Otis Rush - Right Place , Wrong Time - 180g LP

Product no.: PPANBF301

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Otis Rush - Right Place , Wrong Time - 180g LP
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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Pure Pleasure / Shout Factory Bullfrog 301 - PPAN BF301  - 180 Gram Virgin Vinyl 

AAA 100% Analogue - Audiophile Mastering by Kevin Gray 

Limited Edition - Pressed  at Pallas Germany 

This LP is an Entirely Analogue Production
"This recording session was not released until five years after it was done. One can imagine the tapes practically smoldering in their cases, the music is so hot. Sorry, there is nothing 'wrong' about this blues album at all. Otis Rush was a great blues expander, a man whose guitar playing was in every molecule pure blues.
 
"As if great music alone were not quite enough, the quality of the sound is equally impressive... [Otis Rush] plays high-energy traditional blues, much of it self-composed. This album is certainly one of Rush’s finest achievements. It was recorded by Wally Heider for Capitol Records in Heider’s legendary (but now gone) San Francisco studio. Capitol took a pass on releasing the session, but five years later the tapes were released by Bullfrog Records after Rush purchased them from Capitol, Alligator Records producer Dick Shurman interceding to save this sizzling music from oblivion. Kevin Gray remastered the reissue and it sounds fabulous." - Dennis Davis, theaudiobeat.com, 
 
"Listening to this musical giant, it appears that Capitol did not have a sense of the power of a true blues musician. The album gets off to a rousing start on Ike Turner's "Tore Up". All of the classic blues chops are represented in this brisk, up tempo romp. Rush's guitar leads are precise and crisp.... Pure Pleasure Records has re-mastered Right Time, Wrong Place to 180-gram vinyl with sterling results. The stereo mix is very-balanced, with Rush's vocals and guitar always centered." - Robbie Gerson, www.audaud.com, 4 Stars!
 
"On his solos on this album he strips the idea of the blues down to very simple gestures (i.e., a bent string, but bent in such a subtle way that the seasoned blues listener will be surprised). As a performer he opens up the blues form with his chord progressions and use of horn sections, the latter instrumentation again added in a wonderfully spare manner, bringing to mind a master painter working certain parts of a canvas in order to bring in more light. 
 
"Blues fans who get tired of the same old song structures, riff, and rhythms should be delighted with most of Rush's output, and this one is among his best. Sometimes all he does to make a song sound unlike any blues one has ever heard is just a small thing - a chord moving up when one expects it go down, for example. The production is particularly skilled, and the fact that Capitol Records turned this session down after originally producing it can only be reasonably accepted when combined with other decisions this label has made, such as turning down the Doors because singer Jim Morrison had no charisma. 
 
"This record doesn't mess around at all. The first track takes off like the man they fire out of a cannon at the end of a circus, a perceived climax swaggeringly representing just the beginning, after all. Some of the finest tracks are the ones that go longer than five minutes, allowing the players room to stretch. And that means more of Rush's great guitar playing, of course. For the final track he leaves the blues behind completely for a moving cover version of "Rainy Night in Georgia" by Tony Joe White." - 

Otis Rush was born in Mississippi and eventually moved to Chicago to become a blues legend. That narrative may not differentiate him from a lot of blues pickers. However, Rush was a rare left-handed player. In an unusual twist, he played a left-handed guitar, strung upside down with the low E string on the bottom. There is no mistaking his sound. He earned his pedigree in Westside Chicago blues clubs and recorded for several labels, including Chess.

In the sixties he was produced by rock stars Michael Bloomfield and Nick Gravenites. Adding rock and soul to the blues repertoire introduced Rush to a new generation of fans. At Capitol Records (the same label that turned down The Doors) he laid down tracks for an album titled Right Place, Wrong Time.. The project was scrapped, but Rush eventually bought the master tapes. Five years later, in 1976, it was released on Bullfrog Records.

Pure Pleasure Records has re-mastered Right Time, Wrong Place to audiophile vinyl. Listening to this musical giant, it appears that Capitol did not have a sense of the power of a true blues musician. The album gets off to a rousing start on Ike Turner’s “Tore Up”. All of the classic blues chops are represented in this brisk, up tempo romp. Rush’s guitar leads are precise and crisp. He is as good a vocalist as any of the older blues giants. Different from the template, he adds a short key shift on the bridge. As he transitions to late night vibe (title cut), the arrangements which showcase his guitar and vocals remain constant. On the first instrumental “Easy Go”, the soulful punctuation (especially by the horn section), amps up this muscular jam. His rhythm section (John Kahn/bass; Bob Jones/drums and Fred Burton/rhythm guitar) is complementary and cohesive.

Most of the songs percolate, and Rush’s tasteful concise guitar riffs and vocal phrasing are fluid. Albert King’s “Natural Ball” is dynamic. The music has a lot of soul. This resonates on the second instrumental, “I Wonder Why”. This is Chicago blues at its finest. In a more conventional translation, “Your Turn To Cry” is inimitable with the subtle key-shifting introduction Mark Naftalin spices things up with his percussive licks on piano. Rush explodes with intensity on “Lonely Man”. His coarser urgent vocals match the group’s intensity, and the energy never abates. A slight departure is Rush’s agile cover of “Rainy Night In Georgia”. It is much different from Brooke Benton’s meditative r & b…a blues opus! There is ample originality to separate this recording from typical genre offerings.

Pure Pleasure Records has re-mastered Right Time, Wrong Place to 180-gram vinyl with sterling results. The stereo mix is very-balanced, with Rush’s vocals and guitar always centered. You will need to turn the volume up to appreciate the full effect of the horns, piano and organ. For blues enthusiasts, the liner notes by Dick Shurman provide assorted details about the obstacles in Rush’s career and the release of this album.

Musicians:
- Otis Rush (vocals, guitar)
- Fred Burton (guitar)
- John Kahn/Doug Killmer (bass)
- Bob Jones (drums)
- Mark Naftalin (piano)
- Ira Kamin (organ)
- Hart McNee (alto saxophone)
- Ron Stallings (tenor saxophone)
- John Wilmeth (trumpet)
- Otis Rush (vocals, guitar)
- Fred Burton (guitar)
- John Kahn/Doug Killmer (bass)
- Bob Jones (drums)
- Mark Naftalin (piano)
- Ira Kamin (organ)
- Hart McNee (alto saxophone)
- Ron Stallings (tenor saxophone)
- John Wilmeth (trumpet)
 
Otis Rush Right Place, Wrong Time 
 
1.  Tore Up
2.  Right Place, Wrong Time
3.  Easy Go
4.  Three Times a Fool
5.  Rainy Night In Georgia
6.  Natural Ball
7.  I Wonder Why
8.  Your Turn To Cry
9.  Lonely Man
10. Take A Look Behind

Otis\u0020Rush\u0020\u002D\u0020Right\u0020Place\u0020\u002C\u0020Wrong\u0020Time\u0020\u002D\u0020180g\u0020LP

 
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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.

Pure Pleasure  Records bring you vinyl albums of quality Jazz - Blues - R+B - Soul - Funk, remastered by some of the best engineers in the world and pressed on 180 gram audiophile vinyl at what is probably the best pressing plant in Europe 

Pure Analogue Audiophile Mastering
 
Plated and Pressed at Pallas in Germany on 180 Gram Virgin Vnyl
 
Released in Limited Quantities

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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