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Creedence Clearwater Revival - Self-Titled - White Hot Stamper (Quiet Vinyl)

The copy we are selling is similar to the one pictured above.

White Hot Stamper (Quiet Vinyl)

Creedence Clearwater Revival
Self-Titled

Regular price
$499.99
Regular price
Sale price
$499.99
Unit price
per 
Availability
Sold out

Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus to Mint Minus Minus*

Side Two: Mint Minus to Mint Minus Minus

  • An incredible copy of the band's debut album with Shootout Winning Triple Plus (A+++) sound or close to it from start to finish, and impossibly quiet vinyl for a vintage Fantasy pressing
  • These sides are exceptionally low-distortion, solid, dynamic, with the neutral tonality completely missing from the vast majority of reissues
  • Featuring classics such as "I Put a Spell on You," the extended-length jam "Susie Q" (8:34, 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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*NOTE: On side 1, there is a mark at the start of track 1 that plays lightly 3 times.

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, which makes this is one of the better copies we've come across.

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 The Band's Self-Titled Debut 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 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.

Moving Product

Classic Rock is the heart and soul of our business. Finding quiet, good sounding pressings of Classic Rock albums is what we devote the bulk of our resources (time and money) to, and if we can be indulged a self-compliment, it's what we do best.

No one is even bothering to attempt the kind of shootouts we immerse ourselves in every day. And who can blame them? It's hard to assemble all the resources it takes to pull it off. There are a huge number of steps a record must go through before it finds itself for sale on our site, which means there are about twenty records in the backroom for every one that can be found on the site.

If the goal is to move product this is a very bad way to go about it. Then again, we don't care about moving product for the sake of moving product. Our focus must be on finding, cleaning and critically evaluating the best sounding pressings, of the best music, we can get our hands on.

What We're Listening For On Creedence Clearwater Revival

  • 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.

Vinyl Condition

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.

A Tough Record to Play

CCR's debut is a Difficult Record to Reproduce. Do not attempt to play it using anything other than the highest quality equipment.

Unless your system is firing on all cylinders, even our hottest Hot Stamper copies -- the Super Hot and White Hot pressings with the biggest, most dynamic, clearest, and least distorted sound -- can have problems. Your system should be thoroughly warmed up, your electricity should be clean and cooking, you've got to be using the right room treatments, and we also highly recommend using a demagnetizer such as the Walker Talisman on the record, your cables (power, interconnect and speaker) as well as the individual drivers of your speakers.

This is a record that's going to demand a lot from the listener, and we want to make sure that you feel you're up to the challenge. If you don't mind putting in a little hard work, here's a record that will reward your time and effort many times over, and probably teach you a thing or two about tweaking your gear in the process (especially your VTA adjustment, just to pick an obvious area many audiophiles neglect).

Side One

  • I Put a Spell on You
  • The Working Man
  • Suzie Q

Side Two

  • Ninety-Nine and a Half (Won't Do)
  • Get Down Woman
  • Porterville
  • Gloomy
  • Walk on the Water

AMG 4 Star Review

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.