Creedence Clearwater Revival CCR Bayou Country DCC Gold CD NEU OVP Sealed GZS-1038 Erstpressung Japan

Erscheinungsdatum: 1. August 1993
Label: DCC
Format: Audio CD (CD-Anzahl: 1)


      Tracks


1. Born on the Bayou (Fogerty) - 5:10
2. Bootleg (Fogerty) - 2:58
3. Graveyard Train (Fogerty) - 8:32
4. Good Golly Miss Molly (Blackwell/Marascalco) - 2:39
5. Penthouse Pauper (Fogerty) - 3:37
6. Proud Mary (Fogerty) - 3:07
7. Keep on Chooglin' (Fogerty) - 7:40


 

Produktbeschreibungen

Stereoplay
Jetzt ist dem guten Steve Hoffman - Tontechniker des auf Gold-CDs spezialisierten US-Labels DCC - wohl doch der Tiefenregler aus den Fingern gerutscht. Beim Remastering steht es ihm gewiß frei, den Frequenzgang des Originals nach einem Gusto mit dem Ziel einer Klangoptimierung leicht zu verändern. Doch eine derart groteske Überbetonung von Stu Cooks Baß wie bei der vorliegenden Überspielung ist nur noch ärgerlich und hat mit High Fidelity nichts mehr zu tun. Da hört man sich CCRs 1968er Songs "Proud Mary", "Born On The Bayou" oder "Keep On Chooglin'" doch lieber auf der gewiß nicht baßarmen Standard-CD an (Fantasy FCD-658-8387/Mikulski) - und spart zudem eine Menge Geld. ** Interpret.: 09-10
© Stereoplay

Review by Stephen Thomas Erlewine
Opening slowly with the dark, swampy "Born on the Bayou," Bayou Country reveals an assured Creedence Clearwater Revival, a band that has found its voice between their first and second album. It's not just that "Born on the Bayou" announces that CCR has discovered its sound — it reveals the extent of John Fogerty's myth-making. With this song, he sketches out his persona; it makes him sound as if he crawled out of the backwoods of Louisiana instead of being a native San Franciscan. He carries this illusion throughout the record, through the ominous meanderings of "Graveyard Train" through the stoked cover of "Good Golly Miss Molly" to "Keep on Chooglin'," which rides out a southern-fried groove for nearly eight minutes. At the heart of Bayou Country, as well as Fogerty's myth and Creedence's entire career, is "Proud Mary." A riverboat tale where the narrator leaves a good job in the city for a life rolling down the river, the song is filled with details that ring so true that it feels autobiographical. The lyric is married to music that is utterly unique yet curiously timeless, blending rockabilly, country, and Stax R&B into something utterly distinctive and addictive. "Proud Mary" is the emotional fulcrum at the center of Fogerty's seductive imaginary Americana, and while it's the best song here, his other songs are no slouch, either. "Born on the Bayou" is a magnificent piece of swamp-rock, "Penthouse Pauper" is a first-rate rocker with the angry undertow apparent on "Porterville" and "Bootleg" is a minor masterpiece, thanks to its tough acoustic foundation, sterling guitar work, and clever story. 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.