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John Fogerty / Blue Ridge Rangers – The Blue Ridge Rangers (Vinyl) Original Japanese Pressing
Fantasy Records (1973)
$45.00
Rare Original Japanese Pressing In Great Condition! Heavy Grade Gatefold Cover Includes 8-Page Booklet With Lyrics. John Fogerty, Of Creedence Clearwater Revival.
1 in stock
CompareProduct Description
Rare Original Japanese Pressing! Heavy Grade Gatefold Cover Includes 8-Page Booklet With Lyrics In English & Notes Japanese, Labels Are Clean. A Hard To Find Vintage John Fogerty LP In Very Well Preserved Condition!
Condition – Vinyl: EXCELLENT!
Condition – Cover: VERY GOOD PLUS! Some shelf / edge wear.
Japanese vinyl pressings are highly sought after by audiophiles and collectors, due to their premium sound quality and beautifully presented packaging. The sonic quality of Japanese records is regarded as the best in the world. No wonder all the original Mobile Fidelity Sound Lab records were pressed in Japan! The covers are printed on better quality heavy stock paper too. Top condition original Japanese pressings are becoming scarcer — and therefore more collectable and valuable every year.
Side 1:
Blue Ridge Mountain Blues
Somewhere Listening (For My Name)
You’re The Reason
Jambalaya (On The Bayou)
She Thinks I Still Care
California Blues (Blue Yodel)
Side 2:
Workin’ On A Building
Please Help Me, I’m Falling
Have Thine Own Way, Lord
I Ain’t Never
Hearts Of Stone
Today I Started Loving You Again
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1 review for John Fogerty / Blue Ridge Rangers – The Blue Ridge Rangers (Vinyl) Original Japanese Pressing
Fantasy Records (1973)
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AMG –
With wonderfully chosen songs like "Hearts of Stone" and George Jones' classic country weeper "She Thinks I Still Care," Fogerty's solo debut has held up well. With wonderfully chosen songs like "Hearts of Stone" and George Jones' classic country weeper "She Thinks I Still Care," John Fogerty's solo debut with The Blue Ridge Rangers has held up well over the last two decades. It isn't the most supple or technically proficient one-man recording of all time, but it's a wonderfully engaging record; upbeat, unpretentious, and loaded with good songs. Fogerty's rigid, no-frills drumming took a lot of heat for being mechanical, but no one has ever explained how Fogerty's abilities on the trap kit are significantly different from Creedence's Doug Clifford. In retrospect, this was a tremendously risky record to make; country music in the early '70s was regarded as the domain of right-wing, rock & roll-hating Nashville traditionalists, and it was reasonable to assume that fans (even staunch ones) wouldn't take kindly to this genre switch. While it wasn't a huge success, more importantly, it served as a much-needed rock & roll history lesson.