted forever, representing every artistic form, and BD continues in that vein on the music canvas, sympathetically working tender guitar
chords and mournful emotional organ phrases into this compassion evoking scene. Billy graciously wrote and dedicated "Sam’s Song" to a keyboard
buddy, gone on to that rhythm section in the sky. He’d be proud of this. Jarringly crying out recurring expressions touting the seductive exploits of a
‘young-girl-gone-wrong’ nymphomaniac, "Love maker" has a finger on the pulse of a sizeable section of today’s society (if the "baby daddy" shows
can be believed). One can just picture the "dance of the ’booty-call’" while losing themselves in the driving, rhythmic, old school feel of yesteryear.
I find no truly weak songs amongst this CD of Billy originals, but "Sin City" (Las Vegas’ translation for fun) doesn’t exactly conjure up a "fun" notion.
This musically challenged, bleak message, snatched straight from today’s headlines of inner-city woes, is almost salvaged by some bright spurts of
saxophone; but the heavy riff savior never materializes on this less-than-Billy’s-best filler. "One Kiss" smacks of a distinct Calypso/Cha Cha flavor.
The words lead the mind’s eye to a promising culmination of a heartening party atmosphere, while the need for a private moment is implied in the
plead for a kiss. And just as optimistic is the cheery guitar that slants toward the saucy Latino side (equally as enjoyable when it shifts gears).
’Takes me back to "Under The Boardwalk" days of The Drifters. Bluesy "Lay Down In My Bed" is the only Blues/Blues found on this release. Lyrically
suggestive (and full of promises that can only be matched in the mind) this cut has a tantalizing Dobro sound that compliments the words with a
compelling melodious and haunting refrain, that coerces you to engage the repeat button. Thanks to the advent of recorded sound, the (would-be)Long before "cross-over" was an option that the industry’s Black entertainer dared to dream
of, guitarist/singer/songwriter, Billy Davis, had attracted the attention of rebel music lovers
worldwide, via Hank Ballard & The Midnighters fame. The performers bold enough to
supply their rump-shaking loyals with controversial foot-stomping compositions they lived
for, respected and admired Billy both as a fellow soldier in the adversarial parent/rocker
war plaguing the nation and as an unwavering contributing force on the creative side. Even
when his signature guitar licks and unique "Billy-stamped" rhythms were yet to be identified,
his moving Blues/Country style saturated airwaves from records, nightclubs, concert halls
and even pulpits; propelling sales and boosting attendance with the likes of music
heavyweights Sam Cooke, Jackie Wilson, Little Willie John, Joe Tex, Don Covay, and etc.
Political correctness was not yet fashionable, but parental apprehensions were as prevalent
(then) as they are today or any given era when there’s been a drastic shift in music modus
operandi and testimonials. R&B faithfuls weren’t concerned about dissecting a rhythm-section
or trying to understand components that made the toe-tapping soul-music offerings what they
were. They simply enjoyed happily bopping & bouncing to Billy’s "Rock n’ Blues"
renderings, via various artists. Billy Davis switched fields (from cotton to music) when the
Mississippi born tunesmith’s family migrated north and he, bit by bit, methodically invaded
the funk world, giving "closet" backbeat lovers the gonads to "come out" swinging and choose
sides. He had no say in the social "pecking" order (as a 2nd class citizen in a world of bigotry)
so that remained unchanged, but the "picking" order stepped up a few notches when the eyes of
the world focused upon Detroit. Humbly accepting his "place" while in the throes of the "colored"
and "negro" roles, Billy unselfishly still shared his flavorful, folk-laced musical gift with
everyone seeking to benefit from the music light. His unique fingerboard skills didn’t translate
into comparable dollars and cents, but these adversities never affected his commitment to
unbiasly entertain all over the globe. Even Jimi Hendrix (when he was J-i-m-m-y) made a few
beneficial pit-stops for a dip in the grease that was the BD magic, for which he would later
graciously reward a modest Billy with money and guitars. Although most wound up in some NY
pawnshop, the world will surely be grateful that he kept enough access to turn out this CD of
enduring witty ditties. One such time-appropriate piece in particular "Tax On Tax" written by Billy
decades ago, was dug out, dusted off, and doused with a sultry sprinkling of soul-sax (ala
Sil Austin/Grady Gaines) throughout this upbeat offering of honky-tonk funk. Aside from being
social commentary (still pertinent today) set to music, the old-time Folk/Country treatment makes
ignoring the age-old divisive lyrics almost an easy option. Most artists have an aficionado-
motivated dance floor tune, usually inspired by the desire to become equal to, if not better than,
the current dance star; all for the sake of impressing another. Mildly reminiscent of the pulse of
the 1960’s ‘Slop’ and ‘Bacon Fat’ dances, "Do It With You" gives listeners the music enticement
to get their latent choreography step on. Although, it might have been more aptly titled "I’m Gonna
Learn How To Dance" but then no double-entendre insinuation. There is a slight Johnny "Guitar"
Watson feel to "Money Talks" that has me listening for "bullshit walks" to follow. Here is
magnetic soul-drenched evidence that the more things change the more they remain the same.
The frequency of a dominant and repetitive rhythm guitar part does not disappoint, pessimism aside.
Notably expressive is the female voice on "It Ain’t Easy" (see inside for the rest of the story)