Creedence Clearwater Revival coined a unique language with roots in blues and Cajun music of Louisiana. Married the rhythms of the "swamp" with the melodies of folk-rock and the spirit of Bob Dylan. Somehow I create that fusion is one simple and catchy style that is quintessentially American music.
The brothers Fogerty, John (vocals, guitar) and Tom (guitar), were in reality grew up in Berkeley in the San Francisco Bay Area, and had served since 1959 in a complex rhythm and blues (Tommy Fogerty & the Blue Velvets ), publishing some 45 laps since 1964, over the years, "hot" British Invasion.
In 1967, changed their name to Creedence Clearwater Revival, and released two cover of Jay Hawkins, Suzie Q and Put A Spell On You, which immediately catapulted them in the standings. Are the cornerstones of the first album, Creedence Clearwater Revival (Fantasy, 1968). The secret of their music was not so much in the melodies as in the rhythms. The rhythm was the great rediscovery of those years, thanks to the "blues revival" that came from Chicago and that he had set foot in San Francisco itself. The folk-rock, surf and acid-rock had for the most left in the background rhythm, but the blues revival was bringing into the spotlight the "groove". I just pointed at the JRC on the "groove".
John Fogerty start `to compose original material, leaving behind the cover that had educated. John wrote all the classics of 1968-70, defining a sound that comes from the blues jam, from ballads talking to Dylan, and lysergic trip from the Bay; that is softened with the South and country guitar that regenerates at a rate of marsh of Louisiana; and concentrated in epidermal pills emotions, insinuates itself into a timeless limbo of folklore. Bayou Country (Fantasy, 1968) is an album far more robust. It offers first Proud Mary, their most famous song, which, relying on a feverish pace, served as a bridge between the festive spirit of folk-rock and the dark blues-rock, and other songs built on the groove, as Bootleg and Graveyard Train, swamp blues tones claims that relied on a strong pulse and left, almost tribal in Born on The Bayou. The guitar had a purely atmospheric task: not only the solos were limited to a few seconds, but the rhythm section was in the foreground.
Green River (Fantasy, 1969) Is continuous progression toward that sound dark and murky with Lodi (1969), a blend of blues and gospel accelerated following the same practice of Proud Mary, Bad Moon Rising, more and more immersed in claims nightmares voodoo, Green River, the dress rehearsal for Run Thru The Jungle, and Tombstone Shadow. John Fogerty was the lifeblood of the complex, with its martial voice, dark and a little 'raspy, whose tone ranged from true Delta bluesman in apocalyptic prophet. Fogerty performing but `the tendency to repeat itself, to self-be cited, to exploit the infinite riffs, choruses and cadences of his famous songs, and for this reason his glory is given to a few brilliant ideas, more than a substantial opus .
Willy And The Poorboys (Fantasy, 1969), a concept dedicated to the working class, made much of the songs on texts less obsessive and more realistic. The standout is Down On The Corner, quadrille and syncopated Caribbean, and Fortunate Son, the first of their three great acrobatic rock and roll.
Cosmo's Factory (Fantasy, 1970), probably their masterpiece, tip from Ramble Tamble on visceral and enthralling rhythms of the Delta blues and the eerie atmosphere of the rituals of the jungle. That's how `Run Thru The Jungle, the nightmare more somber and hypnotic in their careers. But the group has reached maturity in `reinterpret tradition and it shows with Travelin 'Band, their second greatest rock and roll, Looking Out My Backdoor, catchy ragtime and effervescent, Up Around The Bend, roaring shout to boogie rhythm, and Who'll Stop The Rain, gospel accelerated on a relentless jingle-jangle.
Pendulum (Fantasy, 1971), it seems a bad copy of the previous year. Fogerty recopy them one by one those classics. The only worthy of the originals is Have You Ever Seen The Rain, in the tone of prophetic Dylan. Molina, Hey Tonight, It's Just A Thought and Hideaway are brilliant but generic roots-rock songs. The group exacerbates the elements that have made the previous album in the long and Pagan Baby Born To Move. Ie notwithstanding, the album became the best-selling group. Tom Fogerty had already left the group (`die of tuberculosis in 1990).
The group disbanded after the mediocre Mardi Gras (Fantasy, 1972), which contains Sweet Hitch-hiker, the last of their great rock'n'roll.
In those years, the JRC dominated the charts of the 45s, though not at all a trade group. The fact is that they coined a language in which the average American was identified immediately, the prototype of the rock for the family of the 70's.
Chronicle (Fantasy, 1976) is an anthology of hits.
John Fogerty `launch a solo career with two albums on which sound` all instruments: The Blue Ridge Rangers (Asylum, 1973), a tribute to the heroes of country music (Hank Williams, Jimmie Rodgers), and John Fogerty (Asylum, 1975) on which there are two discrete rock and roll, Rockin 'All Over The World, Almost Saturday Night. The third album, Hoodoo, rejected by the record company, remained unpublished, and `Fogerty withdrew from the scene. `I'll be back in the recording studio after ten years and made the center. Centerfield (Warner, 1985) was a huge success, thanks mainly to the verve of Rock And Roll Girls and The Old Man Down The Road, a blatant revision of Run Thru The Jungle for the generation that had lost the original.
Eye Of The Zombie (Warner, 1986), Because, it was another disappointment, despite Sail Away and Change In The Weather. After ten years of absence from the scene, Blue Moon Swamp (Reprise, 1997), containing lukewarm blues-rock ballads like Swamp River Days, Southern Streamline, Blue Moon Nights, and Live Premonition (Reprise, 1998) bring him back again in vogue.
Will continue undaunted to record a couple of albums for the decade: Dejavu (2004) and especially Revival (2007), Do not You Wish It Was True
We were delighted with shows in Italy in Milan (Alcatraz disco) in 2008 and in 2009 with shows in Rome, Lucca and Piazzola sul Brenta (Padua), which I attended, maybe you had guessed John Fogerty is my idol, my driving music and life! Unforgettable concert at a distance of about 40 years at the Royal Albert Hall famous London theater.
In that gathering he also presented his two sons (even their great guitar players) who assure us that the name of Fogerty and especially the music of Fogerty live forever. God bless John Fogerty. (pictured concert of Padua)
partial bibliography http://www.scaruffi.com/vol2/ccr.html