we finished recording our parts, the other guys hung around while I mixed. The problem was they were making all these comments like, "Well, that won't work. This won't work." You know, they were having a great time laughing...And that was the very last time I ever allowed them to be around when I mixed a record...Basically, we'd go in, we'd record the band, and then I'd throw them out of the studio. I just couldn't have them around while I was doing overdubs or when I was mixing, because they weren't very constructive. The album's other notable cover, the Screamin' Jay Hawkins classic "I Put a Spell on You", was a natural for Fogerty, whose own manic vocal delivery had much in common with Hawkins' powerful singing style. Released as a follow up to "Susie Q" in October 1968 with "Walk on the Water" as the B-side, it peaked on the U.S. charts at #58. The album was remastered and reissued on 180 Gram vinyl by Analogue Productions in 2006. Reception While the band did gain success with their chart debut, critics initially denied the band respect. Barry Gifford writing in Rolling Stone at the time stated, "The only bright spot in the group is John Fogerty, who plays lead guitar and does the vocals. He's a better-than-average singer (really believable in Wilson Pickett's "Ninety-Nine and a Half"), and an interesting guitarist. But there's nothing else here. The drummer is monotonous, the bass lines are all repetitious and the rhythm guitar is barely audible." Time has been far kinder to the album, although critics note that Fogerty's songwriting talent had yet to truly blossom as it would on the band's future albums and singles. On AllMusic the album received 4 stars (out of 5), with Stephen Thomas Erlewine stating: "Released in the summer of 1968 - a year after the Summer of Love, but still in the thick of the Age of Aquarius - Creedence Clearwater Revival's self-titled debut album was gloriously out-of-step with the times, teeming with John Fogerty's Americana fascinations." He also noted that the album "points the way to the breakthrough of Bayou Country, with "Porterville" being "an exceptional song with great hooks, an underlying sense of menace, and the first inkling of the working-class rage that fueled such landmarks as 'Fortunate Son.'" The album was first certified Gold by the RIAA on December 16, 1970,