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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?"
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