ORDER LIMITED TO ONE ITEM PER CUSTOMER Vocals, Guitar – Otis Rush Alto Saxophone – Hart McNee Bass – Doug Killmer, John Kahn Drums – Bob Jones Organ – Ira Kamin Piano – Mark Naftalin Rhythm Guitar – Fred Burton Tenor Saxophone – Ron Stallings Trumpet – John Wilmeth 1 LP, standard sleeve Limited edition Original analog Master tape : YES Heavy Press : 180g Record color : Black Speed : 33 RPM Size : 12'’ Stereo Studio Record Press : Pallas Label : Pure Pleasure Original Label : Bullfrog Records Recorded in February 1971 at Wally Heider's Studio, San Francisco Engineered by Stephen Barncard Produced by Nick Gravenites, Otis Rush Remastered by Kevin Gray at Cohearent Sound Originally released in 1976 Reissued in 2013 Tracks: Side A: Tore Up Right Place, Wrong Time Easy Go Three Times a Fool Rainy Night In Georgia Side B: Natural Ball I Wonder Why Your Turn To Cry Lonely Man Take A Look Behind Reviews: “Recorded only a year after the Shines classic, Otis Rush’s Right Place Wrong Time is very much of the right time. Where Shines looked back to an earlier time, Rush was very much of the current moment. He plays electric guitar, and his backing band includes horns and organ as well as a complement of drums, piano, bass and rhythm guitar. He 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, The Audio Beat, June 29, 2013 “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.” John Sunier, Audiiophile Audition, May 2013 “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.” AllMusic Review by Eugene Chadbourne Ratings : AllMusic : 4.5 / 5 ; Discogs : 4.79 / 5 ; Audio Beat : Music 4.5/5, Sound 4/5
