Artist: Creedence Clearwater Revival
Genre(s):
Rock
Jazz
Pop
Discography:
Chronicle Vol. 2
Year: 2006
Tracks: 20
Creedence Clearwater Revival Box Set (CD 6)
Year: 2001
Tracks: 18
Creedence Clearwater Revival Box Set (CD 5)
Year: 2001
Tracks: 24
Creedence Clearwater Revival Box Set (CD 4)
Year: 2001
Tracks: 19
Creedence Clearwater Revival Box Set (CD 3)
Year: 2001
Tracks: 19
Creedence Clearwater Revival Box Set (CD 2)
Year: 2001
Tracks: 16
Creedence Clearwater Revival Box Set (CD 1)
Year: 2001
Tracks: 25
Forever
Year: 1995
Tracks: 18
Chronicle, Vol. 1: The 20 Greatest Hits
Year: 1990
Tracks: 20
Creedence Country
Year: 1981
Tracks: 12
Chooglin'
Year: 1981
Tracks: 5
The Concert
Year: 1980
Tracks: 14
Live In Europe
Year: 1973
Tracks: 13
Pendulum
Year: 1971
Tracks: 10
Mardi Gras
Year: 1971
Tracks: 10
Willie and The Poor Boys
Year: 1970
Tracks: 10
Willy and The Poorboys
Year: 1969
Tracks: 10
Cosmo's Factory
Year:
Tracks: 11
Collection
Year:
Tracks: 24
At a time when rock was evolving further and further away from the forces that had made the euphony possible in the first gear shoes, Creedence Clearwater Revival brought things back to their roots with their concise synthesis of rockabilly, swamp pop, R&B, and nation. Though CCR was identical a good deal a chemical group in their tight, punchy arrangements, their vision was very much singer, songster, guitar player, and leader John Fogerty's. Fogerty's classic compositions for Creedence both elicited imperishable images of Americana and reflected electrocution social issues of the day. The band's brainiac was their ability to action this with the economic, fundamental force of a graeco-Roman rockabilly ensemble.
The key elements of Creedence had been woodshedding in bar bands for about a decennium earlier their discovery to national success in the late '60s. John's elder chum Tom formed the Blue Velvets in the late '50s in El Cerrito, CA, a diminutive suburban area across the alcove from San Francisco. By the mid-'60s, with a few hopelessly obscure recordings under their belt, they'd signed to Fantasy, releasing several singles as the Golliwogs that went nowhere. In fact, there's short forebode to be establish on those early efforts, in the main because Tom, non John, was doing most of the telling. The group only establish themselves when John took firm reigns over the band's direction, singing and composition virtually all of their material.
On their first gear album as Creedence Clearwater Revival in 1968, the group played it both slipway, offer extended, quasi-psychedelic workouts of the '50s classics "I Put a Spell on You" and "Suzie Q." The latter birdcall became their first bad reach, but the band didn't very efflorescence until "Proud Mary," a number-two single in early 1969 that demonstrated John's talent at tapping into Southern roots music and imagery with a natural simplicity. It was the start of a downpour of classical hits from the granular, Little Richard-inspired singer over the side by side two age, including "Risky Moon Rising," "Green River," "Down on the Corner," "Travelin' Band," "Who'll Stop the Rain," "Up Around the Bend," and "Lookin' Out My Back Door."
Creedence likewise made unspoiled albums, only their genuine fortissimo was as a singles band -- their LPs contained some makeweight, both in the forms of modal original material and straightforward covers of careen & roll up chestnuts. When the Beatles skint up in former 1970, CCR was the only former pretend that provided any competition in the fine art of crafting sheer, super-catchy artistic statements that soared to the speed reaches of the charts every trey or four months. Although they hailed from the San Francisco area, they rarely succumbed to the psychedelic indulgences of the epoch. John Fogerty also proved genius at voicing the concerns of the working class in songs like "Fortunate Son," as well as partying with as much funk as any white rock band would conscription on "Travelin' Band" and "Down on the Corner."
With John Fogerty keeping such a strong upper handwriting, Creedence couldn't be aforementioned to have been a democratic unit, and Fogerty's dominance was to sow the seeds of the group's quick dissolution. Tom Fogerty left in 1971 (recording a few routine solo albums of his own), reducing the set to a trio. John allowed drummer Doug Clifford and bassist Stu Cook equalize shares of songwriting and outspoken metre on the group's terminal album, Mardi Gras (1972), which proved conclusively that Fogerty's songs and singing were necessary to raise CCR above journeyman status.
It was John Fogerty, of course, world Health Organization produced the only notable make for subsequently the quartette stone-broke up. Even his solo outings, though, were erratic and, for well-nigh decade long time, nonexistent as he became embroiled in a web of stage business disputes with Fantasy Records. His 1984 album Centerfield proved he could still rock in the vintage Creedence modality when the spirit stirred him, but Tom Fogerty's death in 1990 all over whatever hopes of a CCR reunion with the original members entire.
