This is the first White Hot Stamper copy of Bayou Country to ever hit the site. We were shocked at how good this one sounds — on both sides — compared to the copies we’ve heard over the years. It is TOUGH to find a pressing of this album that didn’t turn out bright and edgy, but here’s one that was worth the headache of playing a ton of mediocre copies. Seriously, we played a huge stack of these and most had us running for cover.
Man, the average copy of this album is an unmitigated disaster. Let’s start with the vocals. I’m not sure who’s idea it was to have John Fogerty’s vocals sound as if they were recorded via telephone, but every copy we played had an edgy quality to Fogerty’s voice. On some copies the edge is bad enough to render the copy completely worthless sonically. Who can sit and listen to a record that makes you cringe every time the singer says anything? Not us.
Furthermore, most copies are badly congested and far from transparent. After dropping the needle on the first few copies and hearing the muddy music and gritty vocals we nearly gave up, but I’m glad we stuck to it long enough to find a few copies that did a good job conveying this classic music.(more…)
An outstanding copy with nearly Triple Plus (A++ to A+++) sound on sides one and four and Double Plus (A++) sound on the other two sides – exceptionally quiet vinyl too
Dylan and The Band team up for exuberant versions of many classics from each of their repertoires – a copy like this lets you appreciate just how wonderful the performances are
“Dylan reworks, rearranges, reinterprets these songs in ways that are still disarming, years after its initial release… “
“Without qualification, this is the craziest and strongest rock and roll ever recorded. All analogous live albums fall flat.”
One of the great Live Classic Rock albums of all time in Hot Stamper form! We played a ton of these and found that most copies bored us to death. Some lacked energy, even more never opened up, and most of them were too thin-sounding. We had to play a HUGE stack of copies to come up with a few good ones, and on a double album like this, that’s a TON of work.(more…)
This Columbia Double LP pressing has some of the very best sound we’ve heard for this album, with all four sides finishing strongly in a recent shootout. Of course, given the nature of these recordings, you don’t get stunning sonics along the line of, say, Magical Mystery Tour or Dark Side Of The Moon, but at least you get to hear these great songs sound the way they were intended to, without the complications of bad mastering and pressing getting in the way. (more…)
Some great music is to be found here, and quite respectable sound on the “hotter” copies. ’Ain’t Got No Home’ and ’A Change Is Gonna Come’ are two personal favorites of the ten tracks here.
Both sides are tonally balanced from top to bottom, with more energy and space than others. The bass is huge, the brass rich, the all analog sound smooth and natural. It’s no demo disc; it just sounds bigger, clearer, and more right than the other sides we played.
Listen to how Tubey Magical the organ on The Great Pretender sounds. The top extends and the bass is punchy.(more…)
A KILLER Shootout Winning Triple Plus (A+++) copy – you won’t find better sound for this band on vinyl
Proud Mary and Good Golly Miss Molly are absolute MONSTERS on this early pressing – you will be floored
Our pick for the best sounding CCR recording – when you have a copy that sounds like this one, and, trust me, a copy as good sounding as this one is tough to find
4 1/2 stars: “All the songs add up to a superb statement of purpose, a record that captures Creedence Clearwater Revival’s muscular, spare, deceptively simple sound as an evocative portrait of America.”
It’s beyond tough to find copies that aren’t bright, gritty, grainy or edgy — that’s how most Creedence records sound I’m afraid — but here’s a Bayou Country that’s fairly smooth, exceptionally lively, mostly transparent and just plain rockin’ enough to make your day.(more…)
KILLER Triple Plus (A+++) sound from the first note to the last – it doesn’t get any better than this folks!
The sound is incredibly present and punchy with great clarity, excellent bass, freedom from grain and real swamp rockin’ energy
So many great songs: Run Through the Jungle, Lookin’ Out My Back Door, Who’ll Stop the Rain, etc.
A 5 star album and arguably the best record the band ever made: “…an album made during stress and chaos, filled with raging rockers, covers, and intense jams…”
We’ve made some strides of late (in 2015 as a matter of fact) finding the “right’ pressings for this band on some of their albums, especially this one, and with improved cleaning technologies we’re finding that the better copies such as this one are sounding the way we want our Creedence records to sound.
Note that the Hoffman reissues and the MoFi pressing sound nothing like the Creedence records we all grew up with, and records that sound that small, lifeless, boring or wrong just can’t be what audiophiles want, can they?(more…)
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.(more…)
One of the great Live Classic Rock albums of all time, now available in White Hot Stamper form! We recently undertook a massive shootout for this spirited double LP and three of the better sides from the whole shebang are on this here pressing. Sides one and two each earned our top grade of A+++, while side four clocked in at A++. Side three, as is often the case, was not quite up to the same standards.
We feel that the best material is contained on the other three sides, so we doubt this will be a dealbreaker for many of you.(more…)
In 2012 the new MoFi put out another remastered Big Pink. Since their track record at this point is, to be honest, abysmal, we have not felt the need to audition it.
It’s very possible, even likely, that they restored some of the bass that’s missing from the originals. But bad half-speed mastered bass — poorly defined, never deep and never punchy — is that the kind of bass that would even be desirable?
To us, it is very much a problem. Bad bass is just plain annoying. Fortunately for us it is a problem we have to deal with much less often now that we’ve all but stopped playing half-speed mastered records.(more…)