Creedence Clearwater Revival: C or D?

at the height of the grunge fad, i do remember wondering why it was that Neil Young was getting all the credit for inspiring that sort of music but CCR weren't name-checked at all -- which struck me as odd because Green River kinda works in the same vein and is almost as "grunge"-y as Everybody Knows This Is Nowhere. maybe it's because Fogerty always stuck to what worked and never did anything as left-field as Neil Young did?

"if i only had a dollar for every song i've sung and ev´ry time I had to play while people sat there drunk ... " hard to beat that IMHO.

Do Brits listen to bands like this? I think there's something uniquely American there that many of them don't hear or fimd interesting (because I don't hear them talk about these bands much). See also Los Lobos.

I actually wish I could hear most of my favorite music this way--catch it by surprise--but the radio is just so awful at the moment, so I end up buying a lot of records. My favorite moments are those when I'm seized, for no reason I can articulate, by the desire to hear a very particular album or song, almost as though it had come to me by accident.

Oh, also, I had a conversation about CCR with a good friend last week. I saw the box set sitting on his table. I remember him telling me--maybe six or seven years ago-- that he couldn't stand John Fogerty's voice, that it was too obviously an affectation. I mentioned this, and he turned to me with a puzzled expression, and said basically, Oh no, I was stupid then, of course they're grebt. So I don't know anyone who's been able to sustain a dislike for this band for very long.

Yes! Perhaps not 4, but I long for the days of an album or two a year. All that lovely filler and songs written by the drummer - all GRATE stuff!

I think there are quite a few Brits on here, myself included, who love CCR. And the 'uniquely American' thing isn't a hindrance (though you could prob argue the Beatles being part of their musical upbringing as with 95% of US bands of that era) - there's been an obsession with American music over here since at least the forties, not least the Beatles and Stones themselves.

Very interesting that you mention Los Lobos though, and you could have a point there. I've been thinking of starting a Los Lobos thread for a while as I've not encountered anyone over here who sees anything in them. And there is something similarly broad in their musical scope to the bands you mention (the Dead etc). For a Mexcian-American band the 'American' is at least as important as the 'Mexcian'.

Where did I say they weren't conscientious about choosing their name? "somewhat bitter irony" = conscious deliberation. The use of the word "revival" was very deliberate, yes to ref. tent-preachers, and yes to invoke an aesthetic which said "the present is corrupt, the past it's where it's at" — except (here's where the deliberate irony kicks in) we CCR are the real present and so the PRESENT is where it's at.

If anyone's assuming that because I'm saying "hey this is pop not rock" I'm saying the makers didn't care a great deal about it, or that it matters less "artistically", then they're exactly missing the point of Fogerty's attitude to the "throwaway pop" of the 50s: that the work put into it that counted was work that was directed at the present, not work calculated to second-guess the future.

I don't think this is really accurate, and this is why I brought up Fogerty's notorious controlling studio perfectionism - as evidence that they (or at least JF) *did* think and care about lasting. I don't think Fogerty was naive about what he was doing or what kind of myth he was trying to build. The point up-thread about the Berry-Fogerty-Springsteen progression of American "everyman" is pertinent here, he saw himself in - and acted to fit into - this kind of progression. In a sense, even getting screwed over the ownership of their songs does *more* to cement this kind of myth ("look! The Man is fucking with me!") although I'm sure that wasn't Fogerty's intention (to get screwed, that is).

I misunderstood your point about the "revival" in their name, sorry.

I find it interesting that CCR is kind of viral -- lots of people who don't want to like 'em do anyway, and they slip completely from your conciousness only to sock you in the gut after random jukebox encounters. Why is that so?

it's obv. a circular argument, but perhaps this is why the CCR-are-classic camp would describe them as such.

No comment, I just felt like reprinting that thought so that we could savor it.

"Love In Vain," "Country Honk," "Let It Bleed," "You Got the Silver," You Can't Always Get What You Want" = songs that would improve Let It Bleed by being absent.

CCR = Sexless, timid, lacking in experiment, hence not much at all like the music they were drawing on (compare "Green River" to Elvis's "Mystery Train"), though that doesn't make them a bad group, since those were limits that worked for Fogerty ("Green River" a real good song). Fogerty set songs in the South because he thought his own life in El Cerrito, California was boring, so preferred to write from his imagination. Well-loved by white people in Appalachia County, Virginia when I passed through in 1971. Black people there preferred James Brown. I was the only one to prefer "Brown Sugar." But neither CCR nor Stones defined rock by then. Hendrix, Cream, Zeppelin had changed the game.

The adjective "authentic" is close to useless unless paired with a word that it is modifying.

(All the songs you list are amazing, ESPECIALLY "You Got The Silver": I sometimes prefer Keith as a vocalist to Mick)

(But then if I had Let It Bleed on CD I might like it fine. Given the memory function, almost all my beloved CDs end up as four-song EPs. For instance, there are only three albums on my Pazz & Jop ballot this year that I listen to more than four songs on, and two of those three are near the bottom of my list.)

Semi-agree. Definitely keep "Country Honk" (a total gas) and "Let it Bleed" and in the very least the Sisters of Mercy sections of "You Can't Always Get What You Want" (+ all of "Gimme Shelter" and "Monkey Man," though maybe only the bass line from "Live With Me"), get rid of the rest, especially "Midnight Rambler" and "Love in Vain."

Revelation - maybe I'm a folkist

"Sexless" - I have no complaint here, I think, because this isn't their subject (a classroom-hallway distinction?).

I may be hypocritical, though, because I have the "Sexless" complaint about Chuck D. But I want his subject to suit his music.

No, they never improved on (or equaled) Mystery Train. But my ill-informed instincts say Elvis wouldn't have known to sing Lodi like Fogerty did, and wouldn't have done Fortunate Son, period.

Except Hendrix, Cream, and Zeppelin all sound dated now while "There Was a Time," "Lodi," and "Brown Sugar" do not.

(haha & maybe I've been reading too much Curnow & Brasch lately, but while not taking geography-as-destiny (or geography-as-haunting) too seriously, all the NZ rawkundroll fans I know have spent far more time around the otago/cantebury plains than I have).