Ruth_hotlee

The 2nd Refrigerator album from 1991 restored from the original analogue multitrack tapes. The 1991 LP and CD were completely different recordings and here they both are on a double CD with 7 bonus tracks.

For the first time on CD, Rev-Ola is proud to present the best of Ruth Brown's and LaVern Baker's original mid-1950s recordings which became so successful and influential to the first wave of white pop and rock singers such as Georgia Gibbs and Patti Page.
Including Top 5 R&B smashes "Oh, What A Dream", "Jim Dandy", "Mambo Baby", "Bop Ting-A-Ling", "Wild, Wild Young Men", "Play It Fair", "As Long As I'm Movin'", "Tweedlee Dee" and "It's Love Baby (24 Hours A Day)"… together with minor classics like Ruth's sexy duet with Clyde McPhatter on the old country tune "I Gotta Have You". Wild, wild women indeed!

Signum Records present an exciting new collaboration and a debut recording with Leeds International Piano Competition Winner (2015), Anna Tsybuleva, of music by Johannes Brahms together with the Deutsches Symphonie-Orchester Berlin, conducted by Ruth Reinhardt.

Ruth Copeland's second Invictus recording retains the services of Funkadelic vets Eddie Hazel, Bernie Worrell, Tiki Fulwood, and Ron Bykowski, but like the preceding Self-Portrait, I Am What I Am simply fails to jell. Without the leadership and focus of George Clinton, the music zigs and zags in too many opposing directions. Credit Copeland for ambition – the opening antiwar epic "The Medal" recalls the politicized psychedelic soul of Norman Whitfield-era Temptations classics like "Cloud Nine" and "Ball of Confusion," while "Crying Has Made Me Stronger" shifts gears completely to embrace gospel – but her reach consistently exceeds her grasp. When I Am What I Am does come together, it's impressively heady stuff. Particularly noteworthy is the deep-fried funk outing "Suburban Family Lament," which showcases Hazel's scorching guitar as well as Fulwood's much-sampled and monstrous introductory drum break.

Ruth Brown (1957). Ruth Brown at her stinging, assertive, bawdy best, doing the sizzling, innuendo-laden R&B that helped make Atlantic the nation's prime independent during the early days of rock & roll. There's also plenty of equally fiery, hot musical accompaniment, with then-husband Willis Jackson sometimes featured on tenor sax.
Miss Rhythm (1959). Ruth Brown's second LP is a minor masterpiece, built around a handful of hit singles and B-sides from the prior year ("Book of Lies," "Just Too Much," "When I Get You Baby," "This Little Girl's Gone Rockin'," "Why Me") and containing a pair of current single sides, "Jack O' Diamonds" and "I Can't Hear a Word You Say." Brown is amazing in her range, from the upbeat, romantic "I Hope We Meet (On the Road Someday)" to the jaunty shouter "Why Me" - her timbre ranges from sweetly romantic to hard and raspy…