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Furthermore, the sound of their work is really something to behold a cocktail of basic 60's rock, basic 60's pop and Southern blues and "swamp" music, with a really great guitar sound, that ends up largely defying the ability to pigeonhole them into any one of those ingredient genres.
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Don't get me wrong, they have a whole lot of great songs, and I like the band quite a bit. From San Francisco Bay"Ĭreedence Clearwater Revival gets a lot of good press for a band that was around for only four years and good for only about two. Somehow I Don't Think "The South Will Rise Again" Was Intended To End With ". We knew strange voodoo was in the air when Fogerty and his quartet covered “Susie Q” and “I Put a Spell on You.Creedence Clearwater Revival Completely confused by the rating system? Go here for an explanation. In “It’s Just a Thought” the organ rumbles worriedly, as Fogerty realizes all these years have passed and CCR albums recorded. If I made a CCR playlist, the post-psych-rock psychout “Rude Awakening #2” would lead it because it keeps its title promise. In which Fogerty discovers the possibilities of the organ and sax, a typical example of an aural autocrat bored with a sound. From which primordial ooze did “Graveyard Train” crawl? I would stare at it all night.” Miniatures of formalism whose mass market appeal depended as much as a nascent cultural fascination with the old weird America as on Fogerty’s applying of Hemingway’s nada principle to songwriting, Bayou Country‘s songs court ephemerality, especially held up against the two other albums CCR recorded in 1969. Although I never want to hear “Proud Mary” again, its creation story keeps fascinating me: “I would sit in my little apartment – which was very sparse – and stare at the wall,” Fogerty revealed. “Proud Mary” is the chestnut, “Keep On Chooglin'” their credo, the rest a thicket of riffs and Cajun-drenched vocals. It ends with a song whose title is more definitive than the results “Long As I Can See the Light” sounds as if everyone involved dangles from a precipice. Look at the track listing: a monster collection of songs, with Fogerty and his colleagues lookin’ out their back doors and seeing a war that keeps killing young men, yet all CCR can do is keep chooglin’ through blues standards and the rambles of Fogerty’s imagination. Least Discussed Track: “Effigy.” Their spikiest album. Consider this: millions of the children of Nixon’s Silent Majority sent “Down on the Corner/Fortunate Son” into the top three and fifteen, respectively. I knew this album for its B-sides and tracks that AOR play never got tired of: apocalyptic visions with Stax tempos (“It Came Out of the Sky,” “Don’t Look Now”). Least Discussed Track: the Ray Charles cover. So hot was Fogerty’s streak that “Sinister Purpose” seems redundant.
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As Doug Clifford taps those hi-hats and brother Tom’s guitar continues its inexorable strum, the big-wheel-keep-on-toinin’ metaphor in “Proud Mary” tightens until Fogerty implicates singer, band, and listeners. Like “Oh! You Pretty Things” and several Baudelaire poems but without the self-conscious loucheness, “Wrote a Song for Everyone” stars John Fogerty confronting JOHN FOGERTY, singer-songwriter of Creedence Clearwater Revival. Fogerty’s guitar on “Tombstone Shadow” makes four. “Bad Moon Rising,” “Green River” - you kidding me? “Lodi,” that terrifying sequel to “Stuck Inside of Mobile with the Memphis Blues Again”? That’s three. Yet like The Band and John Wesley Harding-era Dylan, John and brother Tom Fogerty, drummer Doug Clifford, and bassist Stu Cook followed their own rhythms and outsold them by a factor of five. They came out of the sky or whatever, rock’s first counter-revolution to go multi-platinum: this is what Things Should’ve Sounded Like in the early Nixon era.