Item Description
FORTUNATE SON Jogn Foggerty, 1069 Who will take the coal from the mine? Who will take the salt from the earth? Who ll take a leaf and grow it to a tree? Don t look now, it ain t you or me.
Who will work the field with his hands? Who will put his back to the plough? Who ll take the mountain and give it to the sea? Don t look now, it ain t you or me.
Don t look now, someone s done your starving, Don t look now, someone s done your praying too.
Who will make the shoes for your feet? Who will make the clothes that you wear? Who ll take the promise that you don t have to keep? Don t look now, it ain t you or me.
Don t look now, someone s done your starving, Don t look now, someone s done your praying too.
Who will take the coal from the mines? Who will take the salt from the earth? Who ll take the promise that you don t have to keep? Don t look now, it ain t you or me.
CREEDENCE CLEARWATER REVIVAL: Willy The Poor Boys LP.
FIRST UK PRESSING, 21st MARCH, 1970.
WITH THE EXTREMELY RARE, VERY FIRST EDITION COVER WITH A LAMINATED FRONT, CONTINUING OVER THE SPINE.
ONLY A FEW WERE MADE AND OBVIOUSLY, ONLY VERY FIRST PRESSINGS ON THE BLUE LIBERTY LABEL WERE IN THEM, ALL OTHER COVERS WERE MATT COVERS.
The first pressing matt covers compounded the wear problems, because they were textured and that led to extensive wear to the front and back panels, even more so to the edges and the spine.
March, 1970 was very close to the 60 s decade and there are many examples of the same scenario, a few of the first edition covers were made to deluxe quality with promotional purposes in mind, or just record companies deciding to cut back on the cost of producing the covers.
The famous picture of the Beatles holding an advance cover of Sgt.
Pepper with a wider spine, demonstrates how the artists also received the deluxe version.
Reviewers were sent the rare deluxe versions mostly, I would surmise that was the case for this very first pressing of Willy The Poor Boys because the record has not been played.
The rarity of an unplayed 47 year old album of this stature never being on a turntable, is typical of reviewers, there was also a laminated Green River cover and exactly the same details applied about the standard first edition, a very compact, small cover with ridiculously thin spines that could not tolerate use or even long term storage.
The last Creedence album released on the blue label was the following Creedence LP, Cosmos Factory, in September, 1970, the label was re-designed immediately after the initial first pressings were made.
Then black Liberty label pressings were made of all their previous album titres, including of course Willy The Poor Boys.
Now this becomes really interesting, Polydor normally pressed Liberty s records, then so did EMI, CBS and Pye, but this very first pressing has Phillips text on the label rims and as far as I know, Willy The Poor Boys was the one and only Creedence album pressed by Phillips.
Just to add to all of that, the maitrix here falls between both Polydor and Phillips configurations.
The inner sleeve is a Polydor type and if I had to attempt explaining how this could be, it would appear it was Polydor, who were contracted to Liberty, contracted the pressing of these very first pressings to Phillips, Polydor took over for the second pressings.
Fascination with vinyl has been a lifetime of accepting hardly anything in the 60 s and early 70 s conformed to a set of rules, you have to know individual albums, not the record company on the labels That was how it happened and regardless of who made the Liberty label records, they were all among the finest sounding in the world.
How could they not be, Phillips, Polydor, EMI, CBS and Pye produced stunning vinyl during that period? The only thing you do need to hear just how incredible those audio standards were 47 years ago, is a Mint condition Willy The Poor Boys , it has taken me five years to locate a Mint copy, I have also been hunting for a black label pressing, but the overwhelming majority were wrecked in the early 70 s and that heavy playing continued down the decades.
Wrecked is also the usual state of original textured covers as well, an exceptional first pressed record.
an amazing laminated Mint -cover, a very rare unplayed, true Mint blue Liberty label very first pressing.
BLUE LIBERTY LABEL: LBS 83338 MAITRIX: LBS 8333 8 A 1 420 1 1 2 / LBS 83338 B // 1 1 1 With Side 2 s Polydor configuration, a mixture of at least two formats or not, this is the very first UK pressing made.
ORIGINAL 1970 POLYDOR / PHILLIPS / LIBERTY INNER SLEEVE, WELL, A POLYDOR INNER SLEEVE BUT I HAVE TO INTRODUCE IT CORRECTLY, BELONGING TO THREE RECORD COMPANIES IN THE EARLY 70 s AN ENCODED DATE WAS PRINTED ON THE FRONT, BOTTOM RIGHT CORNER, THIS HAS 3-70 3-70 places the printing in March, 1970 , only weeks before Willy The Poor Boys was released in the UK, in America the LP was issued in November, 1969, so positively a 1969 written, recorded and mixed album.
As usual, I added a close-up picture of the coded date to a picture of the poly-lined inner sleeve.
UNUSED,THERE ARE NO TEARS OR SPLITS, ONLY A RECORD IMPRESSION WITH A FEW RELATED LIGHT CREASES AND MILD AGEING, IN NEAR MINT CONDITION.
EXRTREMELY RARE VERY FIRST ISSUE LAMINATED FRONT COVER, UNUSED, THIS AVOIDED THE HEAVY WEAR CAUSED BY CONSTANT HANDLING.
SO ONLY ONLY TRIVIAL STORAGE TRAITS WHILE STANDING FOR THE PREVIOUS 47 YEARS.
A COMPACT SIZE SLEEVE WITHOUT A PRINTER CREDIT, WITH PHILLIPS INVOLVEMENT, THAT WAS AS EXPECTED.
In outstanding condition without any wear,which for a first issue 1970 cover is almost miraculous because there is still a matt back panel with pale colours account for.
The ultra glossy lamination is best seen in my pictures and because the laminate continued over the spine onto a strip of the back, the rather long titles on that unbelievable thin spine is absolutely perfect, including the white background not being aged.
For once without the customary ring wear from the heavyweight record, an expected impression from the very heavy record but very mild and that means no creases either.
Only a few related tiny laminate lines mostly in the usual place next to the spine, plus a few laminate ripples from standing.
The front and back artwork have richly toned and unfaded colours, definitely without any rubbing and completely free from any top surface scuffing.
A Willy The Poor Boys FIRST ISSUE COVER WITH SUCH MINIMAL STORAGE TRAITS IS RARE, MY GRADING SIMPLY HAS TO BE NEAR MINT CONDITION.
THE PRISTINE MATT LABELS DO NOT HAVE ANY ONE SPINDLE ALIGNMENT TRACES AND THE RECORD IS ALSO GLEAMING LIKE NEW .
WITHOUT ANY SCRATCHES OR MARKS, I COULD NOT FIND ANY HANDLING TRACES, SO IF THERE ARE ANY, THEY ARE INVISIBLE THE RECORD IS IN UNPLAYED MINT CONDITION.
SIDE 1 Down On the Corner It Came Out Of The Sky Cotton Fields Huddie Ledbetter Poorboy Shuffle Feelin Blue SIDE 2 Fortunate Son Don t Look Now It Ain t You Or Me The Midnight Special Traditional, arranged by John Fogerty Side Of The Road Effigy John Fogerty - vocals, lead guitar, piano harmonica on Poorboy Shuffle Tom Fogerty - rhythm guitar Stu Cook - bass washtub bass on Poorboy Shuffle Doug Clifford - drums washboard on Poorboy Shuffle All Songs Written By John Fogerty, Except Where Credited.
Produced By John Fogerty RecordedAt Fantasy Studios, Berkeley, California, In The Autumn Of 1969.
Only selling Creedence albums in Nr.Mint / Mint has been a habit I have never broken, the only trouble with that is how rare they have become now.
In January, 1970, Green River sold well enough in the UK to make No.20, why Willy The Poor Boys was delayed to the USA release, until March, 1970 when it reached No.10.
Two albums released in three months, was more than even the Beatles or Rolling Stones could sustain in the 60 s Bayou Country was the third album to hit British record shops after only eight weeks, something had to give and Bayou Country struggled to No.62, after seven days, it plummeted out of the charts.
Surely not a fourth album in 1970? I mentioned the follow up album Cosmos Factory earlier, that was issued in September, 1970 and it became a No.1 huge seller.
Even allowing for one failure, with that many records sold in that one year, we should be knee deep in Creedence albums...
if only from 1970 So where are all the top condition first pressings or the original LP s today? Played excessively and long ago replaced, when the few copies come up for sale, that observation is confirmed and so are their albums that sold moderately, No.10 for Willy The Poor Boys in March was not exactly the No.1 position of Cosmos Factory, but that still involved muiple pressings.
The last time I sold Willy The Poor Boys was five years ago on ebay, which is very frustrating, because this is my joint personal favourite Creedence album with Cosmos Factory .
I m delighted to now have on my turntable, an absolutely stunning blue Liberty label first pressing of the superb, Willy The Poor Boys.
Mind you, it took real dedication to keep up with buying the three albums in a four month period, then in the September, there was another irresistible album to add to that trio.
By 1970 I was working and still single, just as well No question Creedence had the talent to write and perform at an unbelievable peak of creativity between 1969 and 1970.
The crazy thing was, Willy The Poor Boys was still a current selling and charting LP when Bayou Country was released, spending 24 weeks in the UK charts.
As I said before, the biggest selling band on the planet could not sustain high record sales for four albums and five singles released in the same year, the Beatles also had the talent to write and record that amount, but even they would have suffered failures for one of four LP s, the remarkable twist to this story has be how in Sepember, Cosmos Factory went to No.1 and that alone is the biggest testimony to the exceptional music Creedence Clearwater recorded, the Revival part of their name was certainly lived up to The single from the album was Down On The Corner, paired with Fortunate Son, a protest song that fitted the almost concept behind Willy The Poor Boys.
The cover artwork sets the scene the music was inspired by, authentic Southern blues, the band covered two traditional songs associated with Leadbelly, Cottonfields and Midnight Special.
The positive New Orleons flavour was also there in two tracks inspired by the cover s location for the photographs, Poorboy Shuffle and Side Of The Road .
They literally did take to the side of a road with acoustic homemade instruments like a washboard, only they were in Oakland, California, outside the Duck Kee Market, while messing around, they got into a jam that became Poorboy Shuffle , the kids seen dancing in the street were not staged, they just got into the spontaneity of it all.
This is much more fun than discussing charts and album sales, they are important when discussing a 47 year old Mint first pressings of such a fantastic album.
Only last month I was writing about a 1966 album recorded by the Spencer Davies Group, for the music and the feel, the two albums were really closely connected.
I will keep this to just one play and write minimally as possible, the substantial vinyl shavings shown in a close-up picture of the spindle hole, are gathered around the perimeter and I am 100 certain they will not be affected.
I am used to playing true Mint records without leaving any kind of trace and I cannot resist hearing this long revered and loved album My excuse is to one play was made by record shops in this era and to me, that is the equivalent of unplayed because we bought the records as brand new, knowing the shop had played them.
It really was no big deal, I often asked to hear records before buying them, it took away concerns about surface sound problems, mostly as the 70 s decade progressed.
Please remember this will be the first play for 47 years and often static from the pressing itself, has yet to be played through, knowing these first pressings so well, I only expect low natural static.
Side 1 only has very faint static in the near silent run-in grooves, then into stunningly sharp, clean sound as the percussion sets your feet tapping on the floor.
The incredible Down On The Corner also sticks to the theme of making music on the street, the LP title originated from the chorus a wonderful rhythmic intro, from the left speaker only, the guitar plays a stinging riff with the drums, the right speaker has a shuffling percussion, then the song explodes into life with the second or rhythm guitar, the bass and the drums at colossal volume.
John Fogerty s amazing vocal is spread across both channels,the extremely powerful sound has fantastic audio definition.
The very sound of a first pressing without the wear I keep encountering on other originals and the next sound check is with my volume very loud, to check for any possible form of distortion, without any at all, a perfect first pressing record.
Although Down On The Corner was issued as a single, with it s mid tempo blues feel, it was never going to have full commercial chart success, a No.31 UK peak was a respectable enough position.
As an album opener though, a superb piece of music with all the elements that made Creedence such a formidable band.
The linking grooves run as smooth as silk, so there s a perfectly clean and clear emphatic blues guitar intro to the brilliant, It Came Out Of The Sky.
The blues feel continues onto this electrifying track, picking up on the tempo to a faster flowing pace, John Fogerty s lead vocals are just superb here.
The two guitarist s lock in with Doug Clifford s drums and Stu Cook s bass, forming a solid wall of sound unique to Creedence.
Just stunning sound quality with unbelievable power in the deep grooves, all heard in wonderful stereo panning, the effect and the impact is massive If anyone reading this has yet to hear Willy And The Poor Boys , it s a joy to play, Creedence really knew how to make outstanding records.
Relying entirely on musical ability, not needing grand productions or studio enhanced effects, giving the listener a refreshing honesty to the tracks, what you hear is what you get, that s music so compelling and glorious to listen to.
Cotton Fields begins from smooth linking grooves, the very delicate acoustic guitars intro is unaffected by common annoying crackles, in fact there is not even any static beyond natural to vinyl.
The first of the two cover song on the LP, best known by the recording by the blues giant, Leadbetter, or as he is better known Leadbelly, played with an authentic blues / folk feel with beautiful steel guitar giving this a lovely atmosphere.
The vocal harmonies are superbly sung and the sound quality is just stunning.
Their guitars are ultra sharp and the vocals just as crystal clear, when one of the chorus is sung acapella, it becomes exposed to all the horrors of needle noise, but there s none at all.
The next track, Poor Boy Shuffle, has that for the song s whole duration, yet again starting from a near silent gap and the quietly spoken studio joking around, is without any surface sound, then John s really jaunty blues harmonica with acoustic guitars, perform a fantastic acoustic blues instrumental.
Complete with real yelps of joy, talk about Leadbelly, this John Fogerty composition is as pure and true to his style of music as anything ever recorded.
A staggering recording, played very loosely, with the harmonica as the leading instrument, panned into the left channel for a maximum effect.
A looseness and the joy of making music is heard by their spontaneous whoops as the song develops, a simplistic backing, heard without even a hint of a 47 year old record playing.
Another reason for rejecting so many original records, some records were so perfect as first pressings, knowing this loved track was not pressed with loud crackles, had me squirming in irritation, so the search continued for a perfect playing first pressing.
All those years later, this has the absolute audio perfection I demand for Poor Boy Shuffle, the reality of original vinyl is only there when you play an acoustic blues track like this.
The next gap has very minor static and I will emphasise that is not permanent and after several plays that will be gone.
The fantastic final harmonica note fades away naturally, only to be cross faded by an emphatic and relentless drums intro for the amazing, Feelin Blue.
When John Fogerty sings blues of this intensity, he s out on his own as a vocalist, he also wrote this as well as arranging and producing the album, add in his superb lead guitar.
you have the very reasons Creedence were such a talented band.
The sound here is just staggering, the drums are so crisp, Doug Clifford could be playing them in my room.
To the younger vinyl converts, do not believe the utter nonsense about digital remixing, analogue sound of this quality will blow away any digital record or CD.
Every note played or sung is here in absolutely perfect audio clarity, with none of the irritations I ve mentioned that plague this album.
They hit a water tight blues rhythm and at over 5 minutes long, the re in no rush to finish until they take the riff off-beat ito the very limit.
The lyrics are the very substance of rb / blues, in that great tradition, nothing gets overplayed, they hold the dramatic tension for the whole of the track.
That is my first listen to the album and being unplayed, the spindle hole still is as tight as how Creedence performed Feelin Blue, I can t wait for Side 2 Yet again, near silence with just faint natural static in the run-in grooves, instantly cleared before the dazzling brilliance of Fortunate Son, written by John Fogerty of course.
A mid tempo, hard rocking rb track with an outstanding lead lead vocal over a backing of guitars and drums.
The sound is razor sharp and packed full with tremendous power and quite astounding audio clarity.
You can t beat a first pressing for this stunning first mix, a true stereo total channel separation, has the individual instruments and the vocals hitting you very hard in both ears.
A strongly worded anti-war song song, that states it s case with an emphatic No to war, the reference to the American flag pulls no punches either.
The lyrics also hit out against the power given to those with money to pull strings, angry lyrics are stingingly delivered and the toughness within the instrumental backing gives the track a real edge.
As mentioned, it was the B-side of Down On The Corner, shame it didn t sell, Fortunate Son is such a stunning track, up there with my favourite Creedence performances, a blistering John Fogerty vocal is sung with all his fullest power, an equally powerful backing sounds so good.
Fading into near silence, then from the right speaker an acoustic guitar, the drums and bass from the left channel, heard in crystal clear sound.
The rhythm acoustic guitar boosts the sound, also panned from the left, with the vocals occupying both speakers.
Don t Look Now It Ain t You Or Me is acoustic blues of the very finest kind, with a freight train blues rhythm behind an outstanding melody.
Always reminding me of Creedence s superb Who ll Stop The Rain for the feel alone, if not for the intensity of that amazing performance.
Just as unique a track in it s own right, with the melody sung and performed very gently, a wonderful song like this is a real pleasure to hear without any surface sound or worse.
The next gap runs perfectly smoothly into the intro for an incredible version of The Midnight Special.
A fantastic track, I came to love the song in the mid-1960 s by hearing the Spencer Davis Group s version, great to hear this in such stunning audio sharpness and completely undistorted sound.
A traditional song given a John Fogerty arrangement, and what an arrangement this is Taken at a slow tempo, ignoring the tempo of a faster train rhythm, with the melody coaxed from this song as only Creedence Clearwater could.
Near to the end they inject a faster change to the rhythm, subtle enough to keep it a unique interpretation.
In particular,the vocal sound incredible, sung as close harmonies for the chorus and a single lead vocal from John on the verses.
Linking smoothly into another really major John Fogerty composition, now for the purest blues of the wonderful Side O The Road.
A single guitar plays the blues riff, heard without any crackles of course, the others join in and this spellbinding slow blues instrumental starts to catch fire.
They give John the foundations to play from and he produces some stunning lead blues guitar, the 60 s blues boom was nearly over by 1970 and rock was becoming heavier, in a way too many bands were sacrificing the very feel of the music for power alone.
Creedence could play as loudly and heavily as the best of them, but as they do on here, always staying true to authentic spirit of biting rb / blues, in exactly the same way the UK s Ten Years After never once compromised or bowed to how the majority just followed trends.
The sound is immaculate and the musicianship is outstanding.
To end this superb album, my all time favourite album track, the mean and deeply mood intensive, Effigy.
From the final set of smooth, silent linking grooves, a brooding and highly atmospheric intro builds up great dramatic tension before the vocals begin.
Creedence again become an amazingly tight rhythm section, behind another one of those flawless John Fogerty vocals.
Neil Young circa 1970, comes to mind, such intensive lyrics are suggesting a Klu Klux Klan burning, John Fogerty s vocal delivery of those lyrics is immense.
His voice carries so much natural power as well as his genuine heartfelt passion, the two guitars play it like a traditional blues song, creating fantastic sounds you do not want to ever stop.
Although this runs for six and a half minutes, I would be happy if this stunning performance on Effigy took up the whole side, not that I would want to lose any of the other great tracks on this second side The guitars power out with tremendous force as the intensity and passion of the song ever increase, the drums and bass step up and near the end they create an overpowering, real epic of a recording.
A staggering track in just stunning sound quality, the perfect combination I have thoroughly enjoyed every second of an album with the very highest standard of musicianship, Effigy is the the icing on the cake, a really devastating track from this vastly underestimated band.
Roy R M RECORDS.
My lifetime s love of music and records began at a very young age, the arrival of the Beatles and the 1960 s decade in general had a very profound effect.
It was only natural to bring all my first hand experience of collecting vinyl into becoming a professional record seller.
Nearly thirty years ago we entered into the wonderful atmosphere of record fairs with the highest possible standards set.
When the Internet became the world s new market place for vinyl, in 2001 it was time to join ebay.
Those standards were rigidly adhered to as they will always continue to be, the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly and very efficient service we are proud to provide EVERY RECORD IS FULLY PLAYED AND COMES WITH A NO ARGUMENT MONEY BACK GUARANTEE.
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