The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus to Mint Minus Minus
- This RSO pressing boasts INCREDIBLE Nearly Triple Plus (A++ to A+++) sound on side two mated with very good Hot Stamper sound on side one - exceptionally quiet vinyl too
- We were impressed with its wonderful Tubey Magic, rhythmic drive and British Blues Rock Energy
- "The first and last Clapton studio album to feature his all-British band of the early '80s, it gave considerable prominence to second guitarist Albert Lee and especially to keyboard player/singer Gary Brooker (formerly leader of Procol Harum), and they gave it more of a blues-rock feel than the country-funk brewed up by the Tulsa shuffle crew Clapton had used throughout the 1970s."
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This vintage RSO Compton pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.
What The Best Sides Of Another Ticket Have To Offer Is Not Hard To Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes even as late as 1981
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
What We're Listening For On Another Ticket
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren't "back there" somewhere, lost in the mix. They're front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.
- Something Special
- Black Rose
- Blow Wind Blow
- Another Ticket
- I Can't Stand It
- Hold Me Lord
- Floating Bridge
- Catch Me If You Can
- Rita Mae
... the album made the Top Ten, went gold, and spawned a Top Ten single in "I Can't Stand It." And the rest of it wasn't too shabby, either. The first and last Clapton studio album to feature his all-British band of the early '80s, it gave considerable prominence to second guitarist Albert Lee and especially to keyboard player/singer Gary Brooker (formerly leader of Procol Harum), and they gave it more of a blues-rock feel than the country-funk brewed up by the Tulsa shuffle crew Clapton had used throughout the 1970s. Best of all, Clapton had taken the time to write some songs -- he's credited on six of the nine selections -- and tunes such as the title track and "I Can't Stand It" held up well.