Bayou Country [40th Anniversary Bonus Tracks] [Digipak]

Performer: Creedence Clearwater Revival
Producer: John Fogerty; John Fogerty; Chris Clough; Chris Clough (Reissue)
Distributor: Universal Distribution

Notes: Composer: John Fogerty. Lyricist: John Fogerty. Creedence Clearwater Revival: John Fogerty (vocals, guitar); Stu Cook (bass guitar, background vocals); Doug Clifford (drums, background vocals); Tom Fogerty (background vocals). Audio Remasterer: George Horn. Liner Note Author: Joel Selvin. Recording information: Royal Albert Hall, London, England; Stockholm, Sweden; The Fillmore, San Francisco, CA. Photographer: Tony Lane. Arranger: John Fogerty. Released in early 1969, the second album by guitarist/vocalist John Fogerty's Californian quartet is perhaps the definitive example of the group's swampy brew of rock, R&B, and blues. The key song on BAYOU COUNTRY is "Proud Mary," a rock milestone that still sounds just as fresh and exciting as it did when it first boomed out of AM radios decades ago. Although Creedence indulges in a few extended jams on tracks like "Keep On Chooglin" and "Graveyard Train," they forsake the gratuitous soloing favored by many of their San Francisco contemporaries in favor of fleshing out rhythmic, rock-solid grooves. From Fogerty's formidable bluesman's growl on "Born On The Bayou" to the explosive version of Little Richard's "Good Golly Miss Molly," BAYOU COUNTRY is what rootsy rock & roll is all about, and it's one of the best American rock albums of the '60s. Opening slowly with the dark, swampy "Born on the Bayou," Bayou Country reveals an assured Creedence Clearwater Revival, a band that has found its voice between their first and second album. It's not just that "Born on the Bayou" announces that CCR has discovered its sound -- it reveals the extent of John Fogerty's myth-making. With this song, he sketches out his persona; it makes him sound as if he crawled out of the backwoods of Louisiana instead of being a native San Franciscan. He carries this illusion throughout the record, through the ominous meanderings of "Graveyard Train" through the stoked cover of "Good Golly Miss Molly" to "Keep on Chooglin'," which rides out a southern-fried groove for nearly eight minutes. At the heart of Bayou Country, as well as Fogerty's myth and Creedence's entire career, is "Proud Mary." A riverboat tale where the narrator leaves a good job in the city for a life rolling down the river, the song is filled with details that ring so true that it feels autobiographical. The lyric is married to music that is utterly unique yet curiously timeless, blending rockabilly, country, and Stax R&B into something utterly distinctive and addictive. "Proud Mary" is the emotional fulcrum at the center of Fogerty's seductive imaginary Americana, and while it's the best song here, his other songs are no slouch, either. "Born on the Bayou" is a magnificent piece of swamp-rock, "Penthouse Pauper" is a first-rate rocker with the angry undertow apparent on "Porterville" and "Bootleg" is a minor masterpiece, thanks to its tough acoustic foundation, sterling guitar work, and clever story. All the songs add up to a superb statement of purpose, a record that captures Creedence Clearwater Revival's muscular, spare, deceptively simple sound as an evocative portrait of America. ~ Stephen Thomas Erlewine

Rolling Stone (3/1/69, p.28) - "...very reminiscent of that early Stones [sound] - hard rock, based in blues....John Fogerty carries the group with his good lead guitar...good vocal and harp work....[CCR] has a solid overall sound....very tight..." Blender (Magazine) (p.84) - 3.5 stars out of 5 -- "Bassist Stu Cook and drummer Doug Clifford walk the beat with zen proficiency as Fogerty stretches his Howlin' Wolf yowl over his rangy guitar pearls."

Creedence Clearwater Revival seemed like something of an anomaly in the psychedelic 1960s. Far removed from the mind-expanding, flower-power explorations of their California contemporaries, they were a gritty, hard-hitting band respectful of their blues, country, and rock & roll roots. John Fogerty's cutting, raspy voice bore echoes of Howlin' Wolf and Little Richard as he delivered lyrics that alternately celebrated and bemoaned a working man's life. In a rare instance of art and commerce coinciding, CCR's stream of hit singles made them one of the most successful '60s rock bands. The band broke up acrimoniously in the early '70s, but Fogerty went on to a successful (if sporadic) solo career.

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