Alan Price - Between Today and Yesterday 1974

Between Yesterday & Today was released during one of rock's more self-indulgent periods. It's therefore to Alan Price's credit that, although he chose to make a "concept" record about his maturation in working-class Newcastle, he eschewed the usual trappings of conceptual rock artists. There is no fluid storyline, no bombastic theme about the search for self, the songs are short and able to stand alone, and there are definitely no mellotrons or five-minute guitar solos. Price's voice also shows restraint, sounding more like a wise old uncle than a rock poster boy. But it's this complete lack of indulgence and musical embroidery that makes Between Yesterday & Today such a unique "concept" album. Price draws greatly upon the English music hall tradition (and a dollop of Randy Newman) to weave his simple, nostalgic miniatures. Each of the songs has its own personality, from the theatrical "Leftover People" to the reflective title track to the slow blues of "You're Telling Me." This album's not exactly rock, and like good literature, it requires some investment on the part of the listener. But for those who prefer humility to the hype and want something different, it's worth checking out. AMG.
 

listen here or here

Alan Price - The Price To Play 1966

Price's first album (released in the U.K. only, although some tracks would come out in the U.S.) is a rather routine set of club R&B/soul. Fronting a six-piece that includes three horns, Price sticks mostly to covers of familiar American tunes like "Mercy Mercy," "Ain't That Peculiar," "I Can't Turn You Loose," and "Barefootin'" on this amiable, but hardly remarkable, set. Price's voice is appealing, but lacks power, and in all it sounds like a clump of covers ground out hurriedly to get an album on the market. Georgie Fame did this kind of thing better, though Price's approach isn't as jazz-oriented. The CD reissue on Repertoire doubles the length of the original LP by adding 12 bonus tracks from 1965-1967 singles, including the brilliant British hit "I Put a Spell on You." The other singles cuts, alas, aren't in the same league, though in general they're better than the ones that constituted The Price to Play. His cover of "Any Day Now" is decent, and the interpretation of Randy Newman's "Simon Smith and the Dancing Bear" (presented in two versions) would both give him a British hit and foretell a move into a much poppier direction. AMG.

listen here