Ruth Brown - Miss Rhythm - 180g LP


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Ruth Brown - Miss Rhythm - 180g LP

Product no.: PPANSD18026

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Ruth Brown - Miss Rhythm - 180g LP
£22.99
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Pure Pleasure - PPAN SD18026  - 180 Gram Virgin Vinyl - AAA 100% Analogue

Audiophile Mastering by Ray Staff  at Air Mastering London  

Limited Edition - Pressed  at Pallas Germany - Atlantic SD18026 / 8026

AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head

A major pioneer of R&B in the 1950s and beyond, bore a rich and expressive singing voice

Once fired from Lucky Millinder's band, it was the great Duke Ellington who recommended Ruth Brown to Herb Abramson and his fledgling Atlantic Records in 1949. Good thing, too, because it was Ruth Brown who put Atlantic on the map, make no mistake. She did that with 24 R&B hit singles from 1949 to 1960, five of which crossed over to the Billboard Pop charts

Ruth Brown's second LP is a minor masterpiece, built around a handful of hit singles and B-sides from the prior year ("Book of Lies," "Just Too Much," "When I Get You Baby," "This Little Girl's Gone Rockin'," "Why Me") and containing a pair of current single sides, "Jack O' Diamonds" and "I Can't Hear a Word You Say." Brown is amazing in her range, from the upbeat, romantic "I Hope We Meet (On the Road Someday)" to the jaunty shouter "Why Me" -- her timbre ranges from sweetly romantic to hard and raspy, and listening to the transformations, between the smooth, quick tempo "Just Too Much" to the hard, lusty "Somebody Touched Me," one thinks of a distaff Sam Cooke. Brown's accompaniments may have lacked the polish of Cooke's sides, and she wasn't really shooting for pop-crossover success (though she saw some). Her singing even overcomes excessively pop-oriented arrangements on "When I Get You Baby." At various times, in her upper register, Brown recalls Clyde McPhatter's falsetto singing, while in her middle and lower registers, as on "I Can't Hear a Word You Say," she comes up with a power that could melt a microphone stand.

Side 1:
This Little Girl's Gone Rockin’
Just Too Much
I Hope We Meet (On The Road Some Day)
Why Me
Somebody Touched Me
When I Get You Baby
 
Side 2:
Jack O' Diamonds
I Can't Hear A Word You Say
One More Time
Book Of Lies
I Can See Everybody's Baby
Show Me
 
Ruth Brown - Miss Rhythm - 180g LP
 
ORIGINAL MASTER TAPES
AAA 100% ANALOGUE
We use the Original Tapes and work with only the Best Mastering Studios
PALLAS
Plated and Pressed at Pallas in Germany on 180 gram Virgin Vinyl
Highest Quality Jackets and  Inner Sleeves
LIMITED EDITION
Low Numbers per Stamper Released in Limited Quantities
 
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Pure Pleasure Records
The Restoration of the Art of Sound
180g Vinyl Mastered From The Best Available Sources

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records. During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production. To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

There really is nothing quite like it.  It’s the touch, the feel, you have to stop and stare, the cover,  the real thing, even the smell.

Its tangible, you can feel it, see it, study it,   muse/dream over it, it’s real, someone  has spent hours and hours over its construction and presentation. Pure Pleasure Records is just that, Pure Pleasure and that is what it has set out to be.  The music and the physical record.  Something to keep, treasure, admire and above all enjoy.Of course with vinyl it’s not just a record, it’s the cover,  the sleeve notes, you are  holding a unique package, produced by craftsmen.

60 Years Pallas

 
Audiophile Vinyl - Made in Germany  For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade! 
 
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