More Gerry Rafferty

• This early British pressing boasts a STUNNING Shootout Winning Triple Plus (A+++) side one mated to a solid Double Plus (A++) side two – fairly quiet vinyl too
• City To City is a Must Own album – no right-thinking audiophile can fail to be impressed by the songwriting and production of Rafferty’s masterpiece of British Folk Pop
• You won’t believe how rich, Tubey Magical, big, undistorted and present this copy is (until you play it anyway)
• If all you know are audiophile or domestic pressings, you should be prepared for a mind-blowing experience with this UK pressing
• Marks in the vinyl are sometimes the nature of the beast with these vintage LPs – there simply is no way around them if the superior sound of vintage analog is important to you
• 4 1/2 stars: “Rafferty’s turns of phrase and tight composition skills create a fresh sound and perspective all his own… resulting in a classic platter buoyed by many moments of sheer genius.”
• A list of Must Own rock and pop from 1977 would have to have this album on it, somethere near the top I would think
• In our opinion, City to City is Rafferty’s best sounding album, and probably the only Rafferty solo release you’ll ever need.
• Click on this link to see more titles we like to call one and done. Night Owl (1979), Snakes and Ladders (1980) and Can I Have My Money Back (1971) strike us as weak albums, strictly for hardcore fans.

Here you will find the kind of rich, sweet, classically British Tubey Magical sound that we cannot get enough of here at Better Records.

This vintage import has the kind of Tubey Magical Midrange that modern records cannot even 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.

We are especially delighted to report that not only is the sound better than ever, the music is too. The album as a whole, unlike so much of what came out in 1978 (Do Ya Think I’m Sexy? asks Rod Stewart, followed by stony silence) does not seem to have dated in the least.

What The Best Sides Of City To City 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 1978
• 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 space of the studio

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.

Listening Tests

Listen to the chorus on the first track, “The Ark.” On the better copies, it really gets loud without becoming harsh or shrill. So many popular albums have choruses (and guitar solos) that are no louder, and sometimes not even as loud, as the verses, which rob the songs of any real drama or power. This recording has the potential to give you a dramatic, powerful, loud chorus and it’s a thrill when you find a pressing that delivers on that promise.

(One way we know to listen for these volume changes is that we actually play our records good and loud. When a dynamic recording such as this comes along, we have to watch our levels, otherwise, the chorus will overwhelm the system and the room. When playing this copy, be sure to set the level for the chorus of the first track. Everything should play just fine once that setting is correct, as the artist intended.)

The double-tracked vocals on “Whatever’s Written in Your Heart” are a good test for resolution and Tubey Magic. There should clearly be two voices heard without having to sacrifice the wonderful richness of the better copies for the clarity that makes hearing both voices possible.

What We’re Listening For On City To City

• 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.

A Must Own Record

We consider this Gerry Rafferty album his Masterpiece. It’s a recording should be part of any serious Collection of Popular Music.

Others that belong in that category can be found here.

Side One

The Ark
Baker Street
Right Down the Line
City to City
Stealin’ Time

Side Two

Mattie’s Rag
Whatever’s Written in Your Heart
Home and Dry
Island
Waiting for the Day

Rolling Stone Rave Review

Even in his mother’s womb, Gerry Rafferty must have expected the worst. This Scotsman entitled his melancholy 1971 solo album Can I Have My Money Back? (the answer was “No!”). And when Stealers Wheel, the group he subsequently formed with Joe Egan, became an overnight success with the hit single “Stuck in the Middle with You,” only to lapse into morning-after obscurity, he probably said, “I told you so.” On City to City, his first LP in three years, Rafferty sticks grimly to his guns. Not only does he use the same producer (Hugh Murphy) and several of the same musicians, but a similar un-self-pitying fatalism pervades the record.

However, there is a slight but significant change for the better that makes City to City as eloquently consoling as the spirituals Rafferty echoes in “Whatever’s Written in Your Heart.” Indeed, there’s a prayerful quality to the entire LP, a quality reminiscent of the dim dawn after a dark night of the soul. “The Ark” begins as a Highland death march, complete with doleful bagpipes, but swells into a stirring hymn to love. And, after etching a relationship stalemated by the inability of two lovers to express their feelings, the somber “Whatever’s Written in Your Heart” (whose only instruments are a piano and a hushed synthesizer) concludes with a coda of vocal harmonies that sing of sublime forgiveness.

Hope, in almost all these songs, lurks on the horizon. And when it springs fully into view — as on “City to City,” with its rollicking train tempo, and on the jaunty “Mattie’s Rag” — the music almost burbles with anticipation.

Gerry Rafferty still writes with the sweet melodiousness of Paul McCartney and sings with John Lennon’s weary huskiness, and his synthesis of American country music, British folk and transatlantic rock is as smooth as ever. But his orchestrations have acquired a stately sweep. For all their rhythmic variety — from the suave Latin lilt of “Right down the Line” to the thump of “Home and Dry” — these are uniformly majestic songs. The instrumental refrain on one of the best of them, “Baker Street,” is breathtaking: between verses describing a dreamer’s self-deceptions, Rapheal Ravenscroft’s saxophone ballons with aspirations only to have a synthesizer wrench it back to earth with an almost sickening tug. If City to City doesn’t rise to the top of the charts, its commercial failure will be equally dismaying. And our loss will be greater even than Rafferty’s. After all, when was the last time you bought an album boasting more than fifty minutes of music? And great music at that.

– Ken Emerson, Rolling Stone, 1-15-78.