Otis Rush - Right Place Wrong Time (Pure Pleasure)

 
 
SoundStage Direct, LLC BBB Business Review

free shipping Worldwide using FedEx, UPS, and USPS

What Our
Customers Say

Contact Us

SoundStageDirect, LLC
212 Decatur Street
Doylestown, PA 18901

Call Toll Free
1-877-WAX-TRAX (929-8729)

Local & International
267-247-5051

Monday - Friday
9 a.m. to 6 p.m. (EST)

Saturday
10 a.m. to 3 p.m. (EST)

Customer Service is also available by Email or the Web.

Coupon Code RSD10
Recently viewed pages:
 
 
 

Right Place Wrong Time (Pure Pleasure) by Otis Rush

Right Place Wrong Time (Pure Pleasure)
180 Gram Audiophile Virgin Vinyl LP - Sealed

Right Place Wrong Time (Pure Pleasure)
by Otis Rush

Our Price:
$34.99
Add Right Place Wrong Time (Pure Pleasure) to your wishlist
Usually ships in 10-14 business days
Product Code:
SPCO-PUR-301
Label:
Pure Pleasure
Genre:
Rock
Format:
180 Gram Audiophile Virgin Vinyl LP - Sealed
UPC:
5060149621684
  • Description
  • Features
  • Track Listing
  • Specifications
  • Reviews
  • Set Up Instructions
  • Dimensions
  • More Info
  • About ATL
  • Why Buy?
  • Includes
  • Tonearm
  • Industry Reviews
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. 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.

Musicians:

  • Otis Rush (vocal, guitar)
  • Doug Killmer, John Kahn (bass)
  • Hart McNee (alto saxophone)
  • John Wilmeth (trumpet)
  • Ron Stallings (tenor saxophone)
  • Fred Burton (guitar)
  • Mark Naftalin (piano)
  • Ira Kamin (organ)
  • Bob Jones (drums)

Recording: February 1971 at Wally Heider's Studio, San Francisco
Production: Nick Gravenites and Otis Rush

About Pure Pleasure

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.

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

Customer Reviews for Right Place Wrong Time (Pure Pleasure)

No rating yet... Be the first to rate this product!

Customers who bought Right Place Wrong Time (Pure Pleasure), also bought:

Customers who bought Right Place Wrong Time (Pure Pleasure), also bought:

This Week's Bestselling Artist > Otis Rush Vinyl Records



Mourning In The Morning

$21.99


Right Place Wrong Time (Pure Pleasure)

$34.99


Essential Chicago Blues

$34.99


Essential Chess Blues

$34.99


Cobra

$29.99


Cold Day In Hell

$15.99
   

SoundStageDirect Glossary

VINYL RECORDS

Vinyl records are able to capture the purest quality of recorded music in true form. This is possible because the initial recording is captured on an analog source (usually tape) for the ultimate in High Fidelity sound, it is then pressed onto virgin vinyl. Analog recordings capture the bottom end (or bass) while adding sweetness to the high end (or treble) better than any digital recording ever could. Analog systems are still commonly used before they are digitally transferred to CD. This means that the sound then is altered in the transfer process when CD's are produced. The word fidelity means accuracy and faithfulness. High Fidelity sound is faithful to the original sound made by the artist, capturing maximum accuracy of what was intended for the listener to hear. Vinyl records capture those sounds for the ultimate High Fidelity listening experience!

180/200 GRAM Vinyl LP

These vinyl records are produced with 180 or 200 grams of high definition premium grade virgin vinyl. This is a higher quality audiophile pressing than the typical vinyl record of 100-120 grams. These limited edition LP's are manufactured with the hi-fi enthusiast in mind. A 180 or 200 gram LP is sometimes also referred to as an audiophile pressing, there is a higher bass response and an even warmer High Fidelity sound. 180 or 200 grams LP's are typically manufactured in limited amounts and are considered collectables, commanding a higher price.

VINYL REISSUES

Typically, a vinyl reissue is a repressing of an original LP, usually extracted from the recording's master-tapes. In some cases, reissues are remastered to lower surface noise and improve overall sonics. Reissues help preserve the music of an original recording, especially when original LPs become unavailable or can no longer be found. Reissues can be pressed on a variety of thickness from 150 gram to 200 gram and offer a great opportunity for records collectors to own many classic recordings.