The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- With two seriously good Double Plus (A++) sides, this copy is guaranteed to blow the doors off any other Bayou Country you've heard
- Proud Mary and Good Golly Miss Molly are two of the better sounding tracks found on the album - you can be sure that this pressing has them swamp rockin' like crazy
- Our pick for the best sounding CCR recording, but only if you have a copy with sonics like these
- "All the songs add up to a superb statement of purpose, a record that captures Creedence Clearwater Revival's muscular, spare, deceptively simple sound as an evocative portrait of America."
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Vintage covers for this album are hard to find in clean shape. Most of them 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, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you.
The sound is big and open with real weight to the bottom. The top end has a much more natural extension than most, and much less of the harshly brightened-up upper midrange you might be familiar with. On side two you can even pick out the piano in Good Golly Miss Molly, which is barely audible on most pressings.
What the best sides of this classic Creedence album from 1969 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 1969
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the vocals, guitars and drums having the correct sound for this recording
- Transparency and resolution, critical to hearing into the three-dimensional space of the studio
Keep On Chooglin'
After playing a handful of copies we started to identify which specific qualities we would need to look for in a Hot Stamper. It was only then that we decided to take John Fogerty's advice and, er, keep on chooglin'.
We quickly realized that even though Living Stereo spaciousness and transparency were never going to be in the cards, on the better copies you can actually pick out the musicians in the studio and make sense of their individual contributions.
And while you're just not going to get Dark Side of the Moon bass from this album, there are certainly copies that offer much better definition to the bottom than others.
What We're Listening For on Bayou Country
Less grit - smoother and sweeter sound, something that is not easy to come by on any Creedence record. Trust us, we know whereof we speak.
A bigger presentation - more size, more space, more room for all the instruments and voices to occupy. The bigger the speakers you have to play this record the better.
More bass and tighter bass. This is fundamentally a rock record. It needs weight down low to rock the way the engineers wanted it to.
Present, breathy vocals. A veiled midrange is the rule, not the exception.
Good top end extension to reproduce the harmonics of the instruments and details of the recording including the studio ambience.
Last but not least, balance. All the elements from top to bottom should be heard in harmony with each other. Take our word for it, assuming you haven't played a pile of these yourself, balance is not that easy to find.
Our best copies will have it though, of that there is no doubt.
Not only is it hard to find great copies of this album, it ain't easy to play 'em either. You're going to need a hi-res, super low distortion front end with careful adjustment of your arm in every area -- VTA, tracking weight, azimuth and anti-skate -- in order to play this album properly. If you've got the goods you're gonna love the way this copy sounds. Play it with a budget cart / table / arm and you're likely to hear a great deal less magic than we did.
Mint Minus to Mint Minus Minus is about as quiet as any original pressing will play, and since only the right originals 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 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 imports, later pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't sound good.
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.
If you own any of the new heavy vinyl pressings of CCR's albums mastered by SH and KG, hearing this Hot Stamper pressing will surely be a revelation. You can read more about our take on that series under the Heavy Vinyl tab above.
Born on the Bayou
Good Golly Miss Molly
Keep on Chooglin'
Opening slowly with the dark, swampy "Born on the Bayou," Bayou Country reveals an assured Creedence Clearwater Revival, a band that has found its voice between their first and second album... "Born on the Bayou" is a magnificent piece of swamp-rock, "Penthouse Pauper" is a first-rate rocker with the angry undertow apparent on "Porterville" and "Bootleg" is a minor masterpiece, thanks to its tough acoustic foundation, sterling guitar work, and clever story.
All the songs add up to a superb statement of purpose, a record that captures Creedence Clearwater Revival's muscular, spare, deceptively simple sound as an evocative portrait of America.
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