Eric Clapton
Another Ticket

THE REVIEW

No, most categorically NO: this is not Eric's "Self Portrait," referring to the famous "What Is This Shit...?" by Greil Marcus about the - to say the least - controversial Dylan work dated 1970. In the sense that it is neither the worst album of Slowhand (a title contended by "Behind The Sun" and "August," inevitably) nor a weak, despicable, and negligible album from beginning to end, as it has often been described. "Another Ticket" hasn't been treated kindly, that's well-known; those who didn't appreciate "Backless" and, more generally, the more intimate and refined Clapton of the late '70s wasted no time in dismissing this record, the last for RSO excluding the anthology "Timepieces." "Repertoire not up to par and too light," "modest presence of the lead guitar," "impeccable yet minor key revisiting of proposed classics"; all things I've read, all things I can somewhat agree with - but only partially. Because if the '81 album isn't and cannot be among the guitarist's best works, it’s not all that bad either if we listen to it again with the right premises.  

Let me explain better. For a few years now, Eric had not been working with his "historical" lineup: Carl Radle was no longer there, Jamie Oldaker was no longer there, Dick Sims was no longer there. Sure, we're not talking about unattainable instrumentalists, but still key pieces for defining that intriguing, discreet sound, so inspired by a certain "Tulsa Sound" that had characterized the earlier years of Clapton. Instead, studio musicians like Henry Spinetti and Dave Markee were recruited, essentially the rhythm section of ex-Stealers Wheel Joe Egan, and when you change after so long, it takes a while to get back to full speed. Additionally, though, there are Albert Lee and Chris Stainton, and they are certainly no small presence; the Japanese concert captured in "Just One Night" had highlighted the strengths and weaknesses of the new band. Bass and drums a bit cold and "impersonal," if you will, and relegated to the background, but with the novelty of the two lead guitars of Clapton and Albert that, often, stole the scene from the host (memorably, the version of Knopfler's "Setting Me Up" sung by him).

Essentially, the same strengths and weaknesses are found in "Another Ticket"; an album that lacks something to make the leap in quality and is not always convincing in the choice of tracks. Moreover, there's the classic "fish out of water" who goes by the name Gary Brooker (yes, the one from Procol Harum) who, yes, brings a piece written with Eric ("Catch Me If You Can") but otherwise is hardly noticeable - and when he is, there's nothing to be ecstatic about. I'm primarily referring to the "title-track" completely out-of-context and overly sentimental piece, weighed down at the end by synthesizers and annoying keyboard sounds that, with certain Blues, fit like broccoli at tea time. A piece that really has no reason to exist, ingratiating and unpleasant also because it’s inserted in an album that didn't need it at all. Ultimately, however, it's the only truly jarring note, the only "bad" episode of a work that offers better, much better. Without reaching unimaginable heights, we agree, but also not disfiguring or incurring in clear lapses of taste. The beginning (languid) of "Something Special" is irresistible, when the leader sings with that so sensual voice and alluring that, of his production of the period, is one of the trademarks; perhaps "Black Rose" (version of the piece by Troy Seals, a Nashville star and environs) isn't as much, with those Country-Folk movements that bring back certain atmospheres of "No Reason To Cry" and that inevitable feeling of "already heard"; but it is still a solid piece, that knows its stuff and presents a nice acoustic work. "I Can't Stand It" is Pop-Blues of sublime craftsmanship, "Hold Me Lord" a very pleasant "rustic" parenthesis with Gospel accents, intense and heartfelt in interpretation (anything but filler). The best comes, as expected, when Sleepy John Estes and Muddy Waters are brought into play: the former in a biting reinterpretation of "Floating Bridge," very-Dire Straits in approach (the album is recorded at Compass Point in Nassau, Bahamas, where Knopfler and company recorded "Communiqué); the latter in a swinging remake-Shuffle Blues of "Blow Wind Blow," with Dave Markee on double bass. And what about the electric splendors of "Rita Mae," a grand finale complete with solos and vibrant rhythm...?

More than happy to expand, re-evaluating this GREAT album. 3.5 rounded to 4, with much pleasure. Because CLASS, when it comes to this man here, is never an element to underestimate.