Take a look behind the scenes

"...The box isn't cheap, but it is a collection of classic albums - there's really not a dud in the bunch - and they have never sounded better...Finally, there's the presentation, which is first class. The full sized, full color booklet includes veteran rock writer Ben Fong-Torres's lucid liner notes, and a collection of fabulous publicity shots sumptuously presented. The last page includes Steve Hoffman's notes about the reissue production and information on the original recordings and mixes, along with tape box photos...CCR fans rejoice!" Music = 10/11 Sound = 9/11 - Michael Fremer, Musicangle.com. Read the full review. 

"Ease your stylus into any groove of Acoustic Sounds' five LP Creedence Clearwater Revival series, and you'll know ­ instantly ­ that every over-the-top rave you've read about these records is true."

"Remastered from the original tapes by Kevin Gray and Steve Hoffman at the built-from-scratch AcousTech mastering facility, the result of their efforts is mind-blowing, akin to hearing each one of these five Creedence albums ­ Creedence Clearwater Revival, Bayou Country, Green River, Willy and the Poorboys and Cosmo's Factory ­ as if for the first time. That last line may read like a tired cliché but believe me, it's true. By comparison, the original LPs sound thin, edgy, gritty and wildly imbalanced, like an old AM car radio with a blown speaker. 'Down on the Corner,' from Willy and the Poorboys, opens with taps on a muted high-hat, then a cowbell, before the electric bass announces the song's melody. The cymbal and cowbell are just there, the bass is solid and meaty, and the guitars sound like live electric guitars. By the time the vocals join in you'll feel transported back to late 1969 ­ even if you weren't born yet. Although the quality of the original pressings varies, the improvements wrought by Gray and Hoffman are exceptionally consistent. 'Born on the Bayou' is thick, rich and full, with presence and dynamics I wouldn't have thought possible. And where the original LP is like a bunched together mish-mash of different sounds, Acoustic Sounds' vinyl is immediate and coherent, with space between the instruments. Without having heard the masters, it seems that somehow these guys were able to make a significant leap across the void that usually separates the sound of a master tape from the finished product. A stunning achievement!"

­ Wayne Garcia, The Absolute Sound, Issue 137, August/September 2002

"Within seconds of the first strains of "Down on the Corner" from Willie and the Poorboys, I knew that Chad, Steve, Kevin and company had done the real thing! The SACD had the feel of a master tape written all over it. The ease! The classic feel of tubes and tapes! Analog galore!...I went from cut to cut in a kind of excited daze. I had grown up with this music from about 1969 and knew it inside and out. And yet, despite owning two different CD issues...I felt that I was really hearing the music for the first time!...We've ordered the entire Analogue Productions SACD reissue series...all twelve titles! If you're smart, you'll do the same. You can thank me for the recommendation later!"

-- David W. Robinson for Positive Feedback Online, Issue 2

"I've just listened to the first two CCR test pressings mastered by Kevin Gray and Steve Hoffman at AcousTech Mastering (at RTI) and let me tell you: when the bass kicked in on 'I Put a Spell on You' I thought I was playing a 45 at 33 1/3 it was so deep and THICK but it was 33 1/3 and when the guitars kicked in, it was WOWIE!!!!! The transparency, transient SNAP and overall clarity without brightness or edge is phenomenal! This is as close to listening to a master tape as I've heard from vinyl ­ not hyperbole. Based on this, I think Kevin has put together the best-sounding lathe/cutting set-up I've heard yet ­ better than what they were using at Future Disc for the DCC cuts and without the hum - and those were gooood of course... the top end is just right ­ dynamics, depth, detail, the whole ball of waxxxxxxx. I was cautiously optimistic having heard how great the Ella/Gershwin box cut there came out, but I was not prepared for THIS.....congrats to all."

- Michael Fremer, senior contributing editor of Stereophile, music editor of Listener Magazine

"I'm sitting here (hear) listening to 'I Put A Spell On You' and I am VERY IMPRESSED with what I am hearing. The BEST I've EVER heard CCR sound. Superb job by Steve and Kevin. Thanks to Chad for doing this project. Get in line and BUY THESE RELEASES."

- Richard Foster, co-administrator of Phonogram and writer for HI-FI +

"Chad, I simply can't BELIEVE how good 'I Heard It Through the Grapevine' sounds!!! It is impossible to sit still through it. Hell, it's impossible to sit, period. I am SO impressed. All the others are great too (especially 'I Put A Spell On You'), but '...Grapevine' just blows my mind. (And I had NEVER heard those congas before...!)

Thank you sincerely for sharing this with me."

- Art Dudley, editor of Listener Magazine

"I didn't have the chance to compare these to the master tapes. It's gotta be damn close! Shit man, it don't get any better than this.

This is a Rock and Roll album. And a good one too! Not some 'audiophile' recording of an unknown ne'er-do-well performing a 'nose-flute recital' (borrowed slam) in a drafty VFW Hall. This is actual music. Ya know...popular music. And it sounds great!"

- Rich Brown, aka Speaker Boy, Klipsch Audio Technologies and Acoustic Sounds customer

"Well, I received three test pressings of these LPs last Friday from Chad and was wondering if I was hearing things. Simply put, these are by a large, large margin the best-sounding versions of these great songs that I have ever heard. The differences are staggering. On ‘Lookin’ out My Back Door’ the utter naturalness, weight and body simply doesn’t exist elsewhere on any recording of this that I have owned. After 30 odd years of always thinking that these records could or should sound better, these test pressings prove it. Whatever decisions made in the mastering of these records works just fine and once again proves that there is more to the art of record mastering than the ability to run a mastering lathe. It’s time to start saving up folks, cause these are the real deal. Congratulations to all involved.”

— Brian Hartsell, owner, The Analog Room in San Jose, CA

"...the test pressings are jaw-drop amazing."

- Bob Gendron, The Absolute Sound, Issue 126, June/July 2002