The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- With two superb Double Plus (A++) sides, you'll have a hard time finding a copy that sounds remotely as good as this vintage DJM import
- Forget the domestic pressings, forget whatever lousy reissues have come or will come down the pike - if you want to hear this album right, a killer Hot Stamper early British pressing like this one is the only way to go
- Includes two of our favorites: "(Gotta Get A) Meal Ticket" and the massive hit "Someone Saved My Life Tonight"
- 5 stars: “Elton John and Bernie Taupin recalled their rise to power in Captain Fantastic and the Brown Dirt Cowboy, their first explicitly conceptual effort since Tumbleweed Connection. It’s no coincidence that it’s their best album since then, showcasing each at the peak of his power, as John crafts supple, elastic, versatile pop and Taupin’s inscrutable wordplay is evocative, even moving.”
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Vintage covers for this album are hard to find in exceptionally clean shape. Most of the will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG
This vintage DJM 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 Captain Fantastic and The Brown Dirt Cowboy 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 in 1975
- 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.
Pop and Rock Shootouts
What are the sonic qualities by which a Pop or Rock record -- any Pop or Rock record -- should be judged?
Pretty much the ones we discuss in most of our Hot Stamper listings: energy, vocal presence, frequency extension (on both ends), transparency, spaciousness, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, three-dimensionality, and on and on down the list.
When we can hear a good many of the qualities mentioned above on the side we're playing, we provisionally award it a Hot Stamper grade. This grade is often revised over the course of the shootout, as we come to more fully appreciate just how good some of the other copies are.
Once we've been through all our side ones, we then play the best of the best against each other and arrive at a winner. Other copies have their grades raised or lowered depending on how they sounded relative to the shootout winner.
Repeat the process for the other side and the shootout is officially over. All that's left is to see how the sides of each pressing match up.
Record shootouts may not be rocket science, but they're a science of a kind, one with strict protocols developed over the course of many years to ensure that the sonic grades we assign to our Hot Stampers are as accurate as we can make them.
The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on our Hot Stamper pressing -- or your money back.
What We're Listening For On Captain Fantastic and The Brown Dirt Cowboy
- 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.
The Last of the Classics
Besides being the most commercially successful period, 1970–1976 is also held in the most regard critically. Within only a three-year span, between 1972 and 1975 John saw seven consecutive albums reach number one in the US, which had not been accomplished before.
Of the six Elton John albums to make Rolling Stone’s list of “The 500 Greatest Albums of All Time” in 2003, all are from this period, with Goodbye Yellow Brick Road ranked highest at number 91; similarly, the three Elton John albums given five stars by Allmusic (Tumbleweed Connection, Honky Château, and Captain Fantastic) are all from this period.
Mint Minus Minus 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.
- Captain Fantastic and the Brown Dirt Cowboy
- Tower of Babel
- Bitter Fingers
- Tell Me When the Whistle Blows
- Someone Saved My Life Tonight
- (Gotta Get A) Meal Ticket
- Better off Dead
- We All Fall in Love Sometimes
Rolling Stone Review
FIRST THING'S FIRST. This is one of Elton John’s best albums. He hasn’t tried to top past successes, only to continue the good work he’s been doing. And he’s succeeded, even taking a few chances in the process. The record is devoid of the gimmicky rock numbers from the Don’t Shoot Me, I’m Only the Piano Player phase. It isn’t weighted down with the overarranging and overproduction that marred so much of Goodbye Yellow Brick Road. It sounds freer and more relaxed than Caribou. His voice sounds rough, hoarse, almost weary. But that only helps make him sound more personal and intimate than in the past.
It is by now beyond question that Elton John is a competent and classy entertainer. Few people who have achieved his popularity have succeeded in maintaining his standards for performance and professionalism. And in his relationship to his audience, Elton not only gives of himself in terms of output and energy but he does it graciously and generously. Unlike his American counterparts (many of them neither as talented nor as popular), he hasn’t soured on success.
As long as Elton John can bring forth one performance per album on the order of “Someone Saved My Life Tonight,” the chance remains that he will become something more than the great entertainer he already is and go on to make a lasting contribution to rock.
- Jon Landau, July 17, 1975