Creedence Clearwater Revival [Bonus Tracks] [Digipak]

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

Notes: Creedence Clearwater Revival: John Fogerty (vocals, guitar); Tom Fogerty (guitar); Stu Cook (bass); Doug Clifford (drums). Includes liner notes by Ben Fong-Torres. Digitally remastered utilizing the 20-Bit K2 Super Coding System. The deluxe 6-CD box set CREEDENCE CLEARWATER REVIVAL contains all the original CCR releases including: CREEDENCE CLEARWATER REVIVAL (1968)/BAYOU COUNTRY (1969)/GREEN RIVER (1969)/WILLY & THE POOR BOYS (1969)/COSMOS'S FACTORY (1970)/PENDULUM (1970)/MARDIS GRAS (1972). Disc 1 includes rare pre-Creedence Clearwater Revival recordings by Tommy Fogerty & The Blue Velvets and The Golliwogs. Creedence Clearwater Revival: John Fogerty (vocals, guitar, harmonica, horns, organ, tambourine); Tom Fogerty (guitar, background vocals); Stu Cook (bass, background vocals); Doug Clifford (drums, background vocals). Additional personnel: Tommy Fogerty & The Blue Velvets; The Golliwogs. Producers include: John Fogerty, Tom Fogerty, Stu Cook, Doug Clifford, Saul Zaentz. Includes essays by Ben-Fong Torres and Alec Palao plus individual album liner notes by Ben-Fong Torres, Joel Selvin, Dave Marsh, Ed Ward, Robert Christgau, Craig Werner and Stanley Booth. Digitally remastered using 20-bit K2 Super Coding technology by Shigeo Miyamoto (JVC Studios) and Joe Tarantino (Fantasy Studios, Berkeley, California). Creedence Clearwater Revival: John Fogerty (vocals, guitar); Tom Fogerty (guitar, background vocals); Stu Cook (bass guitar, background vocals); Doug Clifford (drums, background vocals). Liner Note Author: Joel Selvin. Recording information: Filmore, San Francisco, CA. Arranger: John Fogerty. CCR seemed like something of an anomaly on their 1968 debut. They were miles from the mind-expanding flower-power explorations of their California contemporaries. They came across as 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, much like Merle Haggard and other '60s country artists. That the strong New Orleans swamp-rock flavor seemed so natural (Californian Fogerty's bayou tales were pure flights of fancy) was a testament to the strength of CCR's musical vision. The way they put a respectful but contemporary twist on Dale Hawkins's "Suzie Q" and the chilling "I Put a Spell on You" shows that they knew enough about the past to step confidently into rock & roll's future. Released in the summer of 1968 -- a year after the summer of love, but still in the thick of the Age of Aquarius - Creedence Clearwater Revival's self-titled debut album was gloriously out-of-step with the times, teeming with John Fogerty's Americana fascinations. While many of Fogerty's obsessions and CCR's signatures are in place -- weird blues ("I Put a Spell on You"), Stax R&B (Wilson Pickett's "Ninety-Nine and a Half"), rockabilly ("Susie Q"), winding instrumental interplay, the swamp sound, and songs for "The Working Man" -- the band was still finding their way. Out of all their records (discounting Mardi Gras), this is the one that sounds the most like its era, thanks to the wordless vocal harmonies toward the end of "Susie Q," the backward guitars on "Gloomy," and the directionless, awkward jamming that concludes "Walking on the Water." Still, the band's sound is vibrant, with gutsy arrangements that borrow equally from Sun, Stax, and the swamp. Fogerty's songwriting is a little tentative. Not for nothing were two of the three singles pulled from the album covers (Dale Hawkins' "Susie Q," Screamin' Jay Hawkins' "I Put a Spell on You") -- he wasn't an accomplished tunesmith yet. Though "The Working Man" isn't bad, the true exception is that third single, "Porterville," an exceptional song with great hooks, an underlying sense of menace, and the first inkling of the working-class rage that fueled such landmarks as "Fortunate Son." It's the song that points the way to the breakthrough of Bayou Country, but the rest of the album shouldn't be dismissed, because judged simply against the rock & roll of its time, it rises above its peers. ~ Stephen Thomas Erlewine

Entertainment Weekly (11/16/01, p.134) - "...This box is as filler-free as CCR's music..." - Rating: B+ Mojo (Publisher) (12/01, p.116) - "...Suprisingly powerful..."

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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