The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus to Mint Minus Minus
- Wow - Shootout Winning Triple Plus (A+++) sound from start to finish - fairly quiet vinyl too
- These sides are exceptionally low-distortion, solid, dynamic, with the neutral tonality completely missing from the current spate of reissues
- Featuring classics such as I Put a Spell on You, the extended-length jam Susie Q (8:37, perfect for Underground Radio), The Working Man, Porterville and more
- 4 stars: "CCR's self-titled debut album was gloriously out-of-step with the times, teeming with John Fogerty's Americana fascinations. ... the band's sound is vibrant, with gutsy arrangements that borrow equally from Sun, Stax, and the swamp."
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It's unlikely you will be demonstrating your system with this record, but you may find yourself enjoying the hell out of it for what it is -- an early example of Roots Rock that still holds up today.
This is an album that's nearly impossible to find with excellent sound and clean surfaces. This is one of the best copies we've managed to get on the site in the last year by a HUGE margin.
What the best sides of this classic Creedence album 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 1968
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with the guitars and drums having the correct sound for a CCR recording
- Transparency and resolution, critical to hearing into the three-dimensional space of the studio
What We Listen For on CCR's Albums
- 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.
Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings 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 listed on the site are seriously reduced prices or 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 other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful originals.
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.
I Put a Spell on You
The Working Man
Ninety-Nine and a Half (Won't Do)
Get Down Woman
Walk on the Water
Released in the summer of 1968 -- a year after the summer of love, but still in the thick of the Age of Aquarius - Creedence Clearwater Revival's self-titled debut album was gloriously out-of-step with the times, teeming with John Fogerty's Americana fascinations.
While many of Fogerty's obsessions and CCR's signatures are in place -- weird blues ("I Put a Spell on You"), Stax R&B (Wilson Pickett's "Ninety-Nine and a Half"), rockabilly ("Susie Q"), winding instrumental interplay, the swamp sound, and songs for "The Working Man" -- the band was still finding their way. Out of all their records (discounting Mardi Gras), this is the one that sounds the most like its era, thanks to the wordless vocal harmonies toward the end of "Susie Q," the backward guitars on "Gloomy," and the directionless, awkward jamming that concludes "Walking on the Water."
Still, the band's sound is vibrant, with gutsy arrangements that borrow equally from Sun, Stax, and the swamp.
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