The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus*
Side Two: Mint Minus to Mint Minus Minus
- This early Fantasy pressing of CCR's Roots Rock classic is close to the best we've heard, with Nearly Triple Plus (A++ to A+++) sound throughout, just shy of our Shootout Winner - exceptionally quiet vinyl too, for a Deep Groove pressing
- An essential, Must Own for every Classic Rock collection, this LP includes some of the band's biggest hits: "Green River" and "Bad Moon Rising," "Lodi," "Wrote a Song for Everyone," and plenty more
- Marks in the vinyl are sometimes the nature of the beast with these Classic Rock records - there simply is no way around them if the superior sound of vintage analog is important to you
- 5 stars: "If anything, CCR's third album Green River represents the full flower of their classic sound initially essayed on its predecessor, Bayou Country. One of the differences between the two albums is that Green River is tighter, with none of the five-minute-plus jams that filled out both their debut and Bayou Country, but the true key to its success is a peak in John Fogerty's creativity."
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*NOTE: There is a mark that plays loudly throughout the first 1/2 of track 1 on side 1, "Green River."
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" meaning 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.
Vintage covers for this album are hard to find in exceptionally clean shape. Most of the 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
This vintage Fantasy 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 The Best Sides Of Green River 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 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.
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.
And in the end, that's exactly what we managed to do. It wasn't easy, and you won't be using this record to demo your stereo, but if you love this music as much as we do then we imagine you'll have a great time being able to hear Bayou Country sound as good as it does here.
What We're Listening For On Green River
- 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 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 recordings.
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.
We were never big fans of the recuts from the early 2000s, but back in the day we thought they were tolerable. We have much better reproduction (equipment, room, tweaks, electrical quality) these days than we did then, and now we can't stand them. They bore us to tears.
Head to head in a shootout, our Hot Stampers will be dramatically more transparent, open, clear and just plain REAL sounding, because these are all the areas in which heavy vinyl pressings badly fall short. Those looking for a list of specific shortcomings can easily find reviews and commentaries for hundreds of titles on the site.
A Must Own Rock Record
This is a recording that belongs in any serious Rock Music Collection. Cosmo's Factory would qualify as well. Others that belong in that category can be found here
This album is also fairly Difficult to Reproduce. Do not attempt to play it using anything but the highest quality equipment.
Big Speakers with big dynamic drivers are also highly recommended if you really want this rock record to rock.
- Green River
- Tombstone Shadow
- Wrote a Song for Everyone
- Bad Moon Rising
- Cross-Tie Walker
- Sinister Purpose
- The Night Time Is the Right Time
AMG 5 Star Rave Review
If anything, CCR's third album Green River represents the full flower of their classic sound initially essayed on its predecessor, Bayou Country. One of the differences between the two albums is that Green River is tighter, with none of the five-minute-plus jams that filled out both their debut and Bayou Country, but the true key to its success is a peak in John Fogerty's creativity.
Although CCR had at least one cover on each album, they relied on Fogerty to crank out new material every month. He was writing so frequently that the craft became second-nature and he laid his emotions and fears bare, perhaps unintentionally. Perhaps that's why Green River has fear, anger, dread, and weariness creeping on the edges of gleeful music...
For all its darkness, Green River is ultimately welcoming music, since the band rocks hard and bright and the melancholy feels comforting, not alienating.