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

I'm not sure m bison's recent post is getting the attention it deserves.

Yeah, I was gonna say... A+!

lmao

I just want a menswear catalog that offers all of Fogerty’s shirts
https://newrepublic.com/article/112624/john-fogertys-70-flannel-shirt

Fogerty thanked the rock critic and then pulled out a plastic-bagged flannel shirt identical to the one he was wearing. "Here," he said, "have one of my 'Fortunate Son' shirts."

I don't know, I could go for some "Lodi" underpants.

https://cdn.spiritshop.com/DynamicImageHandler.ashx?pid=332&did=20304&tt=Lodi&bt=Your+Text&cid=9729&yt=2020&cp1=EEEEEE&cp2=000000

if only he had used choogle maps

When possible, make a legal U-turn
make a left at Exit 77, Bayou Country
At the git go, make a right
Keep on choogling (?? miles??)

The bathroom is on the right

Heard a tidbit of the middle-part jam from Ramble Tamble as transition music on my NPR station today and it made my day

Where is the love for that song? It's easily one of my favorite CCR songs for a number of reasons but primarily because there is a monster jam hidden inside the primary song framework. It's like going on a tiny trip to Cosmo's Factory and then being safely delivered home at the end. Good lyrics too.

― weird woman in a bar (La Lechera)

one of the many records i listened to last year was a record called "outlaw overtones" by a band called "ramble tamble" who, yes, i just listened to because any band named "ramble tamble" couldn't possibly be all bad.

and i do like it! good lo-fi jams, not much in the way of choogle though.

ts: chooglin vs. tamblin

Russ Chooglin

^^^ I see what you did there...

A video popped up on my Facebook yesterday with John telling his Woodstock story about playing after the Dead. Dead dropped acid before they went on, and then there were rain and PA delays, which must have been a huge cluster... A bunch of Deadheads were commenting and calling John a whiner, saying the Dead's legacy is so much greater than CCR's. I dunno, I don't have a punchline to this story, I just know which band I'd rather listen to.

I think I saw that Ramble Tamble band live several years ago

they're pretty good — but the band name is perhaps a little misleading, haha.

Only on Choogle Maps can you find Louisiana just a mile from Texarkana.

kudos

Deadheads not taking kindly to any criticism of their beloved band shockah

And not taking kindly to any mention of quality control

https://i.imgur.com/BK6RkYH.png

^^^^superb

A+

And not taking kindly to any mention of quality control

― The Fearless Thread Killers (James Redd and the Blecchs), Thursday, August 29, 2019 1:48 PM (one hour ago) bookmarkflaglink

The thing is, the Dead themselves admitted they sucked at Woodstock, and most Deadheads (I almost used the phrase "discerning Deadheads," but thought better of it) don't rate that performance highly at all. I don't think it was any kind of holy grail for, or otherwise coveted by, tape traders.

A bunch of Deadheads were commenting and calling John a whiner, saying the Dead's legacy is so much greater than CCR's. I dunno, I don't have a punchline to this story, I just know which band I'd rather listen to.

― confusementalism (Dan Peterson), Thursday, August 29, 2019 10:34 AM (four hours ago) bookmarkflaglink

The absolute worst thing about the Grateful Dead is their legacy. And I say that as a fan.

Thanks. Curious what exactly you mean by “legacy” here.

I assume maybe you mean the huge body of recordings.

I meant their legacy as it's manifested itself in innumerable "jam" bands and the cultures that surround most of them.

nice one joygoat.

The Dead certainly have a larger, longer "legacy" of touring for decades, people travelling for multiple runs of shows, trading tapes... the whole Dead gestalt is a unique thing. I haven't heard the new CCR Woodstock recording yet, but they seem like a pretty fine-tuned machine, driven by a very exacting taskmaster, whereas the Dead were the complete antithesis of that: a bunch of hippies who would gobble acid before going out to play in front of half a million people. There's a great story of the whole Dead debacle I was just reading here:

http://deadessays.blogspot.com/2019/07/the-dead-at-woodstock-guest-post.html

^Thx for posting this, it's very interesting (and well-written)

yeah that was great

All right, m. bison and joygoat. Someone might have to call the state militia.

https://i.imgur.com/ccH2SLi.jpg

https://i.imgur.com/gPEbuB6.png

https://i.imgur.com/uIFWC3I.jpg

https://i.imgur.com/0TczMXP.jpg

lol so good

Brilliant.

lol

we owe some gratitude to the random motorist who missed his turn

LOLz

Better turn through the choogle

A+++

I was actually in Lodi a couple years ago and I parked in front of a bar that was named "Stuck In Lodi" that looked like it had recently been closed permanently... sad ironic Central Valley vibes.

I think I have a pic of it buried somewhere in my phone.

Is this just a little south of Moline?

Er, *showf* of Moline?

kudos pp for this exceptional work

Hahahaha

i just want to confirm: no one has matched CCR's incredible achievement of releasing three remarkable albums in the same year, right? Bayou Country (1/5/69), Green River (8/3/69), and Willy and the Poor Boys (11/2/69).

i know this has probably been discussed multiple times, but it's difficult to search, and i need to confirm this as an indisputable fact.

https://www.theringer.com/music/2019/11/26/20983063/creedence-clearwater-revival-willy-and-the-poor-boys-50th-anniversary

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.

does 'drift' count

The Nelson article is one of my favorite pieces of essay writing this year.

The only weird thing about it was that she picked "Born on the Bayou" and "Keep On Chooglin'" as the two classics from "Bayou Country." The former, sure, but the latter? I mean, the album is a classic, but surely "Proud Mary" deserves the other slot.

all three of those songs are all-timers

proud mary has gotta be in there, but 'born on the bayou' is undeniable and chooglin...i mean

I just returned from a trip to Disney World, during which I blasted "Chameleon" and "Sailor's Lament" on the car ride back.

still reading the Nelson piece, thanks for linking to it!

i realize this is a matter of taste, but i 100% agree with fogerty's take on this:

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.