- This insanely good pressing boasts superb Triple Plus (A+++) sound on side one and a Double Plus (A++) side two
- Both sides are rich and full-bodied yet clean, clear and spacious, with note-like bass and relatively smooth vocals
- An essential, Must Own album for every CCR collection, this LP includes some of the band’s biggest hits: Green River and Bad Moon Rising, Lodi and plenty more
- 5 stars ” CCR’s third album Green River represents the full flower of their classic sound initially essayed on its predecessor, Bayou Country.”
This copy is bigger, livelier, harder rockin’, more spacious and more relaxed than most all of the other pressings we have played over the years.
Clean copies with great sound are incredibly hard to find from CCR (but worth the search), and it took us a good-sized stack to find a few with bottom end weight, midrange presence, real energy, and freedom from grain. This pressing will show you just how good this album can sound.
What to Listen For (WTLF)
Here are some of the things we specifically listen for in a vintage Creedence Swamp Rock record.
Our hottest Hot Stamper copies are simply doing more of these things better than the other copies we played in our shootout.
The best copies have:
- Greater immediacy in the vocals (most copies are veiled and distant to some degree);
- Natural tonal balance (many copies are at least slightly brighter or darker than ideal; those with the right balance are the exception, not the rule);
- Good solid weight (so the bass sounds full and powerful);
- Spaciousness (the best copies have wonderful studio ambience and space);
- Tubey Magic, without which you might as well be playing a CD;
- And last but not least, transparency, the quality of being able to see into the studio, where there is plenty of musical information to be revealed in this sometimes simple, sometimes complex and sophisticated recording.
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.
Wrote a Song for Everyone
Bad Moon Rising
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.
Progress in Audio
Many copies were gritty, some were congested in the louder sections, some never got big, some were thin and lacking the lovely analog richness of the best — we heard plenty of copies whose faults were obvious when played against two top sides such as these. The best copies no longer to seem to have the problems we used to hear all the time.
Of course the reason I hadn’t heard the congestion and grittiness in the recording is that two things changed. One, we found better copies of the record to play — probably, can’t say for sure, but let’s assume we did, and, Two, we’ve made lots of improvements to the stereo since the last time we did the shootout.
You have to get around to doing regular shootouts for any given record in order to find out how far you’ve come, or if you’ve come any distance at all. Fortunately for us the improvements, regardless of what they might be or when they might have occurred, were incontrovertible. The album was now playing at a much, much higher level.
It’s yet more evidence supporting the possibility, indeed the importance, of taking full advantage of the Revolutions in Audio of the last ten or twenty years.
Who’s to Blame?
It’s natural to blame sonic shortcomings on the recording; everyone does it, including us.
But in this case We Was Wrong. The congestion and distortion we’d gotten used to are no longer a problem on the best copies. We’ve worked diligently on every aspect of record cleaning and reproduction, and now there’s no doubt that we can get these vintage Creedence records to play at a much higher level than we could before.
This is why we keep experimenting, keep tweaking and keep searching for the best sounding pressings, and why we encourage you to do the same.