The Rhythm and Blues world is also populated by white-skin performers who apply to secular gospel, the same passion and sensitivity of solemn black brothers. Billy Price is one of these blue-eyed soul men. Native of Pittsburgh, he was, in the seventies, Roy Buchanan's lead singer, then recorded four albums with his own Keystone Rhythm Band before breakin' up just when the " big bizniss " was ready to let him make the big jump on the road to fame, on condition that, of course, he agreed to pithy compromises. To hell with all that money, said Price; he found a job to pay the rent, went coolly on keepin' to a Bobby Bland, Otis Clay and Percy Mayfield diet, recording three excellent albums on his own. This time he's done even better. Left the ex-capital of steel behind, he went to L.A., to Leon Haywood's studio, put himself into the hands of the clear visionary Swamp Dogg, who has produced the cd, played the piano, hired strong sidemen and also suitably composed, in his own imaginative and fine way, eight of the ten tunes; while the title track takes up once again, with a well-done flute obligato, Tyrone Davis's classic that Billy already had in his repertoire since the days with Buchanan and "One In A Million" crosses the border into Tom Jones's territory. In this marvellous opera, with a new yet familiar taste, Price keeps on exploring voice's possibilities (and he can still overcome himself when he combines practice with enthusiasm and experience) and the proud Dogg finds another performer worthy of his famous organizing and artistic genius. But, how come the major labels don't guess the salin' potential of " Pass The Sugar," of the innovative soul-flamenco " No Matter How You Turn" or the pearl " Mine All Mine," rhythmic hint two steps from the blues?"