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Rock - Released January 1, 2008 | Fantasy Records

Distinctions 9/10 de Volume
This 2008 best-of from Universal collects 24 tracks from the seminal '60s folk/blues/country-rock legends on a single disc. While the package may offer little in the way of liner notes and other bonus material, it's as good a single-disc retrospective as one could hope for, balancing all of the radio hits that made 1976's Chronicle, Vol. 1 and 1986's Chronicle, Vol. 2 the gold standard for most listeners. The sound is exquisite, and while some of the band's beloved deep cuts like "Pagan Baby" and "Epitaph" are nowhere to be found, it's the most comprehensive "hits" collection out there (to date). The only downside (depending on one's preferences) is the appearance of the single 45-rpm edits of "I Heard It Through the Grapevine" and "Suzie Q," but the brevity works in context with the rest of the set, which includes enough classic rock staples like "Have You Ever Seen the Rain," "Long as I Can See the Light," "Up and Around the Bend," "Lookin' Out My Back Door," and "Born on the Bayou" to fuel a billion nasty commutes. © James Christopher Monger /TiVo
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Rock - Released January 1, 2014 | Fantasy Records

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Rock - Released January 1, 2014 | Fantasy Records

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Rock - Released January 1, 2007 | Universal Music Group International

Chronicle, Vol. 1 contains every one of Creedence Clearwater Revival's original 19 hit singles -- including "Proud Mary," "Bad Moon Rising," "Green River," "Down on the Corner," "Travelin' Band," "Up Around the Band," and "Have You Ever Seen the Rain" -- plus "I Heard It Through the Grapevine," which became a hit at the same time this double-record compilation was released. It's a lean, concise collection that tells you everything you need to know about Creedence. Several of the band's individual albums are essential, but Chronicle is not only an excellent introduction to the group, it offers definitive proof that the group was one of the definitive singles' bands of the late '60s. Rarely has a greatest- hits collection been so well-assembled. [The compact disc edition is hampered by the inclusion of the full-length, 11-minute album version of "I Heard It Through the Grapevine"; its presence slows down the momentum of the collection considerably.] © Stephen Thomas Erlewine /TiVo
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Rock - Released August 2, 2019 | Craft Recordings

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Creedence were the first to sign up for Woodstock. In April 1969, the Fogerty brothers' band pocketed a cheque for $10,000. Now that they'd landed such a big fish, the organisers knew that other big names would start looking for their own spot on the bill of what was set to be THE festival of the year... But all the same, the group were disappointed to find themselves with a very late billing, between half past midnight and 1:20am, after the Grateful Dead. But that didn't do anything to dampen a perfect performance, presented here in full and remastered. In 1969, Creedence Clearwater Revival was already one of the most popular acts of the day, thanks to their three albums Creedence Clearwater Revival (May 1968), Bayou Country (January 1969) and Green River (August 1969, released two weeks before Woodstock). At the height of the reign of the Beatles and Stones, John Fogerty's Californian gang had something original up their sleeve: savage, raw rock'n'roll, built from rough-hewn, unadorned blues and country. Creedence marked themselves out with their marriage of redneck ways and a hippie style; of tradition and rock'n'roll modernity. Flanked by his big brother Tom, drummer Doug Clifford and bassist Stu Cook, John Fogerty would serve up Dantean hits like Born On The Bayou, Proud Mary and Green River: which are all given a lively, strong treatment here. As ever, Fogerty brays down the mic like a madman (his version of Screamin’ Jay Hawkins's I Put a Spell on You is a show-stopper) while his brother provides pared-down, sharp and affecting guitar lines. With Creedence, you don't get any blowhard solos or incontinent psychedelics. Just a full-frontal blast. Bam! © Marc Zisman/Qobuz
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Rock - Released January 1, 1976 | Fantasy Records

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Rock - Released January 1, 2014 | Fantasy Records

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Rock - Released January 1, 2014 | Fantasy Records

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Rock - Released January 1, 2008 | Universal Music Group International

Booklet
During 1969 and 1970, CCR was dismissed by hipsters as a bubblegum pop band and the sniping had grown intolerable, at least to John Fogerty, who designed Pendulum as a rebuke to critics. He spent time polishing the production, bringing in keyboards, horns, even a vocal choir. His songs became self-consciously serious and tighter, working with the aesthetic of the rock underground -- Pendulum was constructed as a proper album, contrasting dramatically with CCR's previous records, all throwbacks to joyous early rock records where covers sat nicely next to hits and overlooked gems tucked away at the end of the second side. To some fans of classic CCR, this approach may feel a little odd since only "Have You Ever Seen the Rain" and maybe its B-side "Hey Tonight" sound undeniably like prime Creedence. But, given time, the album is a real grower, revealing many overlooked Fogerty gems. Yes, it isn't transcendent like the albums they made from Bayou Country through Cosmo's Factory, but most bands never even come close to that kind of hot streak. Instead, Pendulum finds a first-class songwriter and craftsman pushing himself and his band to try new sounds, styles, and textures. His ambition results in a stumble -- "Rude Awakening 2" portentously teeters on the verge of prog-rock, something CCR just can't pull off -- but the rest of the record is excellent, with such great numbers as the bluesy groove "Pagan Baby," the soulful vamp "Chameleon," the moody "It's Just a Thought," and the raver "Molina." Most bands would kill for this to be their best stuff, and the fact that it's tucked away on an album that even some fans forget illustrates what a tremendous band Creedence Clearwater Revival was. © Stephen Thomas Erlewine /TiVo
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Rock - Released January 1, 2008 | Fantasy Records

Throughout 1969 and into 1970, CCR toured incessantly and recorded nearly as much. Appropriately, Cosmo's Factory's first single was the working band's anthem "Travelin' Band," a funny, piledriving rocker with a blaring horn section -- the first indication their sonic palette was broadening. Two more singles appeared prior to the album's release, backed by John Fogerty originals that rivaled the A-side or paled just slightly. When it came time to assemble a full album, Fogerty had only one original left, the claustrophobic, paranoid rocker "Ramble Tamble." Unlike some extended instrumentals, this was dramatic and had a direction -- a distinction made clear by the meandering jam that brings CCR's version of "I Heard It Through the Grapevine" to 11 minutes. Even if it wanders, their take on the Marvin Gaye classic isn't unpleasant, and their faithful, exuberant takes on the Sun classics "Ooby Dooby" and "My Baby Left Me" are joyous tributes. Still, the heart of the album lays in those six fantastic songs released on singles. "Up Around the Bend" is a searing rocker, one of their best, balanced by the menacing murkiness of "Run Through the Jungle." "Who'll Stop the Rain"'s poignant melody and melancholy undertow has a counterpart in Fogerty's dope song, "Lookin' out My Back Door," a charming, bright shuffle, filled with dancing animals and domestic bliss - he had never been as sweet and silly as he is here. On "Long as I Can See the Light," the record's final song, he again finds solace in home, anchored by a soulful, laid-back groove. It hits a comforting, elegiac note, the perfect way to draw Cosmo's Factory -- an album made during stress and chaos, filled with raging rockers, covers, and intense jams -- to a close. © Stephen Thomas Erlewine /TiVo
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Rock - Released January 1, 2008 | Fantasy Records

Make no mistake, Willy & the Poor Boys is a fun record, perhaps the breeziest album CCR ever made. Apart from the eerie minor-key closer "Effigy" (one of John Fogerty's most haunting numbers), there is little of the doom that colored Green River. Fogerty's rage remains, blazing to the forefront on "Fortunate Son," a working-class protest song that cuts harder than any of the explicit Vietnam protest songs of the era, which is one of the reasons that it hasn't aged where its peers have. Also, there's that unbridled vocal from Fogerty and the ferocious playing on CCR, which both sound fresh as they did upon release. "Fortunate Son" is one of the greatest, hardest rock & rollers ever cut, so it might seem to be out of step with an album that is pretty laid-back and friendly, but there's that elemental joy that by late '69 was one of CCR's main trademarks. That joy runs throughout the album, from the gleeful single "Down on the Corner" and the lazy jugband blues of "Poorboy Shuffle" through the great slow blues jam "Feelin' Blue" to the great rockabilly spiritual "Don't Look Now," one of Fogerty's overlooked gems. The covers don't feel like throwaways, either, since both "Cotton Fields" and "The Midnight Special" have been overhauled to feel like genuine CCR songs. It all adds up to one of the greatest pure rock & roll records ever cut. © Stephen Thomas Erlewine /TiVo
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Rock - Released January 1, 2008 | Fantasy Records

Booklet
If anything, CCR's third album Green River represents the full flower of their classic sound initially essayed on its predecessor, Bayou Country. One of the differences between the two albums is that Green River is tighter, with none of the five-minute-plus jams that filled out both their debut and Bayou Country, but the true key to its success is a peak in John Fogerty's creativity. Although CCR had at least one cover on each album, they relied on Fogerty to crank out new material every month. He was writing so frequently that the craft became second-nature and he laid his emotions and fears bare, perhaps unintentionally. Perhaps that's why Green River has fear, anger, dread, and weariness creeping on the edges of gleeful music. This was a band that played rock & roll so joyously that they masked the, well, "sinister" undercurrents in Fogerty's songs. "Bad Moon Rising" has the famous line "Hope you've got your things together/Hope you're quite prepared to die," but that was only the most obvious indication of Fogerty's gloom. Consider all the other dark touches: the "Sinister purpose knocking at your door"; the chaos of "Commotion"; the threat of death in "Tombstone Shadow"; you only return to the idyllic "Green River" once you get lost and realize the "world is smolderin'." Even the ballads have a strong melancholy undercurrent, highlighted by "Lodi," where Fogerty imagines himself stuck playing in dead-end towns for the rest of his life. Not the typical thoughts of a newly famous rock & roller, but certainly an indication of Fogerty's inner tumult. For all its darkness, Green River is ultimately welcoming music, since the band rocks hard and bright and the melancholy feels comforting, not alienating. © Stephen Thomas Erlewine /TiVo
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Rock - Released July 25, 2015 | DN Rock Company

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Rock - Released May 12, 2020 | Rare

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Rock - Released October 16, 1973 | Fantasy Records

John Fogerty and his bandmates were remarkably prolific, achieving more between 1969 and 1971 than most groups do in decades. By the time this document of their 1971 European tour was recorded, the seemingly unstoppable hit machine of CCR was beginning to slow down, and ultimately wouldn't make it to the next year. This then, is one of the band's final moments of glory. Virtually all of the group's hits are here, from the Chuck Berry-esque "Travelin' Band" to the righteous anger of "Fortunate Son" and the rootsy fatalism of "Bad Moon Rising." Outside the studio confines, the band's roots rock is even rawer, with Fogerty wailing like a bluesy banshee and Doug Clifford and Stu Cook bashing out the rhythm like there was no tomorrow. © Rovi Staff /TiVo
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Rock - Released January 1, 2008 | Universal Music Group International

Booklet
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 /TiVo