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Creedence Clearwater Revival
Chronicle, Volume 2
1. Walk On Water 4:26
(J.C. & T. Fogerty) Jondora Music – BMI
2. Susie Q (Part 2) 3:48
(Hawkins – Lewis – Broadwater) Arc Music – BMI
3. Born On The Bayou 5:10
4. Good Golly Miss Molly 2:38
(Blackwell – Marascalco) Jondora Music – BMI
5. Tombstone Shadow 3:36
6. Wrote A Song For Everyone 4:55
7. Night Time Is The Right Time 3:07
(Lew Herman) Screen Gems-EMI Music – BMI
8. Cotton Fields 2:53
(Huddie Ledbetter) TRO-Folkways Music – BMI
9. It Came Out Of The Sky 2:58
10. Don’t Look Now (It Ain’t You Or Me) 2:08
11. The Midnight Special 4:10
(Amer. folk song; arr. J.C. Fogerty) Jondora Music – BMI
12. Before You Accuse Me 3:24
(McDaniels) Figure Music – BMI
13. My Baby Left Me 2:17
(Arthur Crudup) Presley Music – BMI
14. Pagan Baby 6:25
15. (Wish I Could) Hideaway 3:53
16. It’s Just A Thought 3:45
17. Molina 2:41
18. Born To Move 5:39
19. Lookin’ For A Reason 3:25
(J.C. Fogerty) Primeval Ltd. – BMI
20. Hello Mary Lou 2:11
(Gene Pitney) January Music/Champion Music – BMI
All selections by J.C. Fogerty (Jondora Music – BMI), except as indicated
John Fogerty – lead guitar, vocals
Tom Fogerty – guitar (except on #19-20)
Stu Cook – bass
Doug Clifford – drums
Arranged and produced by John Fogerty
Digital mastering – Gary Hobish (Fantasy Studios, Berkeley)
Art direction, design – Phil Carroll
Photography – Dieter Zill
CD booklet design – Deb Silbony
(P) 1986 & © 1991 Fantasy Records, Tenth & Parker, Berkeley, CA 94710
All rights reserved. Printed in U.S.A.
It is no coincidence (and no small tribute either) that this, the long-awaited second volume from Creedence Clearwater Revival’s Chronicle, should be debuting some 14 years after this extraordinary group disbanded. Nor should anyone with the slightest acquaintance with CCR be surprised to learn that Vol. 1, released more than 15 years ago, has sold over a million copies to earn the double LP platinum record status. I predict a similar success for this offering.
The reason is simple: there exist today millions of Creedence fans the world over who will cheerfully bet their next paycheck, their firstborn, and two first-round draft picks that song for song, Creedence Clearwater Revival was, and is, the gutsiest, the most exciting, most joyous, tastiest, no-bullshit, kick-ass rock and roll band in the history of pop music. And, as the music on this collection amply demonstrates, their money and their progeny, not to mention a player to be named later, would be safe.
To be frank, such apocryphal boasting is presumptuous, given the wealth of superb music in the pantheon of rock. But the fact remains that there are legions of us who cut our rock and roll teeth on Creedence and who, to this day, relish every CCR offering as if it had broken this very morning on America’s pop charts.
Few who were around in those heady days of the late 60s and early 70s will forget CCR’s explosive entry upon the scene. Amidst the effusion of end-of-Sixties psychedelia and folk rock (which, as good as it was, possessed a fey, urban patina), Creedence broke into the top of the Top 40 ranks with a spate of high-voltage three-minute singles that grabbed you by your throat and knocked your socks off. CCR was raw, gutsy, exceptionally powerful music delivered straight up without apology or pretense. There weren’t nothin’ City about the group, which caused widespread speculation that the El Cerrito, California band was of southern origin.
Here was young John Fogerty, a great blues shouter, serving up music with infectious rhythm, gritty vocals, and evoking a Mississippi and bayou folk legend, a world of voodoo fortune-tellers, hoodoos, and hound dogs that exuded grit, soul, and authenticity. Together with bassist Stu Cook, brother Tom Fogerty on rhythm guitar, and drummer Doug Clifford, John Fogerty forged a rock ensemble that to this day can lay claim as the greatest singles band in American pop music.
That CCR’s music and vision were inspired is undeniable. And we are fortunate to have in this second collection ample supporting evidence. There is a wonderful irony to these selections, for as good as they are, most were not released as singles (picked specifically for Top 40 airplay) and a few were uncharted “B” sides of charted singles. Still, they garnered an enormous amount of airplay, which, as radio formats changed from restrictive “Top 40” AM formulas to the more freewheeling FM approach, has increased with time.
As important, Vol. Two showcases CCR’s mastery of songs penned by others, from the traditional “Cotton Fields,” to pop standards “Hello Mary Lou” and “Midnight Special,” to the classic “Good Golly Miss Molly.” It’s all here in one collection of inspired music that has not only stood the test of time, but quite simply, is flat out as good as it gets. You can bet on it.
– JOHN GRISSIM