Right Place, Wrong Time

This 1971 Capitol Records session was almost not released at all. Chicago blues guitarist and singer extraordinaire Otis Rush cut "Right Place, Wrong Time" in February of that year, and Capitol immediately decided against issuing it. It sucked, apparently. And Capitol knew about music, you see; they didn't like the Beatles and tampered heavily with their records, they refused to sign the Doors because Jim Morrison had absolutely no stage presence (!), and they cut three songs from the US version of Pink Floyd's "The Piper at the Gates of Dawn" for no good reason whatsoever.

"Right Place, Wrong Time" was only saved because Capitol allowed Otis Rush's production company to buy the tapes and have them issued on P-Vine in Japan and on the tiny Bullfrog label in the USA (the CD has come out on Hightone). And it's good to have this album, a very welcome addition to Rush's sparse legacy.
To me, these are not his best sides...those would be his classic Cobra recordings from the 50s. It is not even his best post-60s album. But it is still the great Otis Rush in his prime, and that means that it is head and shoulders above most other blues records of the 70s.

The production is a little flat, which is surprising since it was undertaken by Rush himself and by Nick Gravenites, and while Otis Rush's strong, expressive voice and sizzling guitar playing is right there at the forefront, the rest of the band wasn't treated as well by the producer.
But said sizzling guitar playing is top-notch. Rush is backed by an excellent combo which includes a three-piece horn ensemble, and the horns are very well scored, providing a terrific counterpoint to Rush's edgy lead guitar. Listen to the way the instruments compliment each other on the instrumental "Easy Go", or the 5½-minute title track, a powerful slow soul-blues number penned by Rush himself, and a showcase for his powerful, emotional voice.

A cover of "Rainy Night in Georgia" is an odd choice for a blues record, and this rushed version of Albert King's "Natural Ball" doesn't add anything to the song. But the rest is good. And frequently great. Pianist Mark Naftalin is terrific on the instrumental "I Wonder Why", which showcases the entire band, and if Ike Turner's "Tore Up" is pretty much a rip-off of "I'm Tore Down", it is a good rip-off. "Your Turn to Cry" is another smouldering slow blues, and Otis Rush does very well by Little Milton Campbell's "Lonely Man", and even better by his own "Take a Look Behind", the six-minute album closer.

This album would benefit from some serious remastering, but what's here is still pretty great. Rush is a masterful guitarist, wringing some magnificent, imaginative fills and solos from his upside-down-guitar...he has a magnificent ability to transcend the usual blues clichés.
If you're new to the man, start with his classic Cobra sides, but don't forget to pick this one up as well. The overall quality of the material and the music is not quite as high as on other latter-day albums like "Ain't Enough Comin' In" or "Any Place I'm Goin'", but it is still more than worth while, not just for fans of Otis Rush, but for fans of electric Chicago blues and tasteful blues guitar in general.

Otis Rush is now retired in Japan but he is one of the greatest among blues guitarists and singers. All his albums are highly recommended, includign this one. My favourite is the Live in Montreux, where the sound is incredibly good and his guitar/voice luminous. This is a much older album so the sound is flatter, but GET THIS ASAP. Otis is a legend.

Otis Rush is one of the most underrated blues artistes. A brilliant guitarist and blues singer. This is my favourtite of all his albums, it demonstrates his superb guitar technique and his wonderful vocal range. If you like Otis Rush you probably own this cd already, if you don't I appeal to you to buy it!