CREEDENCE CLEARWATER REVIVAL
''PLATINUM, DISC ONE''
MARCH 16 2004
148:42
**********
DISC ONE
01 - Green River 02:31
02 - Fortunate Son 02:17
03 - Up Around The Bend 02:40
04 - Bad Moon Rising 02:18
05 - Porterville 02:20
06 - Penthouse Pauper 03:37
07 - Someday Never Comes 03:59
08 - Long As I Can See The Light 03:32
09 - Hey Tonight 02:41
10 - Ramble Tamble 07:10
11 - I Put A Spell On You 04:29 (Screamin' Jay Hawkins)
12 - It Came Out Of The Sky 02:53
13 - Who'll Stop The Rain 02:27
14 - Wrote A Song For Everyone 04:55
15 - I Heard It Through The Grapevine 11:04 (Barrett Strong, Norman Whitfield)
16 - Feelin' Blue 05:11
17 - Don't Look Now 02:10
18 - Molina 02:40
19 - Sweet Hitch-Hiker 02:55
20 - Proud Mary 03:06
*****
DISC TWO
01 - Run Through The Jungle 03:04
02 - Commotion 02:41
03 - Travelin' Band 02:07
04 - Walk On The Water 04:37
05 - Pagan Baby 06:22
06 - Good Golly Miss Molly 02:40 (Robert ''Bumps'' Blackwell, John Marascalco)
07 - Have You Ever Seen The Rain? 02:39
08 - Susie Q 08:36 (Eleanor Broadwater, Dale Hawkins, Stan Lewis)
09 - Lodi 03:09
10 - Down On The Corner 02:43
11 - (Wish I Could) Hideaway 03:42
12 - Born On The Bayou 05:14
13 - Before You Accuse Me 03:25 (Ellas McDaniel)
14 - Cross-Tie Walker 03:16
15 - Cotton Fields 02:55 (Traditional)
16 - Lookin' For A Reason 03:25
17 - The Working Man 03:02
18 - Lookin' Out My Back Door 02:32
19 - The Midnight Special 04:11 (Traditional)
20 - The Night Time Is The Right Time 03:06 (Napoleon Brown, Ozzie Cadena, Lew Herman)
**********
Tracks By John Cameron Fogerty Except:
Disc One: 11, 15
Disc Two: 06, 08, 13, 15, 19, 20
**********
Doug Clifford/Drums
Stu Cook/Bass Guitar
Creedence Clearwater Revival Primary Artist
John Fogerty/Arranger, Guitar, Vocals
Tom Fogerty/Guitar (Rhythm) (Disc One 01 to 06, 08 to 18, 20 to Disc Two 15, 17 to 20)
**********
REVIEW/AMG
Thom Jurek
Here are two CDs containing 40 tracks - all of Creedence Clearwater Revival's singles along with album cuts - selected and sequenced by European rock journalist Lennart Persson, an intimate of John Fogerty. The big pluses are that these tracks are the remastered versions (in 24 bit), the sequencing is unique and provocative, and the music itself, as you already know if you are reading this, is killer. This is arguably a better issue than the American Chronicle series because of the new dimension added by not placing tracks chronologically.
**********
BIOGRAPHY/AMG
Richie Unterberger
At a time when rock was evolving away from the forces that had made the music possible in the first place, Creedence Clearwater Revival brought things back to their roots with their concise synthesis of rockabilly, swamp pop, R&B, and country. Though the music of CCR was very much a group effort in their tight, punchy arrangements, their vision was very much singer, songwriter, guitarist, and leader John Fogerty's. Fogerty's classic compositions for Creedence both evoked enduring images of Americana and reflected burning social issues of the day. The band's genius was their ability to accomplish this with the economic, primal power of a classic rockabilly ensemble.
The key elements of Creedence had been woodshedding in bar bands for about a decade before their breakthrough to national success in the late '60s. John's older brother Tom formed the Blue Velvets in the late '50s in El Cerrito, California, a tiny suburb across the bay from San Francisco. By the mid-'60s, with a few hopelessly obscure recordings under their belt, the band -- including Tom and John with two high-school friends, drummer Doug Clifford and bassist Stu Cook -- signed to Fantasy, releasing several singles as the Golliwogs that went nowhere. In fact, there's little promise to be found on those early efforts; they were extremely derivative of the British Invasion and other R&B and rock trends of the day, with few hints of the swampy roots rock that would characterize CCR. The group only found themselves when John took firm reins over the band's direction, singing and writing virtually all of their material.
On their first album, 1968's Creedence Clearwater Revival, the group played it both ways, offering extended, quasi-psychedelic workouts of the '50s classics "I Put a Spell on You" and "Suzie-Q." The latter song became their first big hit, but the band didn't really bloom until "Proud Mary," a number two single in early 1969 that demonstrated John's talent at tapping into Southern roots music and imagery with a natural ease. It was the start of a torrent of classic hits from the gritty, Little Richard-inspired singer over the next two years, including "Bad Moon Rising," "Green River," "Down on the Corner," "Travelin' Band," "Who'll Stop the Rain," "Up Around the Bend," and "Lookin' Out My Back Door."
Creedence also made good albums -- Green River, Willy and the Poor Boys, and Cosmo's Factory all rank among the best of the rock era -- but their true forte was as a singles band. When the Beatles broke up in early 1970, CCR was the only other act that provided any competition in the fine art of crafting bold, super-catchy artistic statements that soared to the upper reaches of the charts every three or four months. Although they hailed from the San Francisco area, they rarely succumbed to the psychedelic indulgences of the era. John Fogerty also proved adept at voicing the concerns of the working class in songs like "Fortunate Son," as well as partying with as much funk as any white rock band would muster on "Travelin' Band" and "Down on the Corner."
With John Fogerty holding such a strong upper hand, Creedence couldn't be said to have been a democratic unit, and Fogerty's dominance was to sow the seeds of the group's quick dissolution. Tom Fogerty left in 1971 (recording a few unremarkable solo albums of his own), reducing the band to a trio. John allowed drummer Doug Clifford and bassist Stu Cook equal shares of songwriting and vocal time on the group's final album, Mardi Gras (1972), which proved conclusively that Fogerty's songs and singing were necessary to raise CCR above journeyman status.
It was John Fogerty, of course, who produced the only notable work after the quartet broke up. Even his solo outings, though, were erratic and, for nearly ten years, nonexistent as he became embroiled in a web of business disputes with Fantasy Records. His 1984 album Centerfield proved he could still rock in the vintage Creedence mode when the spirit moved him, but Tom Fogerty's death in 1990 ended any hopes of a CCR reunion with the original members intact.
**********
TO THE TOP
**********
''PLATINUM, DISC ONE''
MARCH 16 2004
148:42
**********
DISC ONE
01 - Green River 02:31
02 - Fortunate Son 02:17
03 - Up Around The Bend 02:40
04 - Bad Moon Rising 02:18
05 - Porterville 02:20
06 - Penthouse Pauper 03:37
07 - Someday Never Comes 03:59
08 - Long As I Can See The Light 03:32
09 - Hey Tonight 02:41
10 - Ramble Tamble 07:10
11 - I Put A Spell On You 04:29 (Screamin' Jay Hawkins)
12 - It Came Out Of The Sky 02:53
13 - Who'll Stop The Rain 02:27
14 - Wrote A Song For Everyone 04:55
15 - I Heard It Through The Grapevine 11:04 (Barrett Strong, Norman Whitfield)
16 - Feelin' Blue 05:11
17 - Don't Look Now 02:10
18 - Molina 02:40
19 - Sweet Hitch-Hiker 02:55
20 - Proud Mary 03:06
*****
DISC TWO
01 - Run Through The Jungle 03:04
02 - Commotion 02:41
03 - Travelin' Band 02:07
04 - Walk On The Water 04:37
05 - Pagan Baby 06:22
06 - Good Golly Miss Molly 02:40 (Robert ''Bumps'' Blackwell, John Marascalco)
07 - Have You Ever Seen The Rain? 02:39
08 - Susie Q 08:36 (Eleanor Broadwater, Dale Hawkins, Stan Lewis)
09 - Lodi 03:09
10 - Down On The Corner 02:43
11 - (Wish I Could) Hideaway 03:42
12 - Born On The Bayou 05:14
13 - Before You Accuse Me 03:25 (Ellas McDaniel)
14 - Cross-Tie Walker 03:16
15 - Cotton Fields 02:55 (Traditional)
16 - Lookin' For A Reason 03:25
17 - The Working Man 03:02
18 - Lookin' Out My Back Door 02:32
19 - The Midnight Special 04:11 (Traditional)
20 - The Night Time Is The Right Time 03:06 (Napoleon Brown, Ozzie Cadena, Lew Herman)
**********
Tracks By John Cameron Fogerty Except:
Disc One: 11, 15
Disc Two: 06, 08, 13, 15, 19, 20
**********
Doug Clifford/Drums
Stu Cook/Bass Guitar
Creedence Clearwater Revival Primary Artist
John Fogerty/Arranger, Guitar, Vocals
Tom Fogerty/Guitar (Rhythm) (Disc One 01 to 06, 08 to 18, 20 to Disc Two 15, 17 to 20)
**********
REVIEW/AMG
Thom Jurek
Here are two CDs containing 40 tracks - all of Creedence Clearwater Revival's singles along with album cuts - selected and sequenced by European rock journalist Lennart Persson, an intimate of John Fogerty. The big pluses are that these tracks are the remastered versions (in 24 bit), the sequencing is unique and provocative, and the music itself, as you already know if you are reading this, is killer. This is arguably a better issue than the American Chronicle series because of the new dimension added by not placing tracks chronologically.
**********
BIOGRAPHY/AMG
Richie Unterberger
At a time when rock was evolving away from the forces that had made the music possible in the first place, Creedence Clearwater Revival brought things back to their roots with their concise synthesis of rockabilly, swamp pop, R&B, and country. Though the music of CCR was very much a group effort in their tight, punchy arrangements, their vision was very much singer, songwriter, guitarist, and leader John Fogerty's. Fogerty's classic compositions for Creedence both evoked enduring images of Americana and reflected burning social issues of the day. The band's genius was their ability to accomplish this with the economic, primal power of a classic rockabilly ensemble.
The key elements of Creedence had been woodshedding in bar bands for about a decade before their breakthrough to national success in the late '60s. John's older brother Tom formed the Blue Velvets in the late '50s in El Cerrito, California, a tiny suburb across the bay from San Francisco. By the mid-'60s, with a few hopelessly obscure recordings under their belt, the band -- including Tom and John with two high-school friends, drummer Doug Clifford and bassist Stu Cook -- signed to Fantasy, releasing several singles as the Golliwogs that went nowhere. In fact, there's little promise to be found on those early efforts; they were extremely derivative of the British Invasion and other R&B and rock trends of the day, with few hints of the swampy roots rock that would characterize CCR. The group only found themselves when John took firm reins over the band's direction, singing and writing virtually all of their material.
On their first album, 1968's Creedence Clearwater Revival, the group played it both ways, offering extended, quasi-psychedelic workouts of the '50s classics "I Put a Spell on You" and "Suzie-Q." The latter song became their first big hit, but the band didn't really bloom until "Proud Mary," a number two single in early 1969 that demonstrated John's talent at tapping into Southern roots music and imagery with a natural ease. It was the start of a torrent of classic hits from the gritty, Little Richard-inspired singer over the next two years, including "Bad Moon Rising," "Green River," "Down on the Corner," "Travelin' Band," "Who'll Stop the Rain," "Up Around the Bend," and "Lookin' Out My Back Door."
Creedence also made good albums -- Green River, Willy and the Poor Boys, and Cosmo's Factory all rank among the best of the rock era -- but their true forte was as a singles band. When the Beatles broke up in early 1970, CCR was the only other act that provided any competition in the fine art of crafting bold, super-catchy artistic statements that soared to the upper reaches of the charts every three or four months. Although they hailed from the San Francisco area, they rarely succumbed to the psychedelic indulgences of the era. John Fogerty also proved adept at voicing the concerns of the working class in songs like "Fortunate Son," as well as partying with as much funk as any white rock band would muster on "Travelin' Band" and "Down on the Corner."
With John Fogerty holding such a strong upper hand, Creedence couldn't be said to have been a democratic unit, and Fogerty's dominance was to sow the seeds of the group's quick dissolution. Tom Fogerty left in 1971 (recording a few unremarkable solo albums of his own), reducing the band to a trio. John allowed drummer Doug Clifford and bassist Stu Cook equal shares of songwriting and vocal time on the group's final album, Mardi Gras (1972), which proved conclusively that Fogerty's songs and singing were necessary to raise CCR above journeyman status.
It was John Fogerty, of course, who produced the only notable work after the quartet broke up. Even his solo outings, though, were erratic and, for nearly ten years, nonexistent as he became embroiled in a web of business disputes with Fantasy Records. His 1984 album Centerfield proved he could still rock in the vintage Creedence mode when the spirit moved him, but Tom Fogerty's death in 1990 ended any hopes of a CCR reunion with the original members intact.
**********
TO THE TOP
**********
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