Item Description
Who ll Stop The Rain John Fogerty, 1969 Long as I remember, The rain s been coming down.
Clouds of mystery pouring, Confusion on the ground.
Good men through the ages, Trying to find the sun...
And I wonder, Still I wonder, Who ll stop the rain? I went down Virginia, Seeking shelter from the storm, Caught up in the fable, I watched the tower grow.
Five year plans and new deals, Wrapped in golden chains.
And I wonder, Still I wonder, Who ll stop the rain.
Heard the singers playing, How we cheered for more.
The crowd had rushed together, Trying to keep warm.
Still the rain kept pouring, Falling on my ears.
And I wonder, Still I wonder, Who ll stop the rain.
CREEDENCE CLEARWATER REVIVAL: Cosmo s Factory LP.
FIRST UK EMI PRESSING, 25th JULY, 1970.
Before discussing the intricacies of overlapping label designs and pressing details, I want to establish this is stunning looking and sounding record, in a Mint- cover.
I had to take a listen before strting the description, Cosmo s Factory happens to be my personally most loved Creedence LP, what sensational sound quality A gleaming, totally unmarked, barely played Mint, EMI first pressing of a Creedence album that at least equals, or in most cases, surpasses nearly ever LP released in the 1970 s decade, and most from the 1960 s decade come to that.
A masterpiece, with every single track, a fantastic song and performance, with that very firmly stated first, I now sigh deeply and once again need to verify the true status of such a rare record.
I do this for every Cosmo s Factory I offer on ebay, the last was equally stunning and that was an EMI pressing, Polydor and EMI made the records, that can cause additional confusion but that was quite normal in the early 1970 s.
A very common occurrence in the just passed 1960 s decade, for more than one contracted record company to contribute the pre-arranged numbers of first pressings.
An EMI first pressing is a guarantee of the finest mastering and pressing in the world, pressing info is very important when such complexities exist.
So is keeping a perspective over the simple pressing sequences happening when new label designs are being incorporated into the latest releases, unlike back catalogue re-issues, they are currently being prepared during that same period of the past meeting the present .
That was not an over dramatisation, just me being unable to use a once meaningful phrase in the correct context.
So many ebay sellers have taken the word transitional and re-written the dictionary definition by applying it to blatant re-issues usually from different decades All vinyl pressing plants had to produce the pre-set scheduled numbers of albums, manufactured along with related printed items before an album was released, so all are by definition, first pressings, first editions, originals, first issues, first editions and any other method of definition, is this easy for a UK pressing Available to buy in British record shops, on the first day or at least in the initial week of the release date.
This record is certainly from the multiple ways of expressing first pressing but I will avoid a word like transitional because that has been rendered meaningless on ebay now, what a shame global communication on the internet has become a place where truth is distorted.
Cosmo s Factory was being pressed when the blue Liberty label had been re-designed printed in the early summer of 1970, some of the records made at the very beginning of the manufacturing process, used up the last of the blue labels.
Had Credeence been a new band without much of a following yet, only a minimal number would be made to test the water, then perhaps there would have been sufficient blue labels left, even then I doubt it due to so few copies of Cosmo s Factory existing with them today.
Making statements like that is backed up with a genuine wealth of experience, not just as a collector,I was buying and selling Creedence albums way, way, before ebay and the internet.
All original UK Creedence s albums pressings are now extremely rare if still in top condition, few are Cosmo s Factory was the last Creedence album released on the blue Liberty label, by that late July to early September,1970 release, huge amounts were required and pressed, it was for a No.1 UK LP after all.
So these black label pressings positively became part of the album s chart residency, EMI pressed the blue Liberty label records and you can easily confirm all written here by seeing how the past blue design and the present black labels, seamlessly merged together to form a collective release.
For anyone new to all this, it really is so simple, EMI Polydor indexed every single record and even if that was multiple million selling Beatles single in 1963, She Loves You, every one of them can be individually identified as to where they precisely fitted into one of the biggest vinyl pressing s undertaken by a UK factory.
If in this stunning Near Mint condition, an inner sleeve can be deemed as the original it left the pressing plant in, both the blue and black label EMI first pressings will be.....inside the same mid-1970 Near Mint EMI inner sleeve, as this first pressed record is THE VERY FIRST BLACK LIBERTY LABEL: LBS 83388 MAITRIX: 83388 A - 1 / 83388 B - 1 EMI STAMPING CODES: OO 1 / MO 2 EMI produced, the mothers were prepared in advance of the pressing and used in no real logical numerical order.
Pick up any Beatles or Pink Floyd albums and the above will be found and much higher, the above first and second mother is conclusive.
ORIGINAL 1970, EMI CURVED EDGES INNER SLEEVE, WITH THE PATENT NUMBER AND Made In England, FOR EXAMPLE, THE SAME TYPE USED ON MAY, 1970, FIRST PRESSINGS OF THE BEATLES Let It Be LP s.
IN UNUSED, LIGHTLY AGED AND UNSPLIT NEAR MINT CONDITION.
FRONT LAMINATED FIRST ISSUE COVER, PRINTED BY Upton Printing Group , ONCE AGAIN UNUSED AND ONLY SHOWING THE EXPECTED STORAGE TRAITS OF HOLDING A MASSIVELY THICK HEAVYWEIGHT RECORD FOR 47 YEARS.
The cover was is such outstanding condition, there is nothing for me to detail for use related wear, there is none, a deeply glossy laminated front has vividly rich, unfaded colours.
The back was not laminated, but this is also unfaded and unscuffed, with the colours as bright as they were an astonishing 47 years ago, the corners, the edges and spine are in perfect condition Not even a hint or ring wear or rubbing on the matt back panel, with the tight fitting cover with the spine tapered and pointed, it is amazing there is only standing traits....
a light record impression and the related laminate lines, mostly alongside the spine.
I can t help seeing the absurdity of discussing natural events when this cover is 48 years of age, yet still looks liker it was made this week and this beautiful cover was 100 perfectly stored from day one gt .
A reasonably gentle record impression indeed, some related laminate/paper edge lines are typical of first issue covers that were made exactly like other 1970 EMI first issue covers with ultra slim spines, once again Let It Be becomes perfect to illustrate that.
The very first red and green logo covers were completely different to all that followed, please see my picture of the spine for how thin it is A plastic outer sleeve from new prevented the usual colour loss/ fading, so there is absolutely no rubbing, As my pictures show even the spine lettering is perfectly clear unworn, so are all the edges, the crisp barely used opening sides, even the spine tips are free of rubbing.
I simply refuse this time to include standing traits and a minus suffix will suffice to signify this is a 48 year old cover......
in simply incredible condition THE COVER IS IN REALLY BEAUTIFUL MINT- CONDITION.
A BEAUTIFUL RECORD AS WELL.
ULTRA GLOSSY WITHOUT ANY MARKS OR SCRATCHES, ONLY A FEW LIGHT SPINDLE ALIGNMENT S SHOW THIS WAS PLAYED.
WITH SUCH CARE FOR THE RECORD AND COVER, THERE CAN ONLY BE ONE GRADING, THE RECORD IS IN MINT CONDITION.
Now the music, just look at the track list I will now type, even with my familiarity with Cosmo s Factory I am still drooling over the prospect of re-playing this sensational sounding record.
The whole album does not have one second that falls below pure genius, including that glorious eleven minutes of I Heard It Through The Grapevine.
Unbelievably, that is preceded by the onderful, Who ll Stop The Rain.
SIDE 1 Ramble Tamble Before You Accuse Me Bo Diddley Travelin Band Ooby Dooby Wade Moore / Dick Penner Lookin Out My Back Door Run Through The Jungle SIDE 2 Up Around The Bend My Baby Left Me Arthur Crudup Who ll Stop The Rain I Heard It Through The Grapevine full unedited 11 : 05 mins.
LP version - Norman Whitfield / Barrett Strong Long As I Can See The Light John Fogerty - vocals, lead guitar, piano, sax harmonica Tom Fogerty - rhythm guitar Stu Cook - bass Doug Clifford - drums All Songs Written By John Fogerty, Except Four Tracks Credited.
Recorded Late 1969 - 1970, At Wally Heider Studios, San Francisco, California.
Produced By John Fogerty Having exhausted any need to discuss pressing details, I can at last turn to the music, all bands peak on a succession of albums and the above track listing more than suggests Creedence hit their loftiest heights in 1970 on their fifth album.
How could one album have a track as magnificent as Who ll Stop The Rain and directly follow it with the sensational 11 minutes of the most bitingly intensive music? They very slowly smoulder, start to burn and catch fire with a dazzling brilliance on one one of the most stunning performances ever recorded in a studio spontaneously, I Heard It Through The Grapevine never has and never will never be surpassed.
For interpretations, Arthur Crudup s My Baby Left Me and Bo Diddley s Before You Accuse Me rank among the world s greatest pure blues versions, so great, like that Marvin Gaye r b classic, Creedence made the songs sound like they wrote them.
They breathed fresh life into them, not only that, John Fogerty s songwriting created equally incredible songs fit to grace the same grooves of the record, containing such era defining recordings.
Perhaps the most overlooked of them all is one of the finest anti-war songs, as deep and heavy as they come, with mood intensive atmospherics just part of tensions so taut, you can taste the danger and the terror of the Vietnam War.
Yet Run Through The Jungle is never mentioned and still remains a track just waiting to be discovered, No.1 album or not, records of this unbelievable intensity and depth, are often only listened to on a superficial level.
Then today the re-issues do not have the massive and overpowering impact, that was true of all of the Fantasy label re-pressings, watered down, diluted sound was all that was required for those endless Creedence Greatest Hits, how could a vastly edited, single version of I Heard It Through The Grapevine generate the staggering power of a first issue Cosmo s Factory , when that only offered a fleeting glimpse of the real thing? I m pretty fussy about how I hear this amazing album, due to how perfectly they were mastered and pressed in 1970, colours of labels become immaterial when exactly the same standard vinyl was used for two possibilities.
I can hear a first pressing without needing to see the labels, cover, inner sleeve or record indexing, so I have every reason to be that fussy when virtually all these 1970 first pressed records were completely wrecked in that initial year and ever since, just take the staggering guitar section of Ramble Tamble.
The really long piece on the second half of the track ,when the band power up behind John playing Dave Gilmour like lead guitar, the tempo increases before they return to the infectious original riff of Ramble Tamble, who didn t hunt around with a roving needle to find such a beginning to the compulsive guitars section? We all did, and in the process left nasty crackles and clicks on what was still only the first track, no wonder I just got frustrated at the very thought of having to justify naming this an ultimate sounding, very first pressing? As it happens, in that department I am more than qualified to take on any website or text book dictating what constitutes a first pressing, but what a waste of time when a fantastic never played record should become the focal point of a description.
Most album details were given above with all the recording info, the album s title is often mistaken as being the name of a star constellation, but this is in fact named Cosmo s, with the apostrophe before the last s signifying ownership.
Creedence used to rehearse and practice almost daily and John Fogerty s role of the band s driving force and his perfectionist nature, drilled the band to attend a warehouse in Berkeley, where the band tightened themselves into the force heard both in a studio and live on stage, the two were one and alike, hence such staggering records.
Doug Clifford was pushed just as hard as the dynamo behind the rhythm, his nickname was Cosmo and by likening the relentless pace John Fogerty set them as being in a workplace, Doug used to call the warehouse the factory, so Cosmo s Factory it was The front cover picture features in the warehouse and the band between the relentless rehearsals and practice sessions, the back s collage of pictures were taken as they were mostly playing and unposed, the rest is there in the music on the album.
EMI pressed this and as a first generation from the Master Tapes, the audio potency and impact of this record is beyond anything I tried to describe, but I did try my best.
With all the text written above, knowing in advance how perfect the sound was, keeping this minimal was forced on me, just as well I will not waste time over any faint natural static of a stunning record of 48 years vintage, a record can only be....a record I feel really privileged to play and describe this record, because it still sounds exactly how it first pressed all this years ago.
From near silent run-in grooves, Side 1 up opens to the mega powerful sounds of Ramble Tamble, any natural low level static is precisely that and unworthy of wasting time over.
The guitar intro is followed by a full throttle John Fogerty vocal, loud and perfectly clean, then that magical moment, the tempo slows from a blues/rock performance track and becomes a magnificently melodic guitar theme.
Reminding me vaguely of Cream s great Badge , but can I best compare John s superb lead guitar sound to having more than a touch of Pink Floyd s lead guitarists, Dave Gilmour at his most emotionally flowing, so very special indeed.
The way this builds is incredible, the basic rhythm guitar from Tom and Stu Cook s bass riff, pins down the gradually increasing tempo song, John s lead guitar plays a wonderful ever ascending part, then back to the faster blues tempo and a superb Fogerty vocal for a final verse.
The guitars section is the most staggering combination of soaring melody, emotionally performed with a very aggressive guitar riff.
The audio clarity is stunning, for such astronomical power of the record, no distortion at all on the loudest notes and joy of joy s, not a solitary crackle or click from virgin vinyl, running for seven minutes, I don t want this track to ever end Mint vinyl is unbelievable because when Ramble Tamble does finish, silent linking grooves take you into the purest blues of Bo Diddley s composition, Before You Accuse Me , a track frequently played by the master himself, Eric Clapton.
A superb version with the authentic feel of the song respected, maintained and venerated, but it still has that unique Creedence sound from the two Fogerty brother s guitars, Tom on rhythm and John playing the lead.
You do not get any vocal sound anymore distinctive than these amazing vocals, the audio itself has the first pressing s flattening impact I know and love, combined with a razor sharp cutting edge, these are full strength music signals, undulled and unworn, wonderful Travelin Band was one of the outstanding singles released around this period, an absolute classic, grabbing your attention from a radio and this album has a slightly different guitar solo, at least to my ears it always sounded different to the single version.
Heard in the incredible first stereo mix and such perfect audio,a real pleasure to experience in the original album context, why I relax before detailing every possible pressing detail, right now it s just the music.
Another silent gap, it s time to stop repeating that and also how there is a perfectly clean, clear intro to, Ooby Dooby, please also take it as read all the up coming intro and outro s are as immaculately pure and clear.
There is no surface sound or audible static at all and definitely none of those irritating crackles of a worn out record, playing as though I have just stepped into a time machine, returned to my local record shop in 1970 and just bought this record, even if was 48 years ago Ooby Dooby may have nonsense lyrics but this is all the feel of the track and what a brilliant performance from the band here, that feel of the music is all that mattered, taking precedence over needing meaningful lyrics.
This song is simply the joy of making music and that transfers directly to the listener, besides, John Fogerty singing a blues song with his vocal power, is reason enough to hear it A smooth gap once again gives a perfectly clear and and clean entrance to Lookin Out My Back Door, finding that voice in great form, a folk flavoured song so softer tones from John this time, the less forcefully projected vocal demonstrate the versatility of John Fogerty.
A slower song with outstanding sound quality that allows all the instruments and the vocals to be heard in crystal clear, absolutely stunning sound, there has not been any surface sound, even on the more exposed to noise, Lookin Out My Back Door, this was an immaculate pressing.
Run Through The Jungle is a spectacular, mood intensive song I always look forward to hearing, pure blues again, with a superb harmonica played around outstanding guitars.
This first stereo mix features brilliant panning effects in 60 s style total channel separation, maybe misinterpreted and misunderstood, a fantastic anti-war song, delivered with a heartfelt and deeply passionate vocal, with war zone noises initiating the atmospherics at the beginning and the end.
In 1970.
the Vietnam War showed no signs of ever relenting, Richard Nixon was obsessively ranting and raving like a madman, young soldiers were fighting in horrendous jungle conditions, the lyrics graphically portray the horrors of the senseless war.
Despair is there in the lyrics but even more, the vocal itself has a real intensity, it seems petty to even discuss sound quality here, but this is in immaculate audio and I will give the full lyrics here because the side is just finishing and nothing I have written conveys the impact of them, or the chillingly intensive performance of the band.
Whoa, thought it was a nightmare, Lor , it s all so true.
They told me, Don t go walking slow, Cause Devil s on the loose.
Better run through the jungle, Better run through the jungle, Better run through the jungle, Woa, don t look back to see.
Thought I heard a rumbling, Calling to my name, Two hundred million guns are loaded, Satan cries, Take aim Better run through the jungle, Better run through the jungle, Better run through the jungle, Woh, Don t look back to see.
Over on the mountain, Thunder magic spoke Let the people know my wisdom, Fill the land with smoke.
Better run through the jungle, Better run through the jungle, Better run through the jungle, Woa, don t look back to see.
From more near silent run-in grooves, Side 2 starts with a really stunning powerful guitar intro for another John Fogerty song of true greatness, Up Around The Bend .
Powering in without any surface sound, which is exceptional for a side opening track, so was the audio standard of the mastering and the pressing.
I emphasised how every track was a masterpiece and here is another of those amazing songs, such a remarkable single, but it belongs within the context of this album, for me this became the track that followed Run Through The Jungle.
Performed with real style and electrifying energy, John s vocals are just magnificent for an excellence that carries onto the entire album, the guitars ring out with stunning audio definition, the sheer power of it all is not just about my amp s volume, this was all about making some of the greatest records of all time and this qualifies alongside any of them you could name.
An ideal side opener and on any other album this would have stood out, but Cosmo s Factory features every single track at an unbelievably high standard.
Creedence s main strength was in simplicity, as the 1970 s decade moved away from the 60 s era of inspired music, Creedence worked harder and harder to keep it as consistent as anything that preceded their last recordings, unfortunately that was always going to reach a peak and nobody could sustain originality indefinitely.
Two albums after this would see the band disbanding and really the next LP, Pendulum became the last with all four still together, but they certainly made music that outlasted the self indulgences of the era, by being prepared to burn out.
Just to reinforce that, next the inspiration stakes now find them dipping into the classic blues of Arthur Cradup s great My Baby Left Me, also recorded by Elvis Presley, quite an act to follow.
John Fogerty was not found wanting in the vocal department either, as Creedence play this as an authentic late 1950 s backing, providing a perfect backdrop to allow John to reveal another facet of his unlimited talents as a vocalist.
Led Zeppelin often performed like this, I had better concentrate on the record s sound to avoid writing too much, best summed up by saying, there is no surface sound and the audio is absolute perfection, those incredible songs just keep on coming, the next is just about my all time personal favourite Creedence Clearwater song, performance and recording, a melody of beauty but the contents are as intensive as anything on the album.
Who ll Stop the Rain was another emotionally stirred, very strongly felt anti-war song, the Vietnam War in 1970 occupied every news broadcast around the world, as atrocity after atrocity was broadcast as they happened and politicians were trying to justify.
The integrity of some artists who had watched children on fire and the lunacy of young soldiers ordered to massacre entire villages, moved them to writing songs in protest, which was all they could do, Who ll Stop the Rain is one of the subtlest written.
Using acoustic guitars added a gentleness to the lyrics and I did give all the verses at the top of the page.
The melody is memorable and sung with the greatest sensitivity, should anyone reading this who has not heard it and not necessarily into original vinyl, find the CD and take a listen because this is essential music and the performance transcends the format you hear it from.
For those into the fullest possible impact of loved music, the true Mint condition first pressings will blow you clean away A relatively short track if compared with what comes next, but it s exactly as long as it needs to be.
The sound is unflawed in anyway and stunningly perfect, as far as song length s go on this LP the eleven minutes version of Marvin Gaye s I Heard It Through The Grapevine is simply a staggering track.
A soul element is expressed with equal intensity but now as a blues/rock rhythm, the song builds up gradually and very slowly, smouldering along with the most incredible atmosphere developing with every passing second.
The twin Fogerty lead and rhythm guitar s are heard at their most potent, the sound quality is just staggering, as I knew it would be, but nothing prepares you for hearing this from a Mint record, I was joking about a time machine before, but now I am perfectly serious because of the rarity of hearing such a perfect record as a genuine first UK pressing.
When I first saw this superb record, my thoughts turned to Side 2 because of the prospect of hearing Who ll Stop the Rain with a perfectly clean intro and outro, which would then run smooth as silk into the fantastic intro to I Heard It Through The Grapevine.
That actually just happened and there was a near silent gap between both tracks, which is something very special, this is without doubt a perfect sounding Cosmo s Factory Always the most heavily played track on the album, causing severe wear and just awful sound deterioration, but this record has stunning audio clarity on every track so far, shame there is only one left.
Nothing less than awesome sound quality and now I am into the ending section which musically is so magnificent you don t want it to stop The percussion throughout is a major part of an overall performance and heard from this record in the most wonderful stereo panning.
The final minutes wind down with the percussion almost as the lone sound, normally you have to prepare for the crackles to become louder than the percussion, not here, there is not even any static when the volume drops to a near whisper, what a record The final gap remains silent, As Long As I See The Light has John Fogerty singing a mixture of soul and r b at a slower tempo, suiting the lyrics perfectly, Doug s superb drums hit the solid rhythm everything else works off.
What a brilliant production on this last track The saxophone was played by Mr.
Versatile, John Fogerty and that brings a 60 s Stax r b /soul feel, you could imagine Otis Redding singing this, I am just about out of any more superlatives for the music, mentioning Otis is complimentary enough not to expand any further.
The sound quality of this record fulfilled all my expectations and I am really thrilled to offer it, an incredible album and it has been a major pleasure.
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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