In honor of the 40th anniversary of their debut album, Fantasy Records is releasing the six studio albums of the band as a quartet. No word yet of their final album, Mardi Gras, which found lead guitarist John Fogerty, bassist Stu Cook, and drummer Doug Clifford as a trio after rhythm guitarist Tom Fogerty quit.
It took them less than a year after their debut album release, but Creedence Clearwater Revival found their distinctive sound, helped in part by playing these songs many times live before recording them.
“Born on the Bayou” is quintessential CCR as it evokes Louisiana, or more accurately “Loo-siana.” The opening feedback transports the listener through a mist while the slow vibrato of John’s guitar slowly clears the air, revealing a porch in the backwoods on a warm, humid day. John regales you from his rocking chair with a story from his youth as you sway in the swing, both sharing some sweet tea. His gruff, ragged vocals sing out with such conviction that this has to be his story. He tells us about his “ol’ hound dog…chasin’ down a hoodoo” and “rollin’ with some Cajun queen,” painting a clear, vivid picture of the areas even for those that had never been to bayou country. Doug adds cowbell to the back half of the song.
With Tom on acoustic rhythm guitar “Bootleg” builds on the Southern feel. Where the lyrics are supposed to be “bootleg, bootleg,” John sounds like he is instead speaking French Creole and singing “boule’ boule’,” which had to be on purpose for effect.
The band plays a great, smoldering blues rhythm line on the over eight-minute epic “Graveyard Train.” John has an echo on his voice that augments the spooky mood as he sings about the car accident he was partially responsible for where “thirty people lost their lives.” The harmonicas add a haunting effect. It is credited as an original, but it sounds like it could easily have been a gem recorded by Alan Lomax years earlier.
Article comments
1 - JANK
For Born On The Bayou alone CCR should be revered. Masterful! There is a subtly at play in the song especially during the bridge with Fogerty's spoken asides and the languid, deceptive way he brings the guitar melody back in before the final chorus.