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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
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Rock - Released June 3, 2014 | Fantasy Records

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Rock - Released August 5, 2014 | Fantasy Records

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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, 2007 | Universal Music Group International

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Rock - Released July 8, 2014 | Fantasy Records

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Rock - Released June 3, 2014 | Fantasy Records

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Rock - Released June 24, 2014 | Fantasy Records

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Rock - Released September 11, 2013 | Rare

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Rock - Released March 10, 2015 | Fantasy Records

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Rock - Released November 6, 2015 | 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
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Rock - Released July 15, 2014 | Fantasy Records

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Rock - Released June 10, 2014 | Fantasy Records

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Rock - Released May 29, 2000 | DV More

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Rock - Released August 2, 2019 | Craft Recordings

Creedence Clearwater Revival didn't think much of their set at Woodstock. Irritated by being pushed into the midnight slot by a series of misadventures they'd blame on the Grateful Dead, they wrote off their performance, not appearing in either the film or its accompanying soundtrack. Five decades later, they acknowledged the pull of history, consenting to have their performance as part of Rhino's mammoth complete set Woodstock: Back to the Garden, and also allowing it to be released by Craft Recordings. Listening to the nine-song concert in either context, it's bewildering to think that this was dismissed by anybody involved with the band. Throughout their hour-long set, CCR sound ferocious, tearing through their hardest material, playing "Born on the Bayou," "Green River," and "Bootleg" with a nasty edge. The hardness of their choogle is a bit of a revelation, as the band sound fiery in a way that they don't on any of the officially released Creedence live recordings. If CCR stuck to their hits, it'd be one thing, but the band gains momentum as their hour proceeds. Once they play an apocalyptic "I Put a Spell on You," they've set themselves up for a conclusion where they land on two mesmerizing ten-minute concluding songs. "Keep on Chooglin'" and "Suzie Q" stay mean throughout their long jams, leaving the question hanging: if this was Creedence Clearwater Revival on an average night, what on earth did they sound like on a great one? ~ Stephen Thomas Erlewine
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Rock - Released January 1, 2008 | Universal Music Group International

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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
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Rock - Released December 11, 2018 | Rarity Music

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

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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
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Rock - Released July 29, 2014 | Fantasy Records

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Pared down to a trio, Creedence Clearwater Revival had to find a new way of doing business, since already their sound had changed, so they split creative duties evenly. It wasn't just that each member wrote songs -- they produced them, too. Doug Clifford and Stu Cook claim John Fogerty needed time to creatively recharge, while Fogerty says he simply bowed to the duo's relentless pressure for equal time. Both arguments make sense, but either way, the end result was the same: Mardi Gras was a mess. Not a disaster, which it was dismissed as upon its release, since there are a couple of bright moments. Typically, Fogerty is reliable, with the solid rocker "Sweet Hitch-Hiker," the country ramble "Lookin' for a Reason," a good cover of Ricky Nelson's "Hello Mary Lou," and the pretty good ballad "Someday Never Comes." These don't match the brilliance of previous CCR records, but they sparkle next to Clifford and Cook's efforts. That implies that their contributions are terrible, which they're usually not -- they're just pedestrian. Only "Sail Away" is difficult to listen to, due to Cook's flat, overemphasized vocals, but he makes up for it with the solid rocker "Door to Door" and the Fogerty soundalike "Take It Like a Friend." Clifford fares a little better since his voice is warmer and he wisely channels it into amiable country-rock, yet these are pretty average songs by two guys beginning to find their own songwriting voice. If Clifford and Cook had started their own band (which they did after this album) it would be easier to be charitable, but when held up against Creedence's other work, Mardi Gras withers. It's an unpretty end to a great band. ~ Stephen Thomas Erlewine
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Rock - Released January 1, 2010 | Universal Music Group International

The 2009 Singles Collection offers something that the many other previous Creedence Clearwater Revival compilations do not: the band's A-sides and B-sides presented complete and in chronological order, plus a DVD containing the five promo clips CCR released ("Sweet Hitch-Hiker," "I Heard It Through the Grapevine," "Bootleg," "I Put a Spell on You," "Lookin' Out My Back Door"). This focus means there are songs here that never make most CCR hits collections -- the A-side "Porterville," but generally flips like "Call It Pretending," "Walk on the Water," "Door to Door," and "Tearin' Up the Country," plus the "45 Revolutions Per Minute" oddity -- but apart from that, this covers familiar, albeit still enjoyable, territory.~ Stephen Thomas Erlewine