Search - Ccr :: Creedence Clearwater Revival (20 Bit Mastering)

Late Sixties Rock Meets Bayou-Boys...From California

Bud | Seminole, Texas, USA | 11/29/2003

(5 out of 5 stars)

"Along with The Band's "Music From Big Pink," CCR's debut album was one of the two records that took the late sixties music world by surprise by using a down-home flare of rural Americana; the year the two albums were released, psychedelic acid rock had been born, and the hippie love-and-peace movement was in swing. The Band and Creedence however were exceptional in the fact that they kept themselves firmly clenched to rock and roll's bare-knuckled roots.
This album, and anything subsequently released by CCR, will always sound different from anything else that's popular; the fact that a group could make such an impact and become worldly known by going against the grain of the times is nothing short of amazing. Two rock and roll classics, 'Suzie Q' and Screamin' Jay Hawkins' 'I Put A Spell On You' are given surprisingly dark and grim treatments, turning a pair of pop songs into two haunting jams. John Fogerty's new-born originals were tough and true; these four Berkely, California bred musicians conjured an image of rural bayou life better than most country singers at the time. 'Porterville' is a gritty tale of a man given an ill reputation because of his father's crime, its angst punctuated by Fogerty's repeated screams of "I don't care!" 'Walk On the Water' is just as eerie, and features an extended riff working from Tom Fogerty. 'The Working Man' strongly reflects the group's blues influence, echoed in the line "I was born on a Sunday, on Thursday I had me a job," a remark that sounds as if it could have come from Muddy Waters. 'Get Down Woman' meanwhile manifests the feeling of a flow of Southern creole that flows like the Mississippi river.
Creedence Clearwater Revival had been performing together under various banners since the 50s, but their run as CCR would unfortunately only last from 1967-72, before splintering under the obligatory inner tension that often surfaces within rock bands. Notwithstanding, the group were still prolific, releasing seven albums in such a short time, and this brilliant set was the starting line."

Long live ccr

Elias A. Kreuzer | Australia | 01/15/2006

(5 out of 5 stars)

"As a fan of all the CCR music, I found this cd quality and sound to be of excellent quality."

Rough, raw, and ragged

running_man | Chesterfield Twp., MI | 10/29/2005

(4 out of 5 stars)

"Not many people would cite Creedence Clearwater Revival's debut LP from 1968 as their favorite CCR album, but I wonder how many people would join me in ranking it number two or three? My personal favorite is 'Bayou Country', but this raw opening act from John Fogerty and company doesn't rank far behind. There isn't a poor track on the disc, and because each CCR album possesses its own particular flavor, there is really nothing else like it. This CCR disc is distinguished by its raw, youthful energy, and the absence of the 'swamp sound' that permeated much of their later work. It's heavy into a blues-rock sound, supported by three exceptional covers.



Creedence Clearwater has always been one of the finest cover bands on God's green Earth, and it all began with their eight and one-half minute cover of Dale Hawkin's 'Suzie Q', which rose to number eleven on the national charts in September of 1968. It's pretty standard rock and roll, with radiating lead guitar solo's from John Fogarty, and mere hints of the psychedelic, acid-rock sound that was permeating popular music at the time. The original vinyl also included a robust cover of Screamin' J. Hawkins 'I Put a Spell On You', the opener for side one, and Steve Cropper and Wilson Pickett's 1964 composition, 'Ninety-Nine and a Half', which opened side two. 'The Working Man' is the second track, the first John Fogarty composition offered, and perhaps the most undistinguished track on the disc.



Side two was composed entirely of tracks written by John, with some help on 'Gloomy' from brother, and rhythm guitarist, Tom. While side two really couldn't hold a candle to side one, each track has something tangible to offer. The weakest track was the generic blues opener, 'Get Down Woman'. That track, along with the following number, 'Porterville', both possess catchy vocal hooks, while the two remaining tracks, 'Gloomy' and 'Walking On the Water', owe their claim to worthiness to instrumental hooks.



This review wouldn't be complete without mentioning the stunning quality of the 20 Bit K2 Super Coding remastering process being employed on CCR's discs. I owned this disc on vinyl in the 1960's, and I never heard such vibrant tones as this process produces. It's well worth the extra expense involved to acquire this state-of-the-art technology. Aside from that, the only other stand-out aspect of the package is the elegant, Southern bayou feel and charm of the cover photograph of the band and graphic frame. I've always considered it one of the more appealing pieces of art from 1960's album covers. If you've never had the opportunity to hear CCR's debut LP, do yourself a favor and indulge."