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

I assumed that this revive was because of the new book by John Lingan:
https://bookshop.org/books/a-song-for-everyone-the-story-of-creedence-clearwater-revival/9780306846717

I picked it up last time I was at the book store but haven't had time to read it yet. I did enjoy Lingan's previous book about the town that gave us Patsy Cline:
https://www.bookforum.com/culture/homeplace-by-john-lingan-19961

I kind of passively dislike Creedence Clearwater Revival.

― immodesty blaise (jimbeaux)

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

these are the ways

It is known

I remember someone making the point that Bowie's success (at least with Ziggy Stardust in the UK) was a really big deal because here was a British rock star who wasn't hiding or diluting his accent or emulating American singers.

Something like this has been said about everyone who sings in their real voice and it always sounds like bullshit to me. "Oh, before the Stone Roses we'd *never* heard anyone sing in a Northern accent before! Except Mark E Smith".

https://www.youtube.com/watch?v=rOqo5Po462U

Now you're talking.

I am developing an app that will notify you when you are near a place that had a memorable CCR performance.

It's called Choogle Maps

would download

I read another book about CCR, which I believe was by Hank Bordowitz. It's probably the most unhappy musical biography that didn't involve anyone dying of misadventure (it was also written before Fogerty got hold of his masters again, while Saul Zaentz was still alive). Fogerty basically spent most of the ten years between 1975 and 1985 paralyzed with rage, and his bandmates (and brother) didn't end up very happy either.

One of the revelations therein was that Fogerty's record contract required him to produce 36 master recordings per year. A master was any recording 2:30 or less; if it were longer, it would count as multiples against his contract. This is why there are a number of CCR tracks that are 2:35 or 5:05 or so - they would count as two or three songs respectively to fulfilling the record company demands.

Way to stick it to the man CCR

he was contractually obligated to choog! gotdam

Lol, chooglin is 7:37! That’s just over 3 groups of 2.5 minutes!

The whole meaning of the song has changed

Keep on chooglin
Chooglin
Chooglin, chooglin, chooglin!

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 :)