creedence clearwater revival thread

[lennytheweedwhacker]

i love the bad moon rising lyrics

[LoathedVermin72]

They’re pretty spooky

[Birds in Hell]

https://www.theringer.com/music/2019/11 ... nniversary

Even by the standards of the 1960s, when big-ticket acts were expected to satiate their market with a seemingly endless torrent of recorded output and live appearances, 1969 was a prolific year for Creedence Clearwater Revival. First formed two years previous, but really the full-flowering of earlier bands the Blue Velvets and the Golliwogs, the Oakland-based quartet had suddenly gone from music biz strugglers to full-blown celebrities. After so long a wait, nothing was going to dissuade them from maximizing their moment. CCR released three brilliant albums in 1969, each with a tangible claim on genius. January’s Bayou Country yielded the classics “Born on the Bayou” and “Keep on Chooglin.” August’s Green River produced yet more canonical material: “Lodi,” “Bad Moon Rising,” and the title track. Even the Beatles at their vaulting creative heights never released three great records in a 12-month span. Creedence Clearwater Revival’s November release, Willy and the Poor Boys, managed that very trick.

Just how CCR arrived at their signature, seamless melding of soul, rock, and folk remains an ephemeral mystery worthy of one of John Fogerty’s sharply drawn but strangely gnomic compositions. Their best songs—and they had an astonishing number of songs that could be considered their best—groove in a manner unlike any other: simultaneously efficient and unhurried, often building entire worlds in three-minutes-and-under at a time when many of their peers would take twice as long to get half as far. There is a certain strangeness as well as to their persona: four working-class kids from Oakland who became so adept at channeling the majesty of Stax and Motown that their music was frequently mistaken as having been made by African American artists, just as had been the case when Elvis Presley emerged 15 years previous. Steeped in the early-rock and blues mythos of the deep South, they were also taken for Southerners, and understandably so. When Fogerty sang of being born on the Bayou, it was with a conviction few would think to doubt.

At a time when it had become common for popular acts to extend their shows to epic lengths—Led Zeppelin concerts of the era had begun to run to three hours—Fogerty decided that Creedence should go the other way. For the 45 minutes the band was onstage, the music was tense and thrilling. But after 45 minutes the band was done. With very few exceptions, no matter the audience desire, there were no encores.

It’s a small point but an important one. Why would this most populist of popular bands dare court the critique that they were stingy with their rabid audience? The decision even caused some rancor within the group. Some members of the band believed, reasonably enough, that encores were a way of thanking the fans. Fogerty regarded them as phony under any circumstances. Neither was wrong, but Fogerty’s intractable stance said something crucial about the way CCR was always both old and new. By limiting show lengths to single concentrated outbursts of intensity, Creedence both honored the shock-and-awe, blink-and-you-miss-it character of early rock and the don’t-care-at-all-if-you-miss-it brevity of punk. Indeed, in 1969 only CCR’s Detroit-based counterparts the Stooges were so directly anticipating a less-is-more future. Fogerty’s draconian set times were never intended to cheat the consumer, and in fact the opposite held true: any second you weren’t fully present was a moment wasted.

[Superblood Wolfmoon]

[knee tunes]

[7 Years and Maybe Longer]

Chronicle: The 20 Greatest Hits is tough to beat as a greatest hits album. The only other one up there for me is Tom Petty's Greatest Hits.

[kreng]

Wut

[darth_vedder]

top ten ccr songs:

suzie q - full length version
effigy
green river
pagan baby
keep on chooglin'
commotion
ramble tamble
sweet hitch-hiker
born on the bayou
down on the corner

[wease]

Since I couldn’t make it thru the AC/DC journey, I’ve decided CCR will be my next deep dive. Shouldn’t be too difficult. Just a handful of albums.

[liebzz]

Since I couldn’t make it thru the AC/DC journey, I’ve decided CCR will be my next deep dive. Shouldn’t be too difficult. Just a handful of albums.

It’s a bunch in a row, and they are nearly all really good until the end. Whoever turned me on to Ramble Tamble on this thread deserves a medal.

[Clem Halibut]

Favorite CCR

Ramble Ramble
Penthouse Pauper
Effigy
Born on The Bayou
Heard it through the Grapevine
Suzie Q
Green River
Fortunate Son
Someday Never Comes
Have You Ever Seen the Rain

[liebzz]

You forgot Keep on Chooglin’

[Higgs]

Since I couldn’t make it thru the AC/DC journey, I’ve decided CCR will be my next deep dive. Shouldn’t be too difficult. Just a handful of albums.

Thunderstuck

[LetMeSleep]

He's got The Jack.

[Higgs]

Slack in Black

[Clem Halibut]

Down on the Boner

[wease]

Since I couldn’t make it thru the AC/DC journey, I’ve decided CCR will be my next deep dive. Shouldn’t be too difficult. Just a handful of albums.

A little late but I’ll be getting into this this week

[lennytheweedwhacker]

I hear the voice of rage and ruin

[liebzz]

It’s great for like 6 albums and then it crashes and burns.

[wease]

Creedence Clearwater Revival- Ok. I liked this. Never realized how steeped Fogerty was in the blues. Or that he only wrote four of the tunes on their debut. Out the eight tracks on the original release, Susie Q was the only one I’d ever heard before. The Working Man was probably my favorite track but I think Porterville foretold of things to come more than any of the other original tracks. I’m listening to the 40th anniversary versions of these so it had a couple of bonus tracks. One was a tune they had recorded and released as The Golliwogs; Call It Pretending. Not very memorable. The other was Before You Accuse Me, a Bo Diddly tune I’m extremely familiar with. They had an interesting take on it and infused some late-60s psychedelia into it. Not sure it completely worked but that’s probably because I’ve heard other arrangements so many times. I did like it, tho.

Never realized John was such a lead guitarist. It was almost like a showcase for his soloing skills. Very interesting to note his/their interpretation of the blues and the direction they would take compared to their contemporaries like The Allmans, Clapton, Fleetwood Mac, etc…