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 enterta