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Details about  (CREEDENCE CLEARWATER REVIVAL-More Creedence Gold)-swamp rock-D4-LP

(CREEDENCE CLEARWATER REVIVAL-More Creedence Gold)-swamp rock-D4-LP

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AU $34.99
Approximately £18.51(including postage)
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AU $27.40 (approx. £14.49) AusPost Registered Post International Parcel | See details
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Last updated on  11 Jan, 2015 06:20:28 GMT  View all revisions
Seller notes: See specific description details below for this album.

ITEM: 12" VINYL LP 33 1/3RPM
TITLE: More Creedence Gold
CAT No: See scan> COVER: (Grade at NEAR MINT-)
VINYL: (Grade at NEAR MINT+)
Doug Clifford - drums
Stu Cook - bass
John Fogerty - lead guitar, harmonica, lead vocals
Tom Fogerty - rhythm guitar, backing vocals
Side 1
"Hey Tonight" – 2:43
"Run Through the Jungle" – 3:05
"Fortunate Son" – 2:18
"Bootleg" – 3:02
"Lookin' Out My Back Door" – 2:32
"Molina" – 2:42
"Who'll Stop the Rain" – 2:27

Side 2
"Sweet Hitch-Hiker" – 2:56
"Good Golly Miss Molly" – 2:40
"I Put a Spell on You" – 4:31
"Don't Look Now (It Ain't You or Me)" – 2:09
"Lodi" – 3:10
"Porterville" – 2:22
"Up Around the Bend" – 2:41
COMMENT: http://www.musicweb-international.com/encyclopaedia/c/C268.HTM
US rock band: John Fogerty (b 28 May '45), Tom Fogerty (b 9 Nov. '41; d 6 Sep. '90 of TB, Scottsdale AZ), guitars and vocals, both b Berkeley CA; Doug Clifford (b 24 April '45, Palo Alto), drums; Stu Cook (b 25 April '45, Oakland), bass. Had 13 classic top 60 singles in pop chart '67--72, seven of them two-sided hits, and another hit '76, four years after they broke up. The greatest American singles band, they were to singles what the Band were on albums, summing up of an era's American popular music. Fogertys' collaboration with school friends Clifford and Cook began late '50s as the Blue Velvets; signed to Fantasy label '64, changed name to Golliwogs, emulating UK 'beat' groups of the period (seven flop singles later collected on '75 LP The Golliwogs). Tom had been the centre of the group; Saul Zaentz bought out Fantasy's co-owners, convinced them to change their name and tied them to a typically bad contract of the time. After the name change to Creedence Clearwater Revival John wrote and sang most of band's material; without visiting the bayou he somehow invented 'swamp rock', with drive, lack of pretence and Southern flavour, basic rock'n'roll not heard since '50s carved a singular niche while other (especially West Coast) bands espoused radical politics or drugs. ('I saw precious little entertainment,' he said of the music scene at the time. 'I saw a lot of noodling, and I'm not made that way.') CCR became a favourite of Vietnam GIs. Concentrated on singles, sneered at then, but the quality of the material also made classic albums and still sounds fresh as paint. First (eponymous) LP '68 displayed roots, with covers of 'I Put A Spell On You' (Screamin' Jay Hawkins '56), 'Susie Q' (Dale Hawkins '57, first top 40 hit for Creedence). Bayou Country '69 incl. 'Proud Mary', 'Keep On Chooglin' as J. Fogerty's writing developed; Green River incl. title song, 'Lodi', 'Bad Moon Rising' (perhaps rock's best-ever 'road' song, breaking the band world-wide), astutely titled 'Wrote A Song For Everyone' (Fogerty's songs have been covered by Elvis Presley, Bo Diddley, Dave Edmunds, Rick Nelson, the Searchers, Jerry Lee Lewis, Emmylou Harris, Solomon Burke, Ike and Tina Turner etc; the distilled essence of rock'n'roll for grownups seemed to incl. everything). Overtly blue-collar Willy And The Poorboys '69 incl. trad. 'Midnight Special', Leadbelly's 'Cotton Fields', Fogerty's skiffle-ish 'Down On The Corner', two-sided hit with 'Fortunate Son'; 'Poorboy Shuffle', instrumental with washboard, harmonica. The album title was later borrowed by Bill Wyman for ad hoc group '85. Cosmo's Factory '70 was considered group's pinnacle; Forgerty called it 'the culmination of the whole thing', incl. marathon re-work of 'I Heard It Through The Grapevine' (Marvin Gaye '68; CCR's single charted '76), 'Up Around The Bend', country-flavoured 'Lookin' Out My Back Door'; 'Who'll Stop The Rain' (later theme and title of Karel Reisz film '78, called Dog Soldiers in UK); 'Run Through The Jungle' and 'Travelin' Band' both featured by Bruce Springsteen during '81--2 tour. After Pendulum '70 (incl. 'Have You Ever Seen The Rain?', 'Hey Tonight') Tom Fogerty left for an unspectacular solo career (albums Tom Fogerty, Excalibur, Zephyr National and Myopia '72--4, Deal It Out '81, all on Fantasy); with Ruby (Bobby Cochran, drums; Anthony Davis, bass; Randy Oda, guitar and keyboards, everybody on vocals) Tom also made Ruby and Rock And Roll Madness '77--8 on PBR International. Live concert at the Royal Albert Hall, London, '71 was a souvenir of original Creedence lineup at their peak; meanwhile the trio carried on with Mardi Gras '72, the band sharing the writing, resulting in a weaker album, though John's 'Sweet Hitch Hiker', 'Someday Never Comes' are as strong as ever. Live In Europe was issued '74, but the group had finally stopped '72. Clifford released Cosmo that year on Fantasy. John's Blue Ridge Rangers '73 was an album of trad. country covers which he prod. and arr., playing every note himself, but his name did not appear, intending the illusion that the group existed. John Fogerty '75 incl. wistful 'Dream/Song', rockers 'Almost Saturday Night', 'Rockin' All Over The World' (used on tour by Bruce Springsteen and by Status Quo to open '85 Live Aid show). Hoodoo '76 was issued a number (switching from Fantasy to Asylum) but was scrapped, bootlegs or demos escaping; 'It stunk,' he said. He was silent ten years, destroying unsatisfactory work to ensure against bootlegs; meanwhile Creedence played together at Tom's wedding late '70s, but John nixed a reunion. In '77 when he tried to withdraw his savings from a Bahamian bank it suddenly crashed; someone had stolen all the band's money, leading to years of lawsuits. Creedence's already high reputation became a legend; the band's music was praised by everyone, used in films incl. An American Werewolf In London '81, The Twilight Zone and The Big Chill '83 etc. Centerfield '85 was Fogerty's dramatic return with a no. 1 LP; he again played it all himself, and layers of overdubbing resulted in a stiffness that Creedence never had, but good songs incl. US hits 'Old Man Down The Road', 'Rock'n'Roll Girls', also 'Big Train From Memphis', pensive 'I Saw It On TV'. A potential dig at Zaentz 'Zanz Kant Danz' had to be changed to 'Vanz Kant Danz'. (Saul Zaentz sued Fogerty for plagiarizing himself, claiming that songs on the album closely resembled earlier ones to which Zaentz owned the publishing rights; he lost.) Fogerty did not tour to promote LP (didn't need to), but appeared at Sun session '85, with Edmunds, Carl Perkins, Roy Orbison, Johnny Cash on 'Big Train To Memphis' as a tribute to Presley. Album Eye Of The Zombie '86 again saw him arr./prod. and write it all, though he used Ry Cooder sidemen; standout track was 'Sail Away'. Blue Moon Swamp '97 incl. Donald 'Duck' Dunn, gospel singers the Fairfield Four: best tracks were 'Southern Streamline' and 'Blue Moon Nights': the downhome simplicity seems hard to sustain. Clifford and Cook played on Doug Sahm LP Groovers' Paradise '74; they made The Don Harrison Band '76 and Red Hot '77 on Atlantic (Harrison on keyboards and guitar, Russell Da Sheill on guitar, everybody singing) in the Creedence mould, but without success.


RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear.
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear.
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing.
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine.
RECORD: Very obviously been played with very noticeable surface marks & exhibits major loss of sound quality.
COVER: Noticeable folding, scuffing of spine or edges, splits in seams or spine or fading of colour.
RECORD: Still just playable & exhibits considerable surface noise.
COVER: Major tears, wearing, splits & stains.
RECORD: Will not play properly due to scratches etc.
COVER: Very badly damaged.
Slightly up or down in condition as appears in the comments above.
Gradings are done visually unless there appears to be a questionable surface mark on the vinyl, it is then put on the turntable to check. A comment describing the outcome will appear if this is the case.



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On 28-Jul-14 at 00:07:48 AEST, seller added the following information:

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