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Details about  BLUE RIDGE RANGERS LP CCR Creedence Clearwater Revival John Fogerty RARE Vinyl

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BLUE RIDGE RANGERS LP CCR Creedence Clearwater Revival John Fogerty RARE Vinyl
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04 Jun, 2014 12:35:06 AEST
US $19.93
Approximately AU $21.31(including postage)
US $45.00 (approx. AU $48.11) USPS First Class Mail Intl / First Class Package Intl Service | See details
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Van Nuys, California, United States


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BLUE RIDGE RANGERS LP CCR Creedence Clearwater Revival John Fogerty RARE Vinyl

Record is VG+ (sounds great!)
Cover is VG (some partial seam splits)

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From Rolling Stone:

Here is John Fogerty doing what comes naturally. If he seemed immodest in the Creedence Clearwater Revival, he has justified himself and proven that he can make a fine, fine record without anyone's help at all. The Blue Ridge Rangers may be the most successful one-man rock album yet, and if the general concept still doesn't make sense at least Fogerty has made it work.

The entire album is devoted to reinterpretations of personal favorites; mainly country, some spirituals and early rock. It has practically nothing to do with current rock trends, be they singer/songwriter, heavy metal, theatrical, glitter or flash. Instead, the record is a crystal-clear distillation of one man's view of the rock & roll past, the source of his strength and his faith. On it, each cut seems to flow into a river of feeling in which country and city, western and blues, gospel and secular blend together in a complete body of indigenous American music.

The center of this album's art is Fogerty's singing. He walks that line between concessions to the original style and maintaining his own identity as well as any white singer can. He affects appropriate accents with charm but doesn't overwork them. He sings black material with country inflections, and country tunes with black ones. And as carefully thought out as this album is, it contains not a hint of contrivance or excessive self-consciousness.

Instrumentally, he has licked the biggest bugaboo of the one-man band — the drumming. He plays in a stiff, energetic style that pins the entire arrangement down without becoming excessively simplistic. On "Jambalaya" he just plays the song, but his extra kicks on the bass drum and firm touch with the snare are the source of his version's unusual drive. His guitar playing is unchanged from Creedence days, with "Workin' on a Building" featuring the guitar part first heard on the great "Green River." And then there are odds and ends, a taste of competent fiddle, some extra nice steel playing, some unfortunately uninteresting banjo, and some very convincing trio singing.

"Blue Ridge Mountain Blues" is a sort of country standard that John says he took from the J.E. Mainer version, although he added the resounding bass drum work. It's a perfect theme song for this kind of album, very specific in lyric, but very general in overtones. "You're The Reason" and "Jambalaya" are country & western rather than old timey, bluegrass or straight country. He plays them harder than the originals, especially the latter.

Fogerty learned "She Thinks I Still Care" from a Merle Haggard album and it reveals his knack for picking songs with striking lyrics. Its broad irony is enhanced by John's deadpan delivery. And the seriousness with which he approaches all the material is another aspect of his style that I very much appreciate. He does some very sentimental things but never even seems tempted to camp around with them. Every track reveals the intensity of his respect for the sources of his own work, but a respect that shies away from useless reverence.

"California Blues," a Jimmie Rodgers tune, is closer in origins to "Blue Ridge Mountain Blues" than the other country material, but he gives it a near Dixieland treatment, holding it together with a wonderful bottom and some of his best singing. "Have Thine Own Way Lord" is straight bluegrass and good as he does it, it invites comparison with the Country Gentlemen's original, which he has, in this case alone, copied too precisely.

"Please Help Me I'm Falling" and "Today I Started Loving You Again" are both modern country songs done with firmness and conviction. The former was the first country song to make an impression on me and John's version may be a bit too understated.

Then there is the counterpoint material, the black oriented interpretations. "Somewhere Listening (for My Name)" was written by Archie Brownlee, leader of the Five Blind Boys of Mississippi. I don't know the original, but Fogerty gives it a very impressive interpretation, paying sufficient attention to the nuances of the genre to establish his authority at the same time he places the song squarely within the parameters of his own style. He learned "Workin' on a Building" from a Stanley Brothers record but performs it here like black gospel. "I Ain't Never" had country origins as well but Fogerty has modified it sufficiently so that it comes out closer to gospel-R&B than to country music — it goes out on a rousing drum roll. And finally "Hearts Of Stone" is a perfect companion piece to "Jambalaya," with its booming bass drum and harder-than-the-original vocal. In this case the firmness of the delivery is mixed with some early Elvis Presley-Scotty Moore country guitar, providing us with yet another example of how Fogerty successfully mixes sources, styles and history with his own personality.

Blue Ridge Rangers works better than I expected it would because Fogerty is not only a talented artist, but also an exceptionally mature one. He knows a great deal about the forms of music he uses, but he knows just as much about himself. He can reinterpret without generally inviting comparisons because he uses his imagination and pulls his identity into harmony with the material without ever condescending to it, treating it with excessive devotion or aping it. The old music is music to be first understood and then played, played in a way that feels right to him. And, I'm happy to add, feels right to me.

Some Customer Reviews:

5.0 out of 5 stars COUNTRY CLASSICS!
From the first twang of that banjo, I knew I was in for something different here. While some artists in 1973 were rediscovering 50's rock & roll, John Fogerty looked back and paid tribute to 50's country western & gospel! My faves include "Blue Ridge Mountain Blues", "You're the Reason", "California Blues", "Workin' On A Building", "Please Help Me, I'm Falling", "I Ain't Never" and "Today I Stared Loving You Again" (there's one I can relate to way too much). But they're ALL good ones. Some have become standards, done by many artists over the years, like "She Thinks I Still Care" (George Jones, Cher, Michael Nesmith) and "Jambalaya (On The Bayou)" (Hank Williams, Jo Stafford, Carpenters-- probably my favorite, Buzz Zeemer, and Dash Rip Rock-- probably the WILDEST) but Fogerty does each in his own style. I'd love it if he did another one like this, as I can listen to this over and over-- and have been.

5.0 out of 5 stars Classic Album
As stated by many reviewers and by the title of the album, this is John Fogerty's legendary One Man Band (meaning he played all the instruments and sang all the vocals) album from 1973 entitled "Blue Ridge Rangers." Back when it was released in 1973, Creedence Clearwater Revival had just broken up and he had to fulfill his contract with Fantasy with 1 more album and this is the album that he not only recorded to do that and that he couldn't sing the Creedence hits legally at the time, but it also is an album that pays tribute to his influences by singing covers of many country classics with gospel and blues mixed in for good measure. The Top 20 hit, Jambalaya, is performed here in a rousing arrangement. Some of the other highlights include the top 40 minor hit cover of "Hearts of Stone" which had been recorded by a few country artists and in the pop world, the Fontaine Sisters, The Webb Pierce/Mel Tillis classic "I Ain't Never", Working on a Building, Merle Haggard's "Today I Started Loving You Again," Blue Ridge Mountain Blues, the George Jones hit "She Thinks I Still Care," Jimmie Rodgers's "California Blues (Blue Yodel #4)" and You're The Reason. If he would have recorded "Blue Moon of Kentucky" (appears on the Big Mon tribute to Bill Monroe) at the time this was recorded, it would also appear on this album. The sound quality is excellent and the music is timeless. Country fans, Fogerty fans, CCR fans, folk fans, blues fans, gospel fans, rock and roll fans should definitely pick up this album.

In my teen years, I was a Creedence fanatic. I loved to listen-to and play (I will never be that good) all of the early with-the-band music. Somehow this one slipped through my fingers when it came out during my frugal college days, maybe I was afraid that Fantasy had squeezed some half-baked garbage out to fulfill a contract requirement. What a surprise to find John Fogerty playing the stuff I like to listen to and play now. I have always appreciated his interest in themes and styles from traditional/folk/country and love "Blue Moon Swamp", but had not realized that gospel/bluegrass was part of the mix. It is unfortunate that radio does not know what to do with gifted musicians who do not "fit the mold". Although this is all well known material, the interpretation is classic Fogerty and well worth owning. If you are a fan of classic country or classic rock, this is an important link between the two.

I've always had a soft spot for this album.
Not a genuine rock song among the lot, this is all country and spirituals, yet Fogerty makes the whole thing sound sincere and appealing.
I'm a rock and blues fan myself, and I own very little in the way of traditional country, but I've always liked "The Blue Ridge Rangers".
The lead-off track is a real banjo-pickin' clog-stomper, the traditional "Blue Ridge Mountain Blues", yet Fogerty's characteristic baritone voice (no twang there) makes it into something that a rock band could actually play on stage and not have too many things thrown at them.
Then comes a beautiful religious piece, Mississippi Blind Boy Archie Brownlee's "Somewhere Listening For My Name", complete with a gospel choir consisting of Fogerty himself.
Bobby Edwards' "You're The Reason" has been transformed into something almost like a country-rocker with the addition of a rock n' roll backbeat from the man on the swivel chair (a certain Mr Fogerty), and Hank Williams' "Jambalaya" is given the rock treatment as well, guitar solo and everything, yet stays true to its country origins. Fogerty still does than one in concert on occasion.
"She Thinks I Still Care" is a great vocal performance by John Fogerty, aided by himself on harmony vocals and steel guitar.
"Blue Yodel #4" was written by the legendary Jimmie Rodgers, who influenced country- and blues singers alike, and the traditional gospel piece "Working On A Building" also popped up in concert on Fogerty's 1997-98 world tour. On this record he provides all the harmony vocals, hand claps and enthusiastic wails himself.  
"Please Help Me, I'm Falling" is another catchy melody, the kind that's so much fun to sing if you have half a singing voice (a sinful pleasure, I know).
"Have Thine Own Way, Lord" has been sung by everyone from Slim Whitman and Marty Robbins to Pat Boone and Jim Reeves, and Fogerty does a lovely job with it, once again adding layers of harmony vocals.
"I Ain't Never" is a Mel Tillis/Webb Pierce song, and it's hard to sit still when it is playing. "Hearts Of Stone" was released as a single, and showed up in the top 50 on the pop charts (as did "Jambalaya"), and the album closes with the resigned country ballad "Today I Started Loving You Again", a Merle Haggard song, and another fine vocal performance.
Remember - this is not a rock record.
But it's a lot of fun to sing along to on a rainy afternoon, after making sure nobody can hear you, of course, and perhaps leaving a few hard rock records lying around in case anyone should come by!

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