Creedence Clearwater Revival: Bayou Country

Creedence Clearwater Revival: Bayou Country is released.
# Allmusic 4.5/5
# Rolling Stone (see original review below)
Bayou Country is the second studio album by Creedence Clearwater Revival, released by Fantasy Records in January 1969, and was the first of three albums CCR released in that year.
Released in early 1969, the second album by guitarist/vocalist John Fogerty’s Californian quartet is perhaps the definitive example of the group’s swampy brew of rock, R&B, and blues. The key song on BAYOU COUNTRY is “Proud Mary,” a rock milestone that still sounds just as fresh and exciting as it did when it first boomed out of AM radios decades ago. Although Creedence indulges in a few extended jams on tracks like “Keep On Chooglin” and “Graveyard Train,” they forsake the gratuitous soloing favored by many of their San Francisco contemporaries in favor of fleshing out rhythmic, rock-solid grooves. From Fogerty’s formidable bluesman’s growl on “Born On The Bayou” to the explosive version of Little Richard’s “Good Golly Miss Molly,” “Bayou Country” is what rootsy rock & roll is all about, and it’s one of the best American rock albums of the ’60s.
Blender (Magazine) (p.84) – 3.5 stars out of 5 — “Bassist Stu Cook and drummer Doug Clifford walk the beat with zen proficiency as Fogerty stretches his Howlin’ Wolf yowl over his rangy guitar pearls.”
Creedence Clearwater Revival’s new LP suffers from one major fault—inconsistency. The good cuts are very good; but the bad ones just don’t make it.
The group’s sound is very reminiscent of that of the early Stones—hard rock, based in blues. John Fogerty carries the group with his good lead guitar, in addition to his good vocal and harp work. He also wrote all of Creedence’s original songs, and arranged and produced the album. He probably swept out the studio when the recording was finished, too.
Despite John’s dominance, the group has a solid overall sound. Stu Cook on bass, brother Tom Fogerty on rhythm guitar, and Doug Clifford on drums are all good musicians; they lay down a heavy backing for Fogerty, and the result is a very tight sound.
The main failing of the bad cuts is a lack of originality. “Graveyard Train” is a repeat of “Gloomy” on the first album. “Gloomy” wasn’t worth much in the first place, and “Train,” dragged out to eight minutes and thirty-two seconds, is simply boring. “Penthouse Pauper” is similar to “The Working Man,” also on the first LP. The music and lyrics are good, but they’ve been heard before.
“Good Golly Miss Molly” is not nearly as exciting as Little Richard’s original, though the group gets a good workout on this one. “Bootleg” is a good, short number which explains how something often becomes more attractive when it is illegal. Again, the lyrics are good. But even here, Fogerty uses the same riff as on “Keep On Chooglin.” A few more fresh ideas would be helpful.
The good cuts do come off well. “Born On The Bayou” is a very bluesy thing which inspired the LP title. This contains some of John’s best vocal work. “Proud Mary” is a good, easy-rolling song concerning a Mississippi river-boat. The Fogerty’s guitars help to create a gentle, flowing mood. I take it that “Proud Mary” is the name of the boat.
“Keep On Chooglin'” is Creedence Clearwater Revival’s “rave-up,” a good, long, toe-tappin’ type song. As is usually the case with such numbers, it sounds better in person than on record. Nonetheless, CCR has managed to capture some of the excitement of a live performance on this album. Exactly what chooglin’ is, or how you do it, is not explained. However, Creedence Clearwater Revival would like us all to keep on doing it (apparently we’ve been doing it all along without knowing it) and it seems like a good idea in these troubled times.
Overall, the material in Bayou Country is not always strong, but Creedence Clearwater Revival plays with enough gusto to overcome this problem. With the stronger material, they are excellent. It seems to me though, that CCR has just about exhausted its supply of blues-rock numbers. They have produced two fine albums; so far, so good. But I think (and hope) that we will see new directions on their forthcoming albums.
~ RAY REZOS (March 1, 1969)
All songs written by J.C. Fogerty, except where noted.
Side one
“Born on the Bayou” – 5:16
“Bootleg” – 3:03
“Graveyard Train” – 8:37
Side two
“Good Golly Miss Molly” (Robert “Bumps” Blackwell, John Marascalco) – 2:44
“Penthouse Pauper” – 3:39
“Proud Mary” – 3:09
“Keep on Chooglin'” – 7:43
40th Anniversary Edition CD bonus tracks
“Bootleg” (Alternate Take) – 5:48
“Born on the Bayou” (Live in London, 9/28/71) – 4:48
“Proud Mary” (Live in Stockholm, 9/21/71) – 2:51
“Crazy Otto” (Live at The Fillmore, 3/14/69) – 8:48

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