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

let him listen to effigy. at least he will drop that stupid comparison after

I don't think he would. To be honest, I think there was a bit of tit-for-tat going on because I'd shown insufficient interest in his plan for phoning up Edgar Broughton and meeting him for a chat.

the only good plan

Edgar, apparently a very friendly chap, always up for a natter.

I am aware that there is a TolstoyesqueNabokovianILX0rite tendency to say "All Heavy Music Is Alike" but it seems to me that the other acts cited here were mostly playing heavier music still primarily using Blues-based riffs and scales- following the trend of Rural Blues is not as loud as (Chicago)Electric Blues is not as loud as Blue Men Sing The Whites- perhaps mixed in with some other scales from popular or classical music (Harmonic Minor to thread!), whereas the kind of outside/atonal shredding over motorik beat of the Velvets and this live album are another beast from a different kitchen altogether.

What helps Fogerty's vocals go down easier is noticing how much young Fogerty looked like young (pre-gray hair) Steve Martin. They even make some of the same slack-jawed-yokel facial expressions.

Fwiw Effigy turned me from thinking CCR were a decent classic rock band to a true believer

^^^ i had the same experience.

Hadn't taken in taht the change of name from the golliwogs came with the release of the first lp. & at least partially because the guy from Fantasy records didn't like the somewhat racist name. So there wouldn't be much around in terms of circulating live tapes under the CCR name before whenever that was in '68. I did see there is a live Suzy Q in a compilation set of KSAN radio broadcast material featuring several other SF bands of the era as well as some LA types like Beefheart and I think the Kaleidoscope.

Would be very interested to hear live stuff under the names CCR or the Golliwogs from '67 or '68 though.
Back when they were playing around SF and hadn't found fame yet.

I know there was a compilation of studio Golliwogs stuff from the mid to late 60s put out a few years ago with some early versions of tracks better know n in later versions.

This box set (which I don't think is that hard to find) has an entire CD of Golliwogs stuff - 20 tracks - plus four tracks by Tommy Fogerty & The Blue Velvets.

RIP Esteban Buttez

hi ian :)

this live Woodstock thing rules, I love the raw guitar sound and they really pulled out some deep cuts for the gig

Fairly certain Al Green and Stevie Wonder come closest.

lol this was one of the first threads I posted on way back when, and look who doesn't like Stevie Wonder

Bands that EVERYONE loves

please note that Alex cited eighties Wonder.

Just reading Christgau's CCR reviews. Not only does he love them, he refers to their songs as "choogles" (noun, plural), which I shall need to adopt.

More Creedence Gold [Fantasy, 1973]
More Creedence Gold, or rather, less. B

He also dismissed "Run Through The Jungle" as a 'tuneless choogle' in the liner notes to Cosmo's Factory.

Despite my misgivings about Fogerty's voice (expressed above), I have now listened to Live at Woodstock and confirm that this recording is totally smokin'.

it's actually spelled smoykin'

I think Kim Salmon borrowed a lot from Fogerty's vocals at least in Scientists days.

km lol

I've been working my way through the giant Woodstock 38-CD set and what's great about Creedence is that you're just coming out of a doomed Grateful Dead set - no way Owsley's sound rig for the Dead was going to be compatible with the Woodstock system - so there's 95 minutes of so of haplessness. Weir getting shocked, false starts, everyone yelling at Oswley, a directionless 40min of "Turn On Your Lovelight" that both exemplifies the lack of PA and the worst qualities of the Dead. Then CCR shows up, cleans the place out like the Ramones, and are gone in 30. The mix cranks the volume on Clifford's bass drum for maximum choogle.

I salute your dedication, thanks for the summary of that Dead set which I won't listen to but expect to be sampled soon

Lol

Noticing Doug Clifford’s massive hi-hats (18”, which is insane) in a CCR clip, I went looking for an interview where he talks about his gear, and found this great quote:

Al [Jackson, Jr.] said to me, “What are your goals?” I said, “I want to be a metronome.” He said, “Why would you want to be a metronome? A metronome is a machine.” I said, “But I want to be on.” Al held up one finger. “Look,” he said, “here’s the beat. The right side of the finger is edging the beat—not going past it but a bit on that side of it. The left side is when you’re pulling it back, maybe from a solo and back into a verse, or from a chorus. Then there’s the middle of the finger. That’s okay too. It can be a verse or something else. You move these notes.”

Growing up, I had listened to Little Richard and heard those cats go into an instrumental section and they would just jump, all moving together. I mentioned that to Al, and he said, “We’re humans, that’s the beauty of it.” That’s one of the greatest gifts I’ve ever received from another player. It helped me to be me. I don’t play perfect time. The groove is a living thing.

18" hi-hats, wtf

HI-HATS

Fogerty on the Woodstock set:

I’d seen the Dead live a few times around the Bay Area, and I knew their reputation. At the time, I was what you would call pissed off. They sabotaged our chance in the limelight. But over time, I have developed quite an affection for the Dead. They mumbled their way through a career and they outlasted the Man. They changed the paradigm by doing it their own way, and they made it work. But at Woodstock, they were just a bunch of drugged-out hippies.

They mumbled their way through a career and they outlasted the Man.

No one's ever put it better!

Lol, seconded

the mumbling part is right, they did not outlast the man

sadly, the man has legs

I want to say Hunt Sales had huge cymbals ...

do it say it

Is that a euphemism?

Ccr is a good place to start if you’re learning to play guitar (forget the Beatles) - easy chords and strong rhythm

Do you think that is why The Minutemen started there?

otm with beginner guitar. Me and my spouse have been playing a bunch recently, and it’s so awesome that pretty much every CCR song is extremely easy to play

A lot of his stuff is in drop d, that could be the only snag for a beginner. But even in standard tuning his songs are so immediately identifiable that it's very satisfying to even approximate them.

Re the Minutemen, I'm not sure it's because covering CCR was relatively easy, I think it's mostly because Fogerty was a protest singer that flew the flannel.

They’re also good for easy leads, eg the Bayou riff which is just an E7 (you don’t even have to move your left hand) and Green River. Then there’s the major key Up Around the Bend and Fortunate Son riffs which are good ways to learn different chord voicings up the neck

Green River can be tricky because that are so many guitars on it, each throwing in these iconic little licks.

yeah Green River is hard if you try to play all those riffs on one guitar!

eg the Bayou riff which is just an E7 (you don’t even have to move your left hand
Always think this is a major component of the “swampy” sound, basically a Mixolydian vamp that may change chords but doesn’t sound like a blues and mostly stays on the I7 the majority of the time. See also “Polk Salad Annie.”

Seems like I found few hits of bands playing a medley of those two songs.

Daltrey struggles with the riff here, but his voice is perfect for it.

https://youtu.be/YYYxad4SxKY

Bayou specifically, that Pops Staples tremelo is key.

Also, the choogling.

Good point about Pops

This article ties it all together and singles out the missing link between the two songs in question, James Burton on “Susie Q.”
https://www.premierguitar.com/articles/22707-forgotten-heroes-pops-staples?page=4

And this
http://www.davehoekstra.com/wp-content/uploads/2014/03/pops_staples.pdf