Item Description
HAVE YOU EVER SEEN THE RAIN? John Fogerty, 1970 Someone told me long ago, There s a calm before the storm, I know, it s been coming for some time.
When it s over, so they say, it ll rain a sunny day, I know, shining down like water.
I want to know, have you ever seen the rain? I want to know, have you ever seen the rain, Coming down on a long day? Yesterday, and days before, sun is cold and rain is hot, I know, been that way for all my time.
Til forever, on it goes, through the circle, fast and slow, I know, it can t stop, I wonder.......
I want to know, have you ever seen the rain? I want to know, have you ever seen the rain, Coming down on a long day? I want to know, have you ever seen the rain? I want to know, have you ever seen the rain, Coming down on a long day? CREEDENCE CLEARWATER REVIVAL: Pendulum LP, FIRST UK PRESSING LATE 1970, ISSUED 16th JANUARY, 1971.
BLACK SILVER LIBERTY LABEL: LBG 83400 THE RARE VERY FIRST UK PRESSING IS EASILY IDENTIFIED BY EMI STAMPINGS FOR THE NUMERICAL ORDER, BUT THIS TIME IT INVOLVED A MAJOR ERROR FIRST MADE ON THE TEST PRESSINGS, THEN CARRIED ONTO THE INITIAL OR VERY FIRST PRESSINGS OF Pendulum.
INITIAL MISTAKEN MAITRIX: LBS 83400 A - 1 / LBS 83400 B - 1 THE CORRECTED MAITRIX: LBG 83400 A - 1 / LBG 83400 B - 1 On both sides the LBS suffix was neatly crossed out by machine with a straight line and re-stamped with LBG underneath, leaving 83400 A - 1 83400 B - 1 in the same top positions.
An easy mistake to make, during the 60 s the Stereo Mono Liberty catalogue and maitrix suffix indicated the format, LBS for Stereo and LBL for Mono, now in the early 1970 s, there were only Stereo records and LBG replaced the dual 60 s format.
The sound engineer made a minor mistake that would have created confusion for record shops and the correction becomes the definitive identification, but did not end there Much more important, the above sound engineer input shows the best possible audio qualities originated in Abbey Road Studio / EMI pressing plant.
Liberty was an American record company and the UK distribution was handled by EMI, when these first pressings were being prepared during December 1970, EMI, Pye and CBS pressed the records.
That was not a changed contracted pressing, just the arrangement between EMI, PYE and CBS during the busiest time of the year, the position of the above maitrix is also that of both Pye EMI, machine stamped at 6 o clock position.
Pye s stamping s are very distinctive for the 60 s and early 1970 s, they always ended the maitrix with a symbol and followed it with a letter, for Pendulum LBG 83400 A - 2 T / LBG 83400 B - 2 T All first issue Pendulum gatefold covers and labels were printed by Garrod Lofthouse, early 1971, nobody would have noticed, today attention falls onto those tiny stamped letters and digits, so not yet another ebay claim for a rare contract pressing, just how it happened nearly fourty five years ago and my own insistence of an accurate presentation of the records I sell.
For anyone new to all this, the 1960 s 70 s first pressings or originals, rarely followed set patterns and variations exist, all part of the era for record pressing and printing.
Most record companies used at least two different printers for covers etc.
and naturally different pressing plants were completely normal, individualistic machine stamping settings and many other clues exist, then you can tell who pressed any specific record.
Personally I think EMI were hasty in requesting Pye CBS pressings because they could have handled the demand in January, 1971, unbelievably the masterpiece Pendulum failed to sell anything like the anticipated volume.
EMI STAMPING CODES: T 1 / M 2 ORIGINAL 1970 - 1971 EMI INNER SLEEVE WITH A PATENT NUMBER Made In Great Britain, IN NEAR MINT CONDITION.
FIRST ISSUE 1970 PRINTED , LIBERTY GATEFOLD COVER, FOR THE FIRST AND ONLY TIME A CREEDENCE COVER WAS MADE BY Garrod Lofthouse.
Patents Pending IS NEXT TO THE PRINTING CREDIT INSIDE ON THE LEFT HAND PANEL OF THE GATEFOLD.
A once played record and that was most likely in the original 1971 record shop, yet again I have to discuss how unlaminated, soft top surface matt covers have standing in storage traits...
not from heavy use or abuse, the passage of 45 years took a toll on covers with Mint records inside.
Very frustrating to waste so much time repeating this all over again, my duty is to give accurate condition details, but the first issues of Pendulum were among the most vulnerable early 1970 s covers.
This does have some positive signs of all those decades of standing with a heavyweight record inside, but compared to average condition s, it escaped the ravages of the age.
There is no ring wear on the front or back, outside and inside, the often bald spine still has all three sections of the cream colour printing, a reasonably short title but the central position has the artist in front, so a very long section after all.
A hinging line or two ran through the printing as raised from the main surface, which began the rubbing away of the printing and the dark brown background.
This spine has all the letters and digits present and the only rubbing is no more than fractional wider than the hinging lines themselves, please see my close-up picture of the long central artist and LP title for how minimal that actually is.
I am not looking for excuses, just giving an honest and critical appraisal, if only the cover was laminated As I said, the lack of ring wear and the spine being in exceptional condition, is the finest method of confirming a carefully stored, unused very first edition Pendulum cover.
There s the expected impression from the heavy record, not too heavy or there would be ring wear with white showing through the mostly dark brown front and corrugated hut artwork on the back.
Gravity comes into the equation on the front bottom left side of the record s internal position, a small crease and paper edge lines, other to that , the front and the back s artwork have exceptionally bright, rich, unfaded colour with that dark brown dark brown background on the front ....
still an unfaded dark brown I was so pleased tom see the back did not having any of the common rubbing, there are at several views of the outside in the pictures, knowing this cover from brand new in January, 1971, this is indeed an excellent cover, Mint for a first issue cover simply does not exist because all described here began on day one and for once, there is no splashed or dropped glue from the factory assembling.
A little standing pressure on the corners and light rubbing to all four corners, the edges and the spine meeting points with the front and back, but as minimal as it gets.
all is in superbly sound and strong condition, very light edge rubbing after 45 years is a small price to pay for an extremely rare, late 1970, Mint very first pressed record.
By corners, I include the top tips of the spine, the mentioned t standing pressure, again relating to storage only.
THE COVER IS IN EXCELLENT MINT CONDITION.
THE RECORD WAS ONLY PLAYED ONCE SEEN ONLY BY AN ULTRA FAINT SPINDLE TRACE ON BOTH SIDE S TEXTURED LABEL CENTRES.
IMMACULATE LABELS WITH VINYL SHAVINGS STILL IN AND AROUND THE SPINDLE HOLES, I CAN PLAY THE RECORD WITHOUT DISTURBING THOSE DELICATE FLAKES FROM THE INITIAL PRESSING PROCESS.
THE ULTRA GLOSSY RECORD ALSO HAS THE FANTASTIC APPEARANCE OF JUST PRESSED VINYL.
THE RECORD IS IN MINT CONDITION.
SIDE 1 Pagan Baby Sailor s Lament Chameleon Have You Ever Seen The Rain? Wish I Could Hideaway SIDE 2 Born to Move Hey Tonight It s Just A Thought Molina Rude Awakening, No.
2 John Fogerty - lead guitar, lead vocals, piano, organ saxophone Tom Fogerty - rhythm guitar backing vocals Doug Clifford - drums Stu Cook - bass Recorded November 1970, At Wally Heider Studios, San Francisco, California.
Produced By John Fogerty Pressing details are always inevitably directly connected to how well a record sold when first released, the pressing situation becomes affected before and during a period of extended sales, Pendulum was a Top 30 album, so hardly a commercial disaster but a great deal more were pressed pre-release than were actually bought.
I have outlined how the contracted pressings were made by 3 different UK major s, Liberty had every reason to expect Top 5, if not No.1 Then with label re-designs and this being the last Creedence Clearwater Revival to feature the original four founder members, copies would have been left unsold.
They had started how they finished in fact, in the UK it was bizarre how Creedence Clearwater Revival initially struggled to sell albums, in spite of their singles being so huge in our charts, then in 1969, the Green River album broke through.
They finally made it to top of the LP charts in September,1970 with Cosmos Factory, but from there on their album sales began to slow down and then totally dry up.
They released this stunning Pendulum album here three months later in January, 1971 and without any logical reason I can think of, it struggled to emulate the huge No.1 success of Cosmos Factory , Pendulum was in record shops only 12 weeks after Cosmos Factory topped the British charts , even more absurd, it was still a current charting album, in demand and still being pressed We have the same position that only the Beatles at the height of Beatlemania could sustain, Creedence were hardly comparable.
I must admit I prefer discussing the music on a record, but if I have to delve this deeply into pressing details, the seemingly contradictory variations, suddenly become logical, plus I realised this way back when we traded at record fairs.
Since those days Creedence UK first pressings have dried up alarmingly, especially for me because I only sell them in the perfect condition I personally would want for myself, I am sure anyone looking on ebay for Creedence UK original s and not the re-issues on the Fantasty label, is well aware of that rarity now.
Even the No.1 Cosmos Factory as a first pressing on the blue Liberty label is usually no better than Very Good at best.
Regardless of three pressing plants making the records before the release of Pendulum, by only reaching only No.
23, it did suggest trouble was on the horizon for the band, it was, Tom Fogerty left the band and as the brother of John, that was more of a blow than just losing a founder member, but they continued as a trio to make superb music and in May 1972, the still underrated Mardi Gras completely failed to sell or even chart here.
With such a poor reception even in America, Mardi Gras very sadly became the final Creedence album ever issued with new freshly made studio recordings, now just retrospective live albums and endless Greatest Hits compilations were all that was left to come.
This travelling band had reached the end of their road, there never has been, and never will be another set of musicians who come close to their exceptional and unique talent, the phenomenal singles continue to get radio airplay and some of the album tracks like, I Heard It Through The Grapevine have appeared in films and also kept their music heard by new generations.
Pendulum should have become another No.1 album here or at least made the Top 10, every track was outstanding and the musicianship reached extraordinary levels of real inspiration, you even had an amazing instrumental, Rude Awakening No.2 , Creedence performing avante garde, psychedelic music? They were simply sensational and this is a really magical track.
For me, Have You Ever Seen The Rain was one of the greatest songs John Fogerty ever wrote, incidentally every track was composed by John and there were no cover versions on the album.
With the likes of Chameleon , Hey Tonight , Pagan Baby and Wish I Could Hideaway to name just a few of the tracks, Pendulum was just stacked with the most incredible music.
Before I move onto that here s some UK pressing details, haveing mentioned the blue label I had better elaborate.
The album was recorded and pressed in late 1970, the printing was of course made then and so the date printed on the labels of first pressings is 1970.
By then Liberty had undergone several changes, the labels were re-designed from a blue colour to black, but retaining the familiar Statue Of Liberty logo in the same position with just a slice of blue left as partial backround to the boxed logo.
EMI had recently taken over pressing Liberty s records from Polydor, which explains these Garrod printed covers on both EMI, Pye and CBS first pressings, not forgetting the inner sleeve either.
Pye s records are legendary for their sound quality, from folk to the heaviest rock, like EMI s own renowned standards so there was no drop in the fantastic audio of a Creedence first issue record.
Also changed was the 1960 s style catalogue number pre-fix, the mono LBL and stereo LBS were no longer needed with stereo finally established, so they were replaced with LBG , only just EMI s first pressings had appeared to at first be given Liberty s 60 s pre-fix of LBS , it was stamped in front of the 83400 catalogue number and then crudely crossed out and re-stamped above it with the correct, LBG 83400 .
Having sold a CBS pressing earlier this year I can say they and Pye did not make that mistake and in my pictures you can see their distinctive stamping in the 12 O clock position, of the run-out grooves.
To arrive at that postion, just hold the label straight because like EMI and CBS, Pye were meticulous about keeping the labels correctly positioned, only a few escaped that during the 60 s and this early 70 s period.
For the first and only time for a Creedence LP, as the gatefold cover was made by Garrod Lofthouse the first issues can be easily identified by having Patents Pending printed inside, on the left hand panel.
Unfortunately they were not laminated as most of their previous covers were with only two exceptions, Green River and Willie The Poor Boys , so the vast majority are now in a dreadful, battered state after al those years, this cover was certainly not immune to some, minimal rubbing and the described storage traits, but it is way, way above the average condition.
I must stress that only applied to genuine first issues, the printer s credit immediately authenticates the cover and inside will be a textured black silver Liberty label record.
Fated to become the last ever Creedence album with all four together, but Pendulum came to rest on the black label design, in the next year, Mardi Gras was released on Fantasy, so were all the Creedence albums.
Today the original UK pressings are so difficult to locate with the records still in respectable condition, or more to the point, without poor sound quality.
That s the reason this is only the third first pressing I have been able to offer on ebay in fifteen years, only the outstanding audio perfection achieved in late 1970 will do for the great, Pendulum.
The matt black Liberty labels are in superb, unblemished condition, spindle use traces show up instantly on them, there is just the one faint trace.
EMI s first 1970 pressing s were still 60 s standard, the heavyweight vinyl is in stunning condition, a really beautiful gleaming record.
I think one of my undetectable plays will allow me to hear a loved album and write a description for the tracks, I fully expect to find tremendous power with crystal clear sound and an absolute minimum of any static.
Side 1 has exceptionally quiet run-in grooves for a second ever play, only the merest low level static, no crackles as one of the heaviest guitar riffs of all time explodes with staggering volume and creates impact second to none.
Everything you could ask to hear from a bass, drums and two guitars is here on Pagan Baby , add John Fogerty singing his heart out, and you really have something very special.
Blues based ultra heavy rock like this was where Creedence came in and this incessant riff is stunning to experience from a mint first pressing.
The sheer volume alone degenerates into awful distortion from the average condition originals, this is as I anticipated, crystal clear sound and a fantastic first stereo mix, custom made to deliberately slam home the mind numbing impact of Pagan Baby .
I forgot to describe an ultra clean intro, that is just John s lone guitar playing some gentle notes along to light percussion for about 30 seconds, that was why I was so pleased to say no crackles or clicks even there.
Then Stu Cook s bass and Doug Clifford s drums inject the tremendous upsurge in volume as they hit the the hard driving main tempo, then a further increase in volume as Tom and John s guitars double up on that incessant riff of riffs.
About two thirds in, that lifts for a brief taster of the intro, now a drastic stepping up of the tempo and John sings another superb verse before letting go with the most stunning blues guitar, the lengthy ending is awesome I am thrilled to have this Pendulum to list and even now I must stay conscious that this is a Mint record and keep my text minimal, because not all the tracks are as as long as the blistering Pagan Baby, a glorious six and a half minutes worth.
This album is far from being just a heavy guitar album, from a near silent gap, the delightful gospel / r b Sailor s Lament, which instrumentally showed a new direction for Creedence, an organ is the lead instrument over superb percussion and a brilliant bass line from Stu.
With brass on the track, the blues / r b variety that creates great atmospherics, although this track is also about fantastic vocals from John Fogerty, with backing females singing the chorus in a gospel style, to stir the blood just as much as Pagan Baby just did.
EMI s sound quality is indeed awesome, truly perfect clarity with every note sung and played heard in pin-point detail, with such a powerful projection, this is very like some of the tracks on the Stones Exile On Main Str.
but recorded three years earlier.
As mentioned before, Pendulum is an album with every track a major song and performance, only light static in the linking grooves before another musical style, this time the brass is full on and extremely powerful for Chameleon.
This is a Stax / Volt type of song and production, John Fogerty was well equipped to vocally handle a track like this, his guitar sits back on the track as well, the tightness of the band is here to marvel at, no personnel changes since being at school together accounted for that, what a waste when they broke up in the following year As a lover of Otis Redding s music this is a song I could imagine him singing and with the backing track so authentic down to the actual arrangement, that did not require modifying.
I must keep it brief, the sound is as perfect as I have ever heard, then wonder of wonders, a near silent gap, allowing the initial acoustic guitar intro for the sublime Have You Ever Seen the Rain? is absolutely clear of any crackles or even any surface sound, this lovely melody has a real edge to it, surely one of the greatest ever Credeence slower recording.
An r b organ has more than a feel of Al Kooper from Dylan s Blonde On Blonde and what can I possibly say about John s inspired vocals? The sound is is nothing less than stunning, how great to hear this deeply loved track from mint vinyl, all credit to EMI s mastering, it was perfect and why I have rejected copies of Pendulum for failing to meet this amazing level of audio, wear and overplaying were the only cause of that, the curse of moderate selling albums of true greatness.
The acoustic guitars have a Beatles feel and with the loud bass as well on such a memorable melody, EMI kept such a tight quality control.
Those wonderful songs just keep oncoming, from yet another near silent gap, the superb organ only intro has superb audio clarity, at first the opening piece could be any style of music, but suddenly a biting intensity is there when the rest of the band play a slow blues rhythm and the same theme of rain is also in Wish I Could Hideaway to think right from that stunning opening track on this side, there has hardly been any lead guitar, people have preconceptions about certain bands,even though Creedence had two guitarists, they were capable of expanding that with keyboards, as they did on their debut album.
The organ on this tracks has a soulful / blues feel I find irresistible and it works a treat with John Fogerty s immense lead vocals, this track has many segments where the instruments pull right back to leave the vocals very prominent and as there has not been all of this first sound, however quiet the parts of Hideaway get, there is no form of surface sound.
In fact the track ends as it began with just the organ s notes gradually fading away, to the very last, there is no background surface sound.
Side 2 opens from near silent run-in grooves, faint static only, the dazzling brilliance of Born to Move, John Fogerty s late 1970 s compositions were unbelievable.
A fantastic mid-tempo r b based track, with such an inspired lead vocal to a backing of guitars drums, the brass is panned in the right channel pumping out a heavy Stax riff, played by John of course From the left channel, John s lead guitar ignites for a short solo and the superb track features Stu on the bass with only faint percussion for several minutes, normally painful to hear due to the terrible noise from wear, but every second is ultra clean and crystal clear, for my first play to only have the faintest static is unbelievable, I can only keep on repeating how these known places for surface noise so far, has been sheer perfection.
Then that organ sparks off some improvisations that flow into fantastic music, this is like a combination of Booker T and a Traffic performance, Steve Winwood does come to mind hearing that superb r b organ, it s a genuine pleasure to hear this album playing so perfectly and particularly during those Born to Move bass guitar sections.
There is no end to the musical variety, next to begin from a near silent gap, the sublime rock sounds of Hey Tonight , more as would be expected on a Creedence album, right from this pulsating single guitar intro and John Fogerty gets into the vocals with that distinctive melodic, if forceful voice, so classic Creedence.
The guitar is similar to the Byrds Roger McGuinn for a while, then it s pure rock with the band right up alongside that guitar, there are no keyboards and a balance was struck that created an album of many moods and the greatest depth.
I am trying to remember who had a hit covering Hey Tonight, but as hard as I am trying to remember, it has eluded me.
This Creedence version was definitive or I would remember another version The sound quality is once again sheer perfection, packed with tremendous power and awesome audio clarity.
You can t beat a first pressing for the stunning first mix, the true stereo has total channel separation with individual instruments and vocals projected at their fullest impact.
I still have a problem believing this album can possibly now be 44 years old, the music has such a fresh vitalty, this track sounds like it was recorded yesterday.
Linking smoothly and silently into another one of those remarkable Fogerty compositions It s Just A Thought, the far slower r b rhythm is set by Tom s rhythm guitar, Doug s drums, Stu s bass and John s organ playing as the lead instrument.
An immense vocal from John on a very strong melody, has me thinking about how far his songwriting had developed in such a short time, cover versions were necessary among original material on most of the previous albums.
Now a track as incredible as It s Just A Thought was self written, one of my personal tracks of the album is here in the outstanding sound quality I fully expected to find, do I really need to say how it finishes into another near silent gap? Personally I would welcome that kind of detail if considering buying a first pressing of Pendulum so I will happily continue giving them.
Talking about writing songs that sound like they were written by others, Molina is a throw back to the early 60 s, the sort of r b song the Rolling Stones or the Animals would record around 1964 -1965, but it was indeed written by John Fogerty himself.
Led Zeppelin and Ten Years After always recorded this type of song and Creedence also bring their own stamp of individuality into the reckoning.
An addictive and very infectious song with a kind of Long Tall Sally feel, perfect for the writer to sing, even a wailing John Fogerty sax taking a wonderful solo, a good time feel and such superb music, what more could you ask from any album with such variety? How about some incredible psychedelic music mixed in with some beautifully melodic musical themes? Rude Awakening, No.
2 supplies that in the form of an instrumental, first a lovely melodic piece with just straight guitars, bass and drums, then it gets heavier with a dramatic tension from a progressive segment not far away from King Crimson.
Then into a 1967 sound for sensational psychedelic music, with all the studio effects and backwards instruments from that era I am not very good at describing instrumentals, all I want to do is listen, the final section is psychedelia meets avant garde.
If I were to play Rude Awakening, for someone into progressive / psychedelic music who had never heard this, I can guarantee they would never guess it could possibly be Creedence Clearwater Revival.
Hearing this astonishing, sensational track from a Mint record is like experiencing Rude Awakening for the first time myself, the first stereo mix was a major work of art and the way John s blues creeps into the end piece is always very special.
The sound quality here and the whole record has been just incredible, it was so good to hear Pendulum in all it s early 1971 glory.
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.
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