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Ruth Brown - Miss Rhythm (Greatest Hits And More) (1949-60) Atlantic (2 CD)

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Music : Jazz : Lossless
RUTH BROWN - MISS
RHYTHM (GREATEST HITS AND MORE)

This should be filed under R & B, but particularly on the first disc, it
is more the Dinah Washington or Little Jimmie Scott kind of R & B with a number of jazz musicians playing, and some
arrangements by Budd Johnson (who plays on many tunes) & Slide Hampton.

Disc One:
01. So Long
02. Hey Pretty Baby [Previously Unreleased]
03. I'll Get Along Somehow (Part 1)
04. I'll Come Back
Someday
05. Sentimental Journey
06. R.B. Blues
07. Teardrops From My Eyes
08. Standing On The
Corner
09. I'll Wait For You
10. I Know
11. Don't Cry [previously unreleased]
12. The Shrine Of St.
Cecilia [previously unreleased]
13. It's All For You [previously unreleased]
14. Shine On
15. Be
Anything
16. 5-10-15 Hours
17. Have A Good Time
18. Daddy Daddy
19. Mama He Treats Your Daughter
Mean
20. Wild Wild Young Men

Disc Two:
01. Ever Since My Baby´s Been Gone
02. Love
Contest
03. Oh What A Dream
04. Old Man River
05. Somebody Touched Me
06. Mambo Baby
07. I Can
See Everybody´s Baby
08. As Long As I´m Moving
09. It´s Love Baby
10. I Gotta Have You
11.
Love Has Joined Us Together
12. I Wanna Do More
13. Lucky Lips
14. One More Time
15. This Little
Girl´s Gone Rockin´
16. Why Me
17. I Can´t Hear A Word You Say
18. I Don´t Know
19.
Takin´ Care Of Business
20. Don´t Deceive Me

1989 Atlantic Records

MORE INFO ON
SCANS

*****************************************************************

AMG EXPERT REVIEW: Before
Aretha Franklin was exalted as the Queen of Soul, Ruth Brown was dubbed "Miss Rhythm" -- and with good reason.
A gritty, aggressive belter with an impressive range and a powerhouse of a voice, Brown was the top female R&B
singer of the early to mid-'50s, and would directly or indirectly have an influence on such greats as Etta James and
LaVern Baker. A two-CD set ranging from Brown's early hits to engaging obscurities and rarities, Miss Rhythm offers a
fine overview of her Atlantic years. Early hits like "Mama, He Treats Your Daughter Mean," "Teardrops
From My Eyes," "Mambo Baby," and "5-10-15 Hours" point to the fact that a lot of early R&B
was essentially blues at a fast tempo. The set also reminds of early R&B's connection to jazz -- in fact, classics
like 1949's "So Long" (her first single) and "Have a Good Time" are examples of first-class torch
singing. There are numerous Brown albums that are well worth acquiring, but for those interested in exploring her early
music for the first time, Miss Rhythm is an excellent place to start.

Amazon Editorial Review 
By the
time she left Atlantic Records in 1963, Ruth Brown could look back on 24 R&B hits dating back to her first, "So
Long," in 1949. Raised in the church, her chops honed in Lucky Millinder's Big Band, she could deliver technique
and attitude to burn, breaking hearts with smoky ballads and raising the roof with brash jump-blues numbers. Over the
years her reedy, delicate voice evolved into a deep, full-bodied instrument, more expressive in its varied colors than
it was early on, and she used it to devastating effect, especially on her double-entendre workouts ("Wild Wild
Young Men"). The 40 tracks on this 2 CD set chart all the early, towering entries, as well as some interesting
non-hits (among these a scintillating foray into gospel-based pop, "I Can See Everybody's Baby") and three
previously unreleased cuts. In recent years Brown has delivered exemplary work on the Fantasy and Bullseye Blues labels,
but Miss Rhythm is the rock the legend is built on.

From Grove Press Guide to Blues on CD
This
exceptional two-CD set has forty songs recorded between 1949 and 1960 by a major R&B star: twenty-four hits, twelve
obscurities, four previously unreleased tracks. Even at age twenty-two, when Brown's first hit, "Teardrops from My
Eyes," brought her national prominence, she was an accomplished singer with a simon-pure feel for incipient rock
'n' roll. As the chronologically displayed material bears out, her voice becomes weightier and the "tear" at
the end of lines more supercharged with accumulated life experience. Splitting hairs, maybe, but the jazz-oriented
production of Atlantic's cofounder Herb Abramson on the earlier numbers seems to suit that semisophisticated voice even
better than the R&B settings shaped years later by Jerry Wexler. Sessions heroes include pianist Harry Van Walls and
guitarist Mickey Baker.  

Amazon Customer Review Atlantic - The House That Ruth Built, March 22, 2002
Once fired from Lucky Millinder's band, it was the great Duke Ellington who recommended her 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 pop Top 100. In
this 2-CD set you get all but four, which is kind of disappointing when you see that they include four previously
unreleased tracks [Hey Pretty Baby, Don't Cry, The Shrine Of St. Cecilia, and It's All For You].  The missing hits are:
Mend Your Ways, the flipside of Wild Wild Young Men, which reached # 7 R&B in July 1953; Bye Bye Young Men [# 13
R&B in January 1955 - but they include the uncharted B-side, Ever Since My Baby's Been Gone]; Sweet Baby Of Mine [#
10 R&B in May 1956]; and Jack O'Diamonds [# 23 R&B/# 96 pop in July 1959 - but they include the uncharted
flipside, I Can't Hear A Word You Say]. For that reason, as a completist collector, I had to reluctantly deduct one star
in my assessment. I simply do not understand this all-too-repeated practice by record producers.  What is here, however,
more than adequately illustrates why, in 1956, a dee-jay Cash Box poll found her to be "the most programmed female
vocalist in the R&B field." An Alan Freed favourite, her other cross-over hits besides Jack O'Diamonds were
Lucky Lips [# 6 R&B/# 25 pop in 1957], This Little Girl's Gone Rockin' [# 7 R&B/# 24 pop in 1958], I Don't Know
[# 5 R&B/# 64 pop in late 1959], and Don't Deceive Me [# 10 R&B# 62 pop in 1960 and her last with Atlantic].  
In 1962 Ruth was back on the pop charts with the Philips label when the old Faye Adams hit, Shake A Hand, made it to #
97, and a re-make of Mama (He Treats Your Daughter Mean) just made the Top 100 at # 99 backed by The Milestone Singers.
These remain two of the hardest-to-find Ruth Brown hits.  The accompanying booklet includes a session record showing the
musicians who participated in each selection, and when each was recorded, as well as six pages of background information
written in 1989 by Chip Deffaa, then the Jazz/blues critic for The New York Post. There are, however, no other photos of
Miss Rhythm.  One final note. I notice that my copy of this set has a different picture of Ruth on the cover - a head
shot that looks like someone cropped it with a rusty razor blade. Clearly the same CD set judging from the songs listed,
the one advertised above has a much more appealing photograph of this great R&B songstress who, unlike some members,
was justifiably inducted into the R&R Hall Of Fame in 1993.  Highly recommended in spite of the missing Atlantic
hits.   

Amazon Customer Review Atlantic Records' Queen Mother of Soul At Her Early Best 
Ruth Brown was
among a handful of performers (among them, Atlantic Records labelmates Big Joe Turner, Ray Charles, and LaVern Baker)
who saw and led the 15-year shift where blues and jazz formed rhythm and blues, was renamed rock and roll, then was
branched off into the beloved soul era that followed.  "Miss Rhythm," an exceptional collection of greatest
hits and rare performances, captures the not always subtle changes black music underwent during the turbulent 1950s.
Brown's voice was equal parts Ella Fitzgerald, Billie Holiday (hear the ending of "I'll Get Along Somehow")
and even Bessie Smith (the pleading roar of "Standing On The Corner," a song about domestic violence and
helplessness). Being among the first stars of the still-new Atlantic label meant songwriting and arrangement help from
its bosses, Ahmet Ertegun and Herb Abramson, most notably on a swinging "Sentimental Journey" (with the Delta
Rhythm Boys) and "Shrine of St. Cecilia" before climaxing with the #1 hits "Wild Wild Young Men" and
"Mama He Treats Your Daughter Mean."  Disc two finds Brown becoming more a song stylist with less to style.
Rock and roll was in full rush, leaving Brown copying the soul and style of hits by LaVern Baker ("Lucky
Lips"), the Bobbettes (Bobby Darin's fun-but-silly "This Little Girl's Gone Rockin'") and the mambo and
talking blues crazes. The final song, Chuck Willis' "Don't Deceive Me," recalls Clyde Otis' arrangements for

Brook Benton and may have been her future had she stayed with the 
label.  Ruth Brown's late-80s renaissance
was welcome. Her appearance on a PBS "American Masters" special, her role in "Hairspray," and this
set reminded many of the brave steps a new style, label, and artist took during one of music's most turbulent eras.
Atlantic and R&B in general had a queen before Aretha, and Ruth Brown's "Miss Rhythm" is highly
recommended.   Half.com Album Notes Personnel includes: Ruth Brown, Jimmy Brown (vocals); Eddie Condon, Rector Bailey,
Al Caiola, Everett Barksdale (guitar); Vincent Bair Bey (alto saxophone); Peanuts Hucko, Budd Johnson, Sam Taylor,
Arnett Cobb, King Curtis (tenor 
saxophone); Ernie Caceres, Paul Williams (baritone saxophone); Shorty Baker
(trumpet); Bobby Hackett (cornet); Will Bradley, Dickie Harris (trombone); Dick Cary (alto horn); Joe Bushkin, Earl
Washington, Billy Taylor, Van "Piano Man" Walls, Bu Pleasant, Mike Stoller (piano); Jack Lesberg, Leonard
Gaskin, Lloyd Trotman, Bennie Moten (bass); Sid Catlett, Roy Haynes, Connie Kay, Joe Marshall (drums); The James
Quintet.  Producers: Ahmet Ertegun, Jerry Wexler, Herb Abramson. Compilation producer: Bob Porter.  Recorded in New
York, New York between 1949 & 1960. Includes liner notes by Chip Defaa.  Ruth Brown's presence on the R&B (and
occasionally pop) charts throughout the '50s was so pervasive that Atlantic Records, for whom she toiled, was often 
referred to as "The House that Ruth Built." MISS RHYTHM: GREATEST HITS AND MORE, an excellent compilation of
Brown's work for the company between 1949 and 1961, contains all her hits-including her signature "Mama, He Treats
Your Daughter Mean"-plus interesting outtakes and obscurities, like two sublime duets with ex-Drifter Clyde
McPhatter. Disc one, which ends with 1953's "Wild Wild Young Men," finds Brown working in a ballad style that
still owes something to jazz. There are even moments when you might think you're listening to Ella Fitzgerald. On disc
two, however, the music is more recognizable as early rock & roll. There are exceptions, of course; calling
"Mambo Baby" a rock & roll number would be a stretch.                                                             

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