If you actively dislike Creedence Clearwater Revival, then I can never respect anything you have to say about anything.

all the way to the bank

That's what I call choooguliiiine

puffin, i gotta declare whats mines

if only he had used choogle maps
― wario in the streets, waluigi in the sheets (m bison), Wednesday, August 28, 2019 1:50 PM (three years ago) bookmarkflaglink

oh dang

in the world of provenance, that was like an alley oop

Sorry m bison! I bow to you

*whispers*

keep on chooglin...
keep on chooglin...

*speaking up a bit*

chooglin!
chooglin!

*shouting now*

CHOOGLIN!
CHOOGLIN!
CHOOGLIN!

“I’m an expert on the stone roses and I grew up in Salt Lake City”

“The Sundays are just the best. I Know all about them! By the way I grew up in south Carolina “

“I’m the biggest lynyrd skynyrd fan in Manchester!”

“No one more about the breeders than me, and I’m from Leeds”

“Ask around all the bars in Dundee, you’ll not find a bigger Jay Graydon fan than me”

“Athens, GA’s premiere Portishead acolyte”

“I have a Bad Bunny t-shirt and I don’t even speak spanish”

(xp) I think the Grateful Dead would have been the best example to use, to be honest.

#DougClifford from CCR as a burly gumshoe?
I shit you not. This series ran for three episodes in '73 on CBS after being pulled for embarrassingly low ratings. I still need more verification on this one. pic.twitter.com/3FbxVXrQQd

— Jimmy Howland (@underwatermoonl) September 8, 2022

The mystery of why John Fogerty let Doug Clifford and Stu Cook write and sing those songs on "Mardi Gras".

Now I imagine The Sundays in 1990 covering "Born on the Bayou."

The mystery of why John Fogerty let Doug Clifford and Stu Cook write and sing those songs on "Mardi Gras".

― Buckfast At Tiffany's (Tom D.), Thursday, September 8, 2022 7:27 AM (fifty-four minutes ago) bookmarkflaglink

It was out of spite, Fogerty was sick of them complaining about how their songs didn't make it, how he was a dictator l, etc.

The band almost broke up at that point, so Fogerty was like ok fine if we do another album you guys are going to have to bring songs to the table if that's what you want.

They ended up struggling with their stuff and came to Fogerty to help them finish/punch up the songs and he refused, basically hey you guys thought I was too bossy don't come to me now, I thought you wanted to be equal songwriters, don't come to me for help, etc.

In other words, "Shut up and choogle."

Doug and Stu may not have shown enough appreciation for John making CCR massive, but John definitely didn't give Doug, Stu, or Tom enough (or any) credit as musicians. All his bullshit about "I did everything myself" -- you didn't play drums or bass, and since CCR split, you haven't worked with a rhythm section anywhere near as great as Stu and Doug. As weird as this sounds, if I wanna hear some live chooglin', I'm gonna go see Creedence Clearwater Revisited instead of Fogerty solo.

Here's where I give big ups to Doug Sahm's Groover's Paradise LP, which was produced by Clifford, who serves as the rhythm section with Cook.

Yeah it was kind of a baller move to say "my voice is a unique instrument and you don't get to use it."

He didn't "let" them sing, he _made_ them sing.

He wouldn't play lead guitar on their songs either, only rhythm. But he was "lookin' for a reason" to continue with CCR, couldn't find any, and was basically trying to run the group into the ground.

...or "quiet quitting" as the kids say.

Now I imagine The Sundays in 1990 covering "Born on the Bayou."

Oh great, now I've got THIS running through my head:

Born on the bayou the home of the free, such miserable weather

I don't blame him for not singing the songs, they weren't very good.

I'll say Stu Cook's "Door to Door" is fun.

Royal Albert Hall doc is up on Netflix - starts up with a nice primer for people new to the band (but may be a bit boring for those familiar with them). The last 50 minutes is the concert and it's a lot of fun! Some technical issues - John's vocal and especially his guitar sounds a bit overmodulated for the first number but it seems to improve after that, at least enough that I don't notice the problems anymore. Oakland is still probably the definitive live document for CCR, but this one's not far behind. Doug is especially good. The only number that I wish was improved was "Fortunate Son" - feels like it might've sped up near the start and it basically gets played a touch too fast.

there is some pretty incredible stoner talk from stu and doug in this, lol

i've enjoyed the lead-up to the show. i'm already familiar with the contours of their story but i haven't seen a bunch of the footage so it's enthralling to me

Some discussion of this on the "Replacing the lead singer....is it always a bad move?" thread:

https://www.rollingstone.com/music/music-features/john-tristao-creedence-clearwater-revisited-1234592101/

Glad I watched the Royal Albert film.

The lead-in, narrated by Jeff Bridges, seemed accurate enough, although they sidestepped what I always thought was part of their story: that they were considered a Top 40 band by all the hippie groups (a large measure of jealousy, no doubt), that the contempt was mutual, and that Fogerty's political intelligence was either taken for granted or missed altogether. Maybe that's something I wrongly internalized. They skipped my favourite early song, "Call It Pretending." Those Tommy Fogerty & the Blue Velvets singles must be worth a fortune.

I've loved them for 50 years, but until tonight, don't think I'd ever heard anyone except John speak. Stu Cook and Doug Clifford seemed like they'd be a lot of fun to go on the road with, and John came across as thoughtful. Tom Fogerty felt like the odd man out to me, somewhere in his own space.

The concert was great, but also weird. All the hits sounded eerily note-for-note; brilliant, of course, but there didn't seem to be a lot of spontaneity. Zero patter--many will like that, but I could have done with a bit. Ditto audience shots. I was looking forward to lots of wild gyrating and sun-groping, but the audience seemed rather staid.

Except for "Keep on Chooglin'," which I barely know from whatever album it's on. That was the highlight for me: the woman in the front going crazy, and the band locking into an epic drone.

Great clip for the end credits.

My kids (5 and 2) currently love keep on chooglin and ask for it after dinner and run around our sectional sofa yelling “keep on chooglin” for its entire duration.

That is amazing.

xp i purposefully introduced my kids to "keep on chooglin" as soon as they learned to speak. the fruits of that labor have paid off.

XP xaek :)

:D

Keep On Choosing is the long track on the 2nd lp Bayou Country or at least one of them since Graveyard Train is on the other side of the lp.
1st lp also has some longer jammed out songs. Suzie Q is like 8 minutes long.
I wondered if there was an external influence to make the band sound more psychedelic on the first couple of lps that is gone by 3rd lp Green River. I think I need to read a biography. It is those 2 that I listen to most I think. Do enjoy the next 3 though & jamming reappears on Cosmos Factory. Not sure of internal influences on why I thought they consciously moved away from that idea. I like the way they sound on those first couple of lps and would love to find the existence of live material from 66-68 by them. I assume they were already gigging as the Golliwogs. As in when they were called that. Not sure what local gig scene was like outside of the Haight-Astbury scene.

Autocorrect Choogling.
Thought I'd seen it had the right word

First album maybe, the only thing psychedelic thing about the second album is the cover.

I devised the ultimate CCR epics compilation! Goes a little awry on side 4 I guess, but other than that pretty solid.

Side 1:
Susie Q - 8.35
Graveyard Train - 8.37

Side 2:
Keep On Chooglin' - 7.43
Crazy Otto (Bayou Country CD bonus track) - 8.48
Effigy - 6.26

Side 3:
Ramble Tamble - 7.09
I Heard It Through the Grapevine - 11.05

Side 4:
Pagan Baby - 6.25
Rude Awakening #2 - 6.19
45 Revolutions Per Minute (Part 2) (Pendulum CD bonus track) - 7.19

I stick with what I said about Bayou Country which is why i said it. Tends to be one of the reasons I like it more than their later stuff.I've been listening to psychedelic music since my teens as among my favourite musics.

Do enjoy the next few lps but not as much as those first 2 to repeat and accentuate what I said earlier.

All the hits sounded eerily note-for-note; brilliant, of course, but there didn't seem to be a lot of spontaneity.

(I posted the following on the other CCR thread when Tracer Hand made a similar point about how they sounded like their records:)

Yes and no. The arrangements are certainly the same as the record — there’s no radical (or even slight) re-imagining of the songs. But the intensity, momentum, and juuust slightly and perfectly ahead-of-the-beat agitation makes it a far different, and more exciting, experience for me.

there was an actual creedence compilation along the lines of that "epics" comp:

I Heard It Through The Grapevine 11:05
Keep On Chooglin' 7:40
Suzie Q 8:34
Pagan Baby 6:25
Born On The Bayou 5:10

https://www.discogs.com/master/289076-Creedence-Clearwater-Revival-Chooglin

Do not be frugal with your choogle.

Also. Let us consider the role of "the man."

For whom did the narrator of "Proud Mary" woik? The man.

Then there is the narrator of "Born on the Bayou." Whomst was he advised to avoid being gotten by? The man.

With whom does the narrator of "Midnight Special" advise us not to get in trouble? Again, the man.

The Fogartiverse is a polarized one. On one side? Chooglin'. On the other?The man.

One might call this worldview... Manichean.

^Listen to what the man says

MANichean

I Heard It Through The Grapevine 11:05
Keep On Chooglin' 7:40
Suzie Q 8:34
Pagan Baby 6:25
Born On The Bayou 5:10

I gotta say, this is disappointing because the tracks should be getting longer as you progress, not shorter! At every step on this comp you’re thinking “well, not quite as epic as what I just heard but”

A proper “epics” comp sets you up for walking outside into the ultimate “long song”, which is life. This one puts your life, the long song, in the past, and then begins counting down to the shorter segments. We all know where that ends. Shame on ccr management for approving that one