Eric Clapton – E.C. Was Here

More Eric Clapton

E.C. Was Here

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  • Superb sound for this UK import pressing with both sides earning Nearly Triple Plus (A++ to A+++) grades, which means that this LP had some of the best sound for the album we heard in our shootout all day
  • Forget the dubby domestic pressings – here is the energy, the dynamic power, the low end whomp, and the Clapton-live-in-your-listening-room presence you’ve never experienced on the album before, guaranteed
  • “E.C. Was Here makes it clear that Clapton was and always would be a blues man. The opening cut, “Have You Ever Loved a Woman,” clearly illustrates this, and underlines the fact that Clapton had a firm grasp on his blues guitar ability, with some sterling, emotionally charged and sustained lines and riffs… [the album] remains an excellent document of the period.”

*NOTE: A mark makes 3 moderate pops at the beginning of track 2, Presence of the Lord.

These Nearly White Hot Stamper pressings have top quality sound that’s often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers (“relative” being relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don’t agree, please feel free to return the record for a full refund, no questions asked.

Two Very Special Tracks

Check out Clapton’s superb arrangements and performances of two of the best songs from his short-lived Blind Faith period: Presence of the Lord and Can’t Find My Way Home. They’re two of the highpoints on an album filled with good material that does not seem to get the credit it is due. I bought this album when it came out in 1975 and never really got into it. Of course I had an inferior domestic pressing and a stereo that couldn’t have done the album justice anyway, but in my defense I would have to say that there really wasn’t any such stereo system on the face of the earth; we still had a long way to go.

Eric Clapton has made very few consistently good albums, considering his career is going on 50+ years. ‘Slowhand’, ‘Unplugged’, and his first album come to mind. After that it’s pretty slim pickin’s. Now you can add this one to the list. This concert album shows Clapton at his bluesy best.

What the best sides of E.C. Was Here 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.

This vintage RSO import 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 We Listen For on E.C. Was Here

  • 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.

TRACK LISTING

Side One

Have You Ever Loved a Woman
Presence of the Lord
Driftin’ Blues

Side Two

Can’t Find My Way Home
Rambling on My Mind
Further on up the Road

AMG Review

Following Eric Clapton’s recovery from heroin addition in 1974 and subsequent comeback (announced by 461 Ocean Boulevard), the guitar legend retained his fine band and toured extensively, and this live album is a souvenir of that period. Despite having such pop-oriented hits as “I Shot the Sheriff,” E.C. Was Here makes it clear that Clapton was and always would be a blues man. The opening cut, “Have You Ever Loved a Woman,” clearly illustrates this, and underlines the fact that Clapton had a firm grasp on his blues guitar ability, with some sterling, emotionally charged and sustained lines and riffs.

A short version of “Drifting Blues” also drives the point home, with a lazy, Delta blues feel that is intoxicating. Aside from these standout blues workouts, Clapton provides a surprise with two songs from his Blind Faith period. “Presence of the Lord” and Steve Winwood’s classic “Can’t Find My Way Home” are given great readings here and highlight Clapton’s fine touring band, particularly co-vocalist Yvonne Elliman, whose singing adds a mellifluousness to Clapton’s blues vocal inflections. The market was a bit oversaturated with Clapton and Cream reissue products at the time, and this fine record got lost in the shuffle, but it remains an excellent document of the period.