Item Description
TOMBSTONE SHADOW John Fogerty, 1969 Tombstone shadow, stretching across my path, Tombstone shadow, stretching across my path, Every time I get some good news, there s a shadow on my back.
Saw the gypsy man, way down in San Berdoo, Said, I saw the gypsy man, way down in San Berdoo.
Five dollars on the table, keep me way from my tomb.
Said, I got thirteen months of bad luck, bound to be some pain.
Don t you do no travelling , fly in no machines.
Tombstone shadow, stretching across my path, Every time I get some good news, there s a shadow on my back.
The man gave me a luck charm, cost five dollars more, Said, Put some on your pillow, and put some on your door.
He said, Take a long vacation, for thirteen months or more.
Oh, lord Tombstone shadow, stretching across my path, Tombstone shadow, stretching across my path, Every time I get some good news, there s a shadow on my back.
Oh, Oh, lord CREEDENCE CLEARWATER REVIVAL: Green River LP, THE VERY FIRST UK PRESSING, MADE IN DECEMBER,1969, BUT DISTRIBUTED AND RELEASED 7th JANUARY,197O.
The first pressing was in made December,1969 on the blue Liberty label, the actual release date was the 7th January, 1970 and the labels of the first pressings alone contain the correct date.
A very late 1960 s record, cover and inner sleeve, which I will detail in this section, the second pressing came in late 1970, by then the Liberty label was re-designed to black.
The final Creedence album released on the blue Liberty label was Cosmos Factory in September, 1970, the Liberty label was re-desiged immediately after a few initial first pressings.
The 1970 Green River labels have the same 1969 publication date and exist in larger quantities today than the blue label pressings, the 1969 pressings were played incessantly and the thin, frail, textured covers were unable to take that kind of heavy use.
I might as well complete the final blue Liberty label Cosmos Factory LP s, because they were connected to the second pressings of Green River , the black label pressings of Cosmos Factory became part of the album s chart residency, it was around this time all preceding Creedence albums were also pressed and issued on the black label, so late 1970 for the second pressings of Green River.
Giving the correct pressing date of Green River is not just about the 1960 s original blue colour, it places Creedence s third album into the correct perspective, written, recorded and released in the same 1969 Creedence Clearwater Revival s self titled debut album was released.
Accurately dating any British record made during 1970 is simple enough, by using the maitrix number configuration I will give below.
Now this becomes very interesting, Polydor normally pressed Liberty s records, but so did EMI, CBS and Pye, the blue label first pressings were made by Polydor but the black label second pressing of Green River was made by EMI, Polydor very first pressing s are distinctive and this is the very first made, which confirms a late 1960 s pressing.
BLUE LIBERTY LABEL: LBS 83273 MAITRIX: LBS 83273 A 1 420 1 1 / LBS 83273 B 1 420 1 ? The very first pressing made.
EMI STAMPING CODES: A 1 / M 1 With both sides sourced from the 1st mothers , add in EMI s 1970 maitrix endings, A - 1G / B - 1G, and this is a configuration found on an EMI very first pressing.
Even the rare very first made blue label records would have to be this low or more likely, they would be higher in the manufacturing sequence.
Finally, the actually order of the very first pressings were indexed by EMI, A on one side was only the third made from the first mother and M was the fourth from from that side s first mother .
ORIGINAL 1969 POLYDOR INNER SLEEVE, FORTUNATELY THEY WERE CODE DATED AND PRINTED IN BLUE THIS HAS 119 The 60 s sleeves never had the complete year printed, the decade was taken as read and the last digit signified the year and the preceding digit s the month, so the inner sleeve sent to Polydor s pressing plant was made November, 1969 A few weeks or even days before this record was pressed, hardly used there are no tears or splits, just the heavyweight 1960 s record s impression and related creases.
More pronounced than normal due to the soft, thin, small size cover, this is all about originality and the authenticity of every aspect of this very first pressing meets every single criteria.
THE INNER SLEEVE IS IN EXCELLENT CONDITION.
ORIGINAL LATE 1969 TEXTURED /EMBOSSED CANVAS COVER, THE PRINTER WAS NOT CREDITED, BUT THIS A TYPICAL E.
J.
Day COVER.
THE SPINE HAS POINTED ENDINGS AND THE FRAIL OR COMPACT SIZE IS HOW SO MANY POLYDOR AND RELATED LABELS COVER WERE MADE.
TRACK RECORDS, ATLANTIC, ETC.
BUT THIS DID NOT HAVE A LAMINATED FRONT AND THE SAME COMPACT SIZE WITH TEXTURED /EMBOSSED SURFACES HAD NO FORM OF PROTECTION.
With a textured finish, the majority are really badly worn, split and torn with severe ring wear from the heavyweight records.
With only four / five careful plays of the record, this is exceptional and storage enters the equation, there has to be a record impression and related contour ripples/ light creases, but only the most minimal standing traits of 1969 to early 1970.
The front and the back s lovely summer woodlands artwork, is in superbly rich and unfaded colours, all to mention for such a thin frail cover, is that fully expected and unavoidable impression from such a heavyweight record.
The four corners, all the edges and the spine are outstanding and as near to perfect as you could hope to find for this particular matt cover, all the following later re-issues came with untextured, plain smooth/ shiny finishes.
Near Perfect is defined by the edges and corners having the least possible rubbing, I never understate that and never ignore it either, but I insist on discussing every individual album cover with the construction, shape and top surface clearly stated.
The spine was ridiculously thin in late 1969 and that thin, textured matt cover meant the very thin top paper which was always subject to severe wear.
This spine is once again exceptional due to non handing, still a more than reasonable white and unlike 95 of all these first textured covers with all the printing totally worn away, this every letter and digit perfectly clear and not worn away Please refer to my close up picture to see how incredibly preserved the very long central artist and LP title actually is.
that minimal rubbing .
A Green River VERY FIRST ISSUE COVER WITH SUCH MINIMAL STORAGE TRAITS IS RARE, BUT MY GRADING REMAINS FIRMLY IN LINE WITH THE CORRECT GRADING TERMINOLOGY, IN EXCELLENT CONDITION THE PRISTINE MATT, TEXTURED BLUE LABELS ONLY HAVE THE SPINDLE ALIGNMENT TRACE OF FOUR / FIVE PLAYS, ONLY.
THE RECORD IS ALSO GLEAMING LIKE NEW WITHOUT ANY SCRATCHES OR MARKS, HANDLING TRACES ARE FEATHER LIGHT NEAR INVISIBLE.
WITH THE SOUND QUALITY ABSOLUTELY PERFECT ON EVERY SECOND OF EVERY TRACK, VISUALLY AND AUDIBLY, THE GRADING IS NEAR / MINT- CONDITION.
SIDE 1 Green River Commotion Tombstone Shadow Wrote A Song For Everyone SIDE 2 Bad Moon Rising Lodi Cross-Tie Walker Sinister Purpose The Night Time Is The Right Time Napoleon Brown /Ozzie Cadena / Lew Herman John Fogerty - vocals, lead guitar, piano harmonica Tom Fogerty - rhythm guitar backing vocals Stu Cook - bass Doug Clifford - drums All Songs Written By John Fogerty, Except The Night Time Is The Right Time Recorded March - June 1969, At Wally Heider Studios, San Francisco, California.
Produced By John Fogerty Only selling Creedence albums in Near Mint / Mint has been a habit I have never broken, the trouble with that, is how rare they have become now, the album I just mentioned this first black Liberty label was pressed current to, became a No.1 huge selling success.
So, where are all the top condition, very first British pressings of the 1970 Cosmos Factory, and that 1969 trio of, Creedence Clearwater Revival , Bayou Country , Green River and Willy The Poor Boys ? Played into submission and long ago replaced when the few copies came up for sale, that observation has been confirmed over the last 13 years, but I have been buying and selling Creedence albums during the previous decades and the same pattern was established way back.
That makes no difference, a No.1 album like Cosmos Factory, or the earlier titles that sold sold moderately are far rarer.
Regardless of the label re-designs only a year after the initial release, I m really delighted to have on my turntable an absolutely stunning blue Liberty label first pressing of the stunning Green River.
Green River made No.20 in January, 1969 and to issue their debut LP a few weeks later, 1968 in The USA then on the 28th March, Willy The Poor Boys , it really strained UK fans financially.
Overkill by the record companies or not, no less than five Creedence Clearwater singles had very healthy sales in 1970 but not even the Beatles released three albums in a four month period.
No question Creedence had the talent to write and perform at an unbelievable peak of creativity, but something had to give when only four weeks later Bayou Country was released The crazy thing this time was Willy The Poor Boys was still a current top selling and charting LP By spending 24 weeks in the charts, Willy The Poor Boys was still there right up to the September, 1970 release of Bayou Country.
Little wonder all that had a negative effect in May 70, the failure of Bayou Country was not a reflection on the fantastic music, it thoroughly deserved to be as successful as the two previous albums.
Just writing that and discussing releasing a third album a few weeks later was just absurd and fans were reeling with the funds needed to keep up, Bayou Country only reached No.64 in May,1970 and only lasted in the charts for seven days That lowly position was so brief, blink and you missed it, then even more amazingly, Liberty went and released a fourth album the moment Willy The Poor Boys left the charts in September of the same 1970.
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 certainlly lived up to It was little wonder the Green River first pressings on the black labels, have been where I have been able to locate the only condition I consider worthy to sell, for around six years now.
A Near Mint blue Liberty label pressings in a superb unaged first issue cover, complete with the original late 1969 Polydor inner sleeve, is very special indeed.
Even when we traded at record fairs decades ago, customers expressed surprise when I showed them a blue Liberty Green River still with that ultra glossy gleam of a Mint record.
Looking back over the relatively very short career of Creedence, all these years later, due to them having so many hugeselling singles, it is understandable to assume they had the same success with all their albums.
For the astounding music on them all, they most certainly should have, but in the UK it was an extremely slow process establishing the band beyond their classic 45 s.
In comparison to singles, this, the third Creedence album, Green River was an album that had moderate success, their previous two albums, Creedence Clearwater Revival Bayou County had totally failed to sell and as ever, unique talent eventually did conquer.
Creedence recorded the great Green River and as well as being on the LP it was named after, the single was issued the month before the LP in November, 1969 when it made No.19 here.
Not quite the success of another track from Green River, that was also issued as a single in the previous August of 1969, the superb Bad Moon Rising finally established their name, making the No.1 spot in the UK.
When this Green River album followed the same titled single, in 1969 Led Zeppelin established albums albums could and did out-sell singles, to the point they refused to allow Atlantic to release Whole Lotta Love as a single, in spite of Atlantic preparing Promo 45 s and allocating a catalogue number in Britain.
So for Creedence, Green River should have had the same huge sales and at least a Top Five album.
Only making a peak No.20 chart entry by mid-January, 1970, was really disappointing, but it was at least the first breakthrough.
I have mentioned two LP tracks so far but all nine of them are just as outstanding, any LP with Lodi and Tombstone Shadow, has to be a very special record.
They were not a prolific LP band at first, Creedence should never be viewed as being commercial artists, apart from when it came to singles, which sold exceptionally well and are among this era s very best.
Their remarkable music never pandered to trends or commercial acceptability, but in there with the purest blues, rb uncompromising rock music, their material was also highly melodic and sounded so good blasting from radio s, hence their bigger success with singles.
Enough pressing and chart facts, I m itching to turn on my turntable and lower the stylus, I have not listed Green River on ebay for two years, if on the black label of course...and this is one amazing album The record is a real beauty for the appearance and sound reproduction, gleaming away with the deep, mirror like glossy shine of Mint vinyl.
Playing with ultra clean very powerful sound, with the incredible late 1960 s true stereo mix.
Stunning sound quality with an absolute minimum of any natural low level static, during the tracks or from their linking grooves or track gaps.
Side 1 has completely silent run-in grooves, not a crackle to be heard and that means a rarely found perfectly clean intro to the incredible Green River , the original stereo mix is immediately heard during the great intro.
Panned from the left speaker only, John Fogerty s lead guitar powers out a really stinging rb riff, now the right speaker explodes into life with Tom s Fogerty s second or rhythm guitar, Stu Cook s bass and Doug Clifford s drums.
With John Fogerty s fantastic vocals split across both the channels, the extremely powerful sound is ultra sharp and such stunning audio is that of a Mint first pressing.
Not just any old first pressing, this was a very first pressing, a further but unnecessary main sound check, is to boost my volume even higher to check for any distortion, this record does not any, a perfectly pressed and completely unworn record.
Without any surface sound beyond vinyl s natural low level static, this is the one and only way to enjoy Green River, as uncompromising hard edged blues, releasing this track as a single was never going to become a runaway commercial success, so that No.20 UK chart peak was a very respectable position.
As an album opener though, it s a superb piece of music with all the elements that made Creedence such a formidable band.
The two brother s guitars reflected the nature of Creedence s music, playing very tight blues, propelled along by an equally tight rhythm from the bass and the drums.
That blues feel continues into the next track, Commotion , beginning from a near silent gap, the guitar and drums intro is unaffected by any surface sound.
The tempo here is much faster and John s vocals are just blistering, what a voice Now both guitarist s lock into Doug Clifford s drums and Stu Cook s bass, forming the one solid block of fantastic sound.
The stunning sound quality has massive power mastered into these canyon like deep grooves, with all that heard in the wonderful stereo panning, the effect of such perfect audio clarity is staggering to listen to.
Anyone reading this yet to hear the album Green River , this was inspired music and Creedence certainly knew how to make fantastic records, their third album came with extra experience in the studio, but nothing had really changed since 1968, they had always relied entirely on their own musical ability, not needing grand productions or studio enhanced effects, they just plugged in and played, today that gives a refreshing honesty to these superb tracks, every one is so compelling and bsorbing to hear.
In the earlier part of 60 s in the UK, the Animals and the Yardbirds are two examples of the same approach to making records.
Great to have a near silent gap before Tombstone Shadow kicks in mean and hard, my volume is excessively loud and mentioning faint natural static would insinuate it does not belong on a record.
That outstanding intro is unaffected by the usual loud crackles and the usual irritating noise constant playing added to once perfectly pressed records.
From the left speaker only, the lone guitar plays a mournful blues piece, the rest join in from the right, John Fogerty now sings the anguished and depressed lyrics about thirteen months of bad luck , with an early grave hovering over him.
I typed these lyrics at the top of the page, they sound so much better with John singing them with such heartfelt emotions, then perhaps just to read.
When Fogerty sang blues of this biting intensity, he was out on his own as a vocalist, mind you, he did also write Tombstone Shadow and every song on this first side, as well as arranging and producing the album.
With his gifted lead guitar and the other three musicians, you have the very reason why Creedence were a truly talented band.
The sound quality is just staggering, absolutely perfect clarity with every note played in perfectly defined sound.
Playing records all day, often seven days a week, I do become selective about the vinyl s condition for my personal listening pleasure, but even more so when on behalf of potential customers.
These magnificent songs are relentless, Wrote A Song For Everyone was not just a brilliant song title, but an outstanding melody, with their hard edged blues put aside for the next five minutes, to perform a brilliant slow tempo song.
A completely silent gap and a very quiet intro has no surface/needle sound and plays with the crystal clear audio I insist on, for every Creedence record I offer.
I never claim I can offer any more than how records were first heard in their own era, but knowing how high the standard was, I will not dip below that amazing audio standard.
John Fogerty s vocals are just stunning Singing this with great restraint and pent up emotions, his gently played guitar solo was beautifully executed, so was the suitably played sympathetic backing from brother Tom, Stu and Cliff.
Wrote A Song For Everyone is indeed a song worthy of hearing this album for alone, a personal favourite CCR recording, so especially good to hear with such perfect sound quality.
This would have made a great single, but at five minutes long, maybe it s best left as an album track, that is one of the real joys of their LP s.
Creedence s singles by far outsold their albums, leaving some amazing but little heard lost treasures tucked away on the albums, a consistency unique to major talent.
Side 2 also opens up from problem free, totally silent run-in grooves, grading records is the combination of a visual inspection and then the sound quality, this has the sound of an unplayed/Mint record The dazzling brilliance of Bad Moon Rising , written by John Foggerty of course.
A fantastic mid-tempo rb based track, with a really dynamic lead vocal over a backing of guitars and drums.
The sound quality here is once again sheer perfection, packing tremendous power with simply awesome audio clarity.
You can t beat a Polydor first pressing for faithful mastering and pressing the stunning first mix, superb channel separation for a stereo system 45 years ago, but sounding incredible in 2014.
Their individual instruments and vocals are at their very fullest impact, I still have a problem accepting this album can possibly now be 45 years old, the music still has such a fresh vitality, it sounds like it was recorded yesterday, but then all the true great records have a timeless quality to them.
Next up is one of my all time favourite Creedence tracks, linking perfectly smoothly to yet another truly inspired John Fogerty composition, Lodi , with Tom s rhythm guitar and John s lead guitar playing the superb melodic intro.
What a great vocal on the tale of hard times of a stranded musician, certainly my personal choice as the track of the album, so a genuine pleasure to say Lodi is in absolutely stunning sound quality.
A song with such a memorable melody and the vocals are a delight to hear in immaculate audio clarity, if the title is familiar and the album little known, it might jog a few memories if you have some of Creedence s singles, Lodi was also chosen for the B-side of the Bad Moon Rising single.
So many in this period bought the singles without picking up the latest LP, it was tough enough in this period having to choose from so many desirable new albums available in the record shops.
This is a wonderful track heard in any context, a brilliant melody was played on guitars as superbly as it was sung, the chorus, Oh Lord, stuck in Lodie again, should ring a few memory bells.
The following track s musical style presents no problems for me to describe Cross-Tie Walker is acoustic blues played at a freight train rhythm.
Another completely silent gap before Creedence as one, hit a superb water tight rhythm behind another magnificent and compelling John Foggerty vocal.
Even with this laid back method of delivering the lyrics, John s voice carries so much natural power and with very powerful 1960 s mastering, you will not be reaching for your volume control The guitarist s play this as a traditional blues song, no guitar solo s here, a complete band performance only and that s a part of the refreshing honesty in the music I referred to earlier.
I can easily forget about giving sound reports for a fantastic record like this, but I can only continue giving the very highest praise possible for the pressing.
From more of those wonderful silent linking grooves, now for the very deeply mood intensive, blues based Sinister Purpose, as the Foggerty brothers guitar s power out the emphatic intro, perfectly in synch but heard individually impacting from opposite speakers.
John s vocals were double tracked, two slightly different vocals were mixed together to give an extra impact and the stereo effect of his mighty voice doubled up from both the speakers, is magnificent.
This is blues bordering heavy rock music and what a stunning bass guitar sound from Stu Cook, they really do rock here, featuring some absolutely brilliant guitars interplay between the lead and rhythm.
Doug s drums are locked in tightly with the bass guitar, becoming the backbone that all was built on.
Fading out into total silence, allowing the purest blues intro to the final track, be heard in perfectly clean clear sound, The Night Time Is The Right Time was the only non-original composition on the album, a real classic of an rb song, custom made for Creedence to perform.
I am unfamiliar with the original recording, I came to know The Night Time Is the Right Time from the Animals superb version, if ever there were two staggering vocalists, Eric Burdon and John Fogerty were in a league of their own.
Fogerty singing rb of this nature is so authentic and amazing to listen to, especially with the audio so pure and true, this a genuine pleasure.
The slide blues guitar is just stunning, the backing vocals are superbly sung as a call answer chorus, shame to reach the last track but I have enjoyed every second, Green River is an album with the highest standards for both the songs and the musicianship.
To hear from completely unworn grooves made the listening pleasure a genuine pleasure and a timely reminder why I will never compromise over the condition and sound of the first pressing blue Liberty records.
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.
Over twenty years ago now 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.
I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY FROM THE U.K.
RECORD COLLECTOR PRICE GUIDE BOOK.
THERE IT CLEARLY STATES Sound Quality AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS.
i.e.
COMBINING A STRICT VISUAL INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE OF GENUINELY UNPLAYED VINYL.
EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
MY DESCRIPTIONS WILL ALWAYS BE 100 HONEST AND TOTALLY ACCURATE ON ALL GRADINGS FROM V.G.
VERY GOOD , TO THE ULTIMATE MINT CONDITION.
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WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES WEIGH A LITTLE EXTRA.
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We have kept all our charges at the same level for years now, but due to the Post Office s new price increases, regretfully we will have to increase the cost of LP s, however, singles will remain unchanged.
Ebay were aware of that happening and have increased their minimum postal cost for LP s to 7.00, that figure has been enforced by the UK Post Office and it will become our UK First Class, Recorded Delivery cost for albums up to the value of 46.
For LP s valued above 46, the cost will be 9, we are unhappy about either increase but our high standard of packaging has meant in 12 years of ebay trading, there has not been one record damaged, we are determined to maintain that in the present and future.
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POSTAGE COST FOR LP s UK: UP TO VALUE OF 46, FIRST CLASS RECORDED DELIVERY 7.00 UK: OVER VALUE OF 46, FULLY INSURED SPECIAL DELIVERY 9.00 EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR 15.00 USA,JAPAN REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR 20.00 POSTAGE COST FOR EP s 7 UK: UP TO THE VALUE OF 46 FIRST CLASS RECORDED DELIVERY 3.00 UK: OVER THE VALUE OF 46 FULLY INSURED SPECIAL DELIVERY 6.00 EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR 10.00 USA, JAPAN ETC.
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