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I Still Do – Eric Clapton – 45RPM Vinyl Review

I Still Do – May 2016

Sides 1 and 2

Vinyl surface noise:  3   (not pops and clicks)

Dynamic Range: 3

Stereo Imaging: 3+

Image depth/perspective: 3

Overall frequency response: 3

Sides 3 and 4

Vinyl surface noise: 3   (not pops and clicks)

Dynamic Range: 4

Stereo Imaging: 4

Image depth/perspective: 3+

Overall frequency response: 4-

Side 1

1. Alabama Woman Blues
2. Can’t Let You Do It
3. I Will Be There

Side 2

1. Spiral
2. Catch The Blues
3. Cypress Cove

Side 3

1. Little Man, You’ve Had A Busy Day
2. Stones In My Passway
3. I Dreamed I Saw St. Augustine

Side 4

1. I’ll Be Alright
2. Somebody’s Knockin’
3. I’ll Be Seeing You

This is Eric Clapton’s 21st studio album. It was recorded on a 16 track analog tape machine at British Grove Studios, London, England, released in May 2016, and mastered by Bob Ludwig at Gateway Mastering Studios.

The vinyl release was cut by Bernie Grundman at BGM Mastering from the analog tapes and pressed using 180 gram vinyl.

Did the analog source, quality mastering and pressing, and 45RPM 180gram vinyl create a masterpiece? Read on.

Musicians:
Eric Clapton
Henry Spinetti
Dave Bronze
Andy Fairweather Low
Paul Carrack
Chris Stainton
Simon Climie
Dirk Powell
Walt Richmond
Ethan Johns
Michelle John
Sharon White
Angelo Mysterioso

Let me open by saying that when I received this album I was filled with anticipation and excitement.

With only 3 tracks per side and spinning at 45RPM, I had to assume that Bernie Grundman got everything that was on the tapes into the vinyl. Well if he did, there wasn’t that much on the tapes to begin with. That isn’t to say the vinyl is bad, because it is, it just isn’t what I expected from such an esteemed team of engineers and high quality all analog signal chain. Not to mention a who’s who group of musicians.

The vinyl is very noisy on all lead ins and between tracks. What is completely astonishing is the lack-luster dynamic range despite there only being three tracks per side. As for the overall frequency response, well that was a lot less than stellar. The difference in recording quality between sides one and two and sides three and four being worlds, if not studios and time and space, apart. So I will review them as two separate albums.

Sides 1 & 2

The surface noise was totally unacceptable on both sides of this album with cracks, pops, ‘wooshing’ and rumble. Both on the lead ins and between tracks.

Both sides sounded as if it they were recorded in the 60’s in some two-bit garage using an Otari 8 track and Soundcraft 600. Actually, I have heard better recordings done on this hardware. It was flat, lacked dynamics and had a very restricted frequency range. HF detail was poor and there was no bottom end. Clampton’s voice was shrill and hard on occasions and there was little presence on any of the tracks. Overall, I found the vocals were also muffled and terribly recessed showing occasional distortion. Stereo imaging was fair, and the kit provide a well grouped setback image. In short, this album was abysmal. Most standard mass-produced vinyl albums sound better than this did.

On opening the album for the first time I even discovered a tiny surface scratch across the entire first track on side 1. It was barely audible but did produce faint clicks. So much for inspection and careful packaging!

Considering this recording was produced at British Groove Studios and cut by Bernie Grundman it is an appalling example of their work and I will never listen to this album again.

Sides 3 & 4

The surface noise was no better than sides 1 & 2, in fact some of the rumble was worse. While pops and clicks were significantly improved.

The overall sound quality was significantly better than sides 1 & 2. It was more open, having detailed HF and a more solid and cleaner bottom end. The kick drum and snare had a lot more impact with detailed cymbals, tambourines and wood blocks. The electric bass was also more prominent and cleaner. Clapton’s vocals were far superior having real impact and presence. Stereo imaging was notably stronger than sides 1 & 2 with a much better depth perspective and imaging for the kit. The entire sound felt like it was produced in a completely different studio, on different equipment, to what was on sides 1 & 2. The recording was still not stellar but significantly better than sides 1 & 2.

Considering these albums were recorded at one of the UK’s premier studios on high end analog audio equipment and then engineered and mastered by some of the best, at 45RPM, and then pressed to 180gram vinyl, I am not impressed with the album(s). Despite the musical performance and sound being significantly better on sides 3 & 4 I will never listen to this record again either.

Unless you are a die hard Eric Clapton fan and MUST own all his albums this is no audiophile version.

This album is no better musically and is sonically much worse than most albums that I own. This is despite the caliber of the musicians, facilities, and engineers that worked on it. Were they all asleep at the wheel or were their minds in a different realm? You cannot make a silk purse out of a sows ear, so if it wasn’t in the master tapes then Bernie certainly could not cut it into the vinyl. Somewhere along the way it was all lost!

It has been rumored that the CD version of this album is preferable to this vinyl pressing. What a surprise, as that would not be too difficult. Unfortunately, I have no intention of buying another copy of an album, that to me, is less than stellar both musically and sonically.

I deliberately put no links into this post as I am so disgusted with the album, especially considering that it is being sold as an analog audiophile 45RPM recording pressed on 180 gram vinyl. Stellar musicians and engineers shouldn’t be putting this poor level of recording out. Very disappointing!

Available on vinyl and CD from Amazon.

See my other vinyl reviews here.