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

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).

it's a good article - my only quibble would be describing the paranoid style as a "garage punk" band. don't front, you're in an indie band, and that's nothing to be ashamed of.

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).

― Peaceful Warrior I Poser (Karl Malone)

1961: my favorite things, africa/brass, ole! coltrane

(ascension, meditations, and live at the village vanguard again! were all 1966 as well, so it's not like it's the only time trane did the trifecta...)

For Your Pleaure / These Foolish Things / Stranded / Here Come the Warm Jets - all within 12 months I think. Not strictly the output of a single group, I know, but...

It's hard to get specific dates but Fela Kuti must have nailed this at some point. Noise for Vendor Mouth / Confusion / Everything Scatter / He Miss Road /Expensive Shit were all 1975.

But after 45 minutes the band was done. With very few exceptions, no matter the audience desire, there were no encores.

So let me get this straight. The moral of the story is... DON'T keep on chooglin'?

In fact, STOP chooglin'?

I need some time to process this.

Good call on Fairport.

Choogle (Not Choogle)

Frugal chooglin’—-> frooglin’

Between July 1984 and January 1987 Hüsker Dü released five albums, including two doubles.

So effectively 7 albums in 2.5 years.

In 1971, Rod Stewart put out both Long Player and A Nod Is... w/the Faces, and on his own released Every Picture Tells A Story.

I'd also argue for Merle Haggard in 1969 with Pride In What I Am, A Portrait of Merle Haggard and Same Train, A Different Time.

so, i guess what we're saying is between ccr, fairport, and merle is 1969...nice

for those of you didnt catch that, 69 is at the end of 1969

and that...that is the sex number, friends

has there ever been a single year with three artists releasing three different all in the same year and where the albums have been so nice, other than 1969?

seems impossible

Great Nelson piece thx for posting

wow that article really is great, lol @ "the botched aesthetics of stardom"

Re-reading the piece,

the band essentially acted as a rearguard protectorate to the genre’s multiethnic traditions

Love CCR, would rather have my fingernails pulled out than listen to Springsteen tbh.

Interesting.

"Centerfield" "Glory Days" and "Walk of Life" form a boomerball mini-genre

There's an article about Frank Stefanko, the photographer, where he talks about driving around with Springsteen listening to Creedence on the tape deck, and it sounds wonderful.

"We were playing “Lodi,” driving through the New Jersey Pine Barrens with the window down on a hot Memorial Day weekend, and we were both singing, and I can’t sing to save my life, but somehow singing with Bruce Springsteen was easy... it was one of the best days of my life...”

"Walk of Life", you mean Dire Straits? I assume "Glory Days" is Springsteen? Don't know it.

You're lucky. I love Springsteen, but I'd be happy if I never heard Glory Days again.

Love CCR, would rather have my fingernails pulled out than listen to Springsteen tbh.

same here

didn't know so many of you had this fetish

messages keep gettin' clearer

By the late ’60s market forces had already begun the unfortunate project of Balkanizing rock ’n’ roll into separate genres: “Rock” music was intended to appeal to largely white audiences, while African American artists were typically relegated to the R&B charts. For John Fogerty and CCR, this development violated everything they represented. The band essentially acted as a rearguard protectorate to the genre’s multiethnic traditions, loaning out “Proud Mary” to Ike & Tina Turner while borrowing Wilson Pickett’s “In the Midnight Hour” and Norman Whitfield’s “I Heard It Through the Grapevine,” all to spectacular effect.

sorry but this is just beyond stupid

"loaning out" ?

i wish i could think of another example of an african-american act covering a popular song by a white artist after 1969

They did "99 and 1/2 (Won't Do)", not "ITMH".

listen, we'll come to the factual errors after we get to the bottom of this "rearguard protectorate" nonsense

i find very little to like about that article, sort of surprised to find it was so well received by others

i defy anyone to name a single integrated band from that era that was committed to crossing the boundaries between rock and soul

lol exactly

trying to paint CCR as simultaneously the sole protectors of the great "multiethnic traditions" of rock music, as uber-insightful socially perceptive class warriors, and as visionaries who portended the fierce, nihilistic brevity of punk rock is just a bizarre and pointless critical exercise.

they are an irreconcilable contradiction of boneheadedness and sharp insight, sluggishness and fierce brevity, comical down-home-southern-man posturing and frank honesty. they were cool and they were uncool. it's actually fine that they weren't the stooges or the velvet underground. and it's also okay to admit that their relationship to black american music was complicated and, at times, problematic.

fierce brevity, i like fierce brevity

sorry, i just fucking love creedence and it's important to me that everybody else loves them for the same reasons

I'm not an expert on Creedence by any means, but your post sounds about right to me.

I hadn't noticed the In the Midnight Hour ref (I think I immediately glossed over it as a reference to the Midnight Special), that's a weird mistake.

budo is correct that CCR were not unique in attempting to bridge the rock and R&B divide - there were so many terrible, mostly white, bands doing this at the time. But idk how central that point is to the article.

budo is correct that CCR were not unique in attempting to bridge the rock and R&B divide - there were so many terrible, mostly white, bands doing this at the time

Rare Earth > CCR

(Not really, obviously. But more people should talk about Rare Earth. They were pretty good!)

Also from that quote above, the idea that white and black audiences started out integrated and had been Balkanized by “market forces” seems like a strange reading of history.

I think of CCR as being about as R'n'B as The Who - not very. Maybe in intent, but not in final effect. The covers are never the strongest tracks, 'cept maybe Suzie Q, which is a rockabilly song anyways.

I like the article's passion, but the conjectures are really reaching. I don't think Fogarty was that theoretical in the moment but I'm sure he was in retrospect. (Like Townshend for that matter)

I hoid it thru the grapevine

nyah nyah nyah what you hoid

sorry should be

nyah nyah nyah of what you hoid

Well, the original lyric goes "people say believe half of what you see, son, and none of what you hear."

Fogerty either didn't understand the lyric or didn't care to, and so sings "people say you hide from what you see, nah nah nah, from what you hear."

finally read this article and gotta agree that its pretty much filled w/stuff that's wildly wrong & suppositions that are downright weird

The subterranean groove of “Feelin’ Blue” is as insinuating and louche as any rendered contemporaneously by the Velvets or MC5

we all know the MC5 and how famous they are for their slinky, sexy, louche grooves