- Insanely good CCR sound, with Shootout Winning Triple Plus (A+++) sound from start to finish – exceptionally quiet vinyl too
- 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
- 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.”
This copy is bigger, livelier, richer, more spacious, more relaxed and just plain more musically involving than every other pressing we played in our recent shootout.
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 Hot Stampers 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 Listen 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.
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.