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Totally unrecognized by me, last year marked the 50th anniversary of CCR. Since there's really nothing new to release and the surviving members still are on the outs, it seems that it turned not very spectacular. But anyway, here's some more info:


CREEDENCE CLEARWATER REVIVAL'S COMPLETE STUDIO ALBUMS COLLECTION (HALF-SPEED MASTERS)

https://craftrecordings.com/creedence-half-speed-masters/



https://www.youtube.com/user/TheOfficialCCR/videos?view=0&flow=grid

It's to bad that they can't quit acting like children long enough to do a show or two. Hell, I'll take just a single song with all three of them.

Well, in a 2015 documentary they kinda did play together, although not in a room at the same time but via headphones and overdubbing. It seems the video isn't available anymore, but if you can find it, check it out, it's this documentary:

https://au.news.yahoo.com/the-true-and-sad-story-of-creedence-clearwater-revival-29706004.html



On another note, after watching the new "Fortunate son" and "Have you ever seen the rain?" videos, I'm shocked by the attempt to a) act like these where you're typical love songs and b) the misguided idea to try to curry favor with the conservative "Nashville-establishment" concept; but unfortunately, John's last solo outings seem to go into a similar direction. In that sense he really disappoints me as he was one of the people who I thought wouldn't go down that route.


https://themusicuniverse.com/creedence-clearwater-revival-celebrates-50-years-short-film/

Well, he also insisted long ago he was not going to ever become an oldies act, but I guess he found out that, at his age, that's all people want from him.

And his appearance on the tribute to Elvis' Comeback makes it all too clear that he is now part of "that" side of the gang.

BTW I read a review in a music magazine that says that the new CCR LPs are sounding very well.

As you may know, the last time all original members of CCR played together was at Tom Fogerty's wedding in 1980. I just came across these pictures from that event:



(https://1.bp.blogspot.com/-hmhgYe-hpeE/UcNRddfGEoI/AAAAAAAACEc/Yk4AeZkznLs/s1600/l.jpg)

(https://4.bp.blogspot.com/-Xp-LKohk2r4/UcNSrk1Ia0I/AAAAAAAACEs/FVffm0_pOPA/s1600/ls.jpg)

(https://4.bp.blogspot.com/-vO2RRomOOFA/VGjkuk1GQuI/AAAAAAAACeY/2Bv9MY2-b2Y/s1600/10624892_576902725769994_127916829845536309_n.jpg)



Source: https://fanpageccrjohnfogerty.blogspot.com/2013/06/fogerty-contra-fogerty_20.html

Well, look at this, I found it on youtube. Unfortunately not in good quality but you can still watch it.

Part 1
https://www.youtube.com/watch?v=Kf2QKzKcpkQ

Part 2
https://www.youtube.com/watch?v=SwY7ZG24fOk


You'll find the "reunion" at ca 6 mins. into the second part

The age is certainly taking it's toll on John's voice certainly. Here he is singing "Jailhouse rock" at the Elvis tribute last year:

https://www.youtube.com/watch?v=3UkCEJxXvDA

I never knew that they all reunited for Tom's wedding. It would be cool if somebody recorded it. One of those "bucket list" things. Same goes for Paul, George and Ringo jamming together at Eric Clapton's wedding. I'd give my right arm for a recording of that!

I read somewhere that Tom asked to see John on his(Tom's) deathbed, but John refused to see him. I hope that's not true.

John Fogerty, Common and Michael Lang Celebrate Woodstock's Past & Future at Electric Lady Studios


https://www.billboard.com/articles/news/festivals/8503221/woodstock-50-lineup-announcement-john-fogerty-common-electric-lady-live?fbclid=IwAR3a7-DBitfNOYTYBNDKphOD5tNEY8-2coI0cBpfiQZTPswU-EiB8BRAXgw

I didn't see this until just yet. Interestingly this sounds the most like a reunion is possible than it ever has (considering whom we're talking about).


Creedence Clearwater Revisited Talk Retiring From Touring: 'This Just Seemed Like a Good Time to Wrap it Up'


Cook and Clifford did lock horns periodically with Fogerty -- who famously refused to perform with them during CCR's 1993 Rock and Roll Hall of Fame induction during Revisited's tenure. Though in 1997 Fogerty's legal actions briefly forced them to change the group name to Cosmo's Factory, courts ultimately ruled in the duo's favor and it returned to the Revisited moniker. The three CCRevival veterans settled their various disputes a few years ago and now jointly operate an LLC "to market the brand and, if you will, exploit our good will," with plans for merchandising and other endeavors -- among them a possible video release of CCR's performance at the original Woodstock Music & Art Fair, which was not included in the 1970 documentary from the festival.

"We're not sniping at each other anymore," Cook reports. "We're focused on the good things about Creedence, which is where I think we should be. There were, on my part, several attempts over the years to turn the situation around, but John was never interested. And if John called me, I'd certainly talk to him. I always felt we were cheating ourselves by not at least trying (to reunite), but fortunately this (CCRevisited) project over the last 25 years has put the focus back on the music itself. Creedence fans around the world have moved on from our internal squabbles and the music reigns supreme."



https://www.billboard.com/articles/columns/rock/8506073/creedence-clearwater-revisited-on-retiring-from-touring

Oh, and as I didn't find out until recently, a new CCR live album was released, "Live at Woodstock", which got great reviews.


Creedence's Woodstock set: 50 years on, still bristling with energy

https://www.loudersound.com/reviews/creedences-woodstock-set-50-years-on-still-bristling-with-energy




And here's another story on the ending of CCRevisited:


Creedence Clearwater Revisited Talk Farewell Tour and Ignoring Their Critics
After 25 years, the semi–tribute band featuring two Revival members is shutting down. Stu Cook and Doug Clifford talk about carrying on without John Fogerty, whether he — or their fans — like it or not

https://www.rollingstone.com/music/music-features/creedence-clearwater-revisited-interview-john-fogerty-823536/

I don't think they'll ever reunite, but maybe we will see the vault opened further in the coming years. Sure would like some dvd of the band in their prime.

Yes, I don't really see them reuniting and going on the road either, although I wouldn't bet on it now that John has gone full establishment including rhinestone jackets, Vegas stints and dancing background hippies. It seems a reunion would be the next logical step. And there's a lot of money to be made for Stu and Doug as well. But the articles seem to tned into the archive-direction. A first release already happened (Woodstock) and I would love to see other stuff. There seem to be a lot of live concert recordings, but then again many probably are very similar due to the band's short career. A DVD would be great though. There were certainly more shows filmed than the one at Royal Albert Hall (https://www.youtube.com/watch?v=zS3rNUYR8b0) and the one in Oakland (https://www.youtube.com/watch?v=XrRhlEjb1jQ). Youtube has some snippets of a '71 show (https://www.youtube.com/watch?v=T8Linsgahrc), so hopefully we'll get something like that.

‘In My Room’ With John Fogerty
Former Creedence Clearwater Revival frontman performs classics from his home in Los Angeles


https://www.rollingstone.com/music/music-news/john-fogerty-in-my-room-971618/?fbclid=IwAR3egEHmpT1MXP43eDhGc-amfK6nX5UFNNpzyx0908U01TU0tEKnN8-FFwI

"Cosmo" Doug Clifford has a couple new songs on Spotify. A new album is coming out soon - although apparently it was recorded back in the 80's. Either way, I am looking forward to hearing it.

Interesting! I hope he is doing better. He was fighting with cancer a couple of years back (see that documentary from above)

Fogerty's Factory - John Fogerty + Family: Tiny Desk (Home) Concert


https://www.youtube.com/watch?v=2qW2139LKN0

The fact that the surviving Beach Boys were able to bury the hatchet at least for a little while to the delight of all their fans but CCR can’t, speaks to the closeness of the former and the distance between the latter. Brian doesn’t necessarily see himself as the reason for the existence for the band to begin with. I love John Fogerty but I don’t think he thinks of himself the same way. The odds of CCR getting back together for an extended tour and new album are not good, to put it mildly.

A shame since I’ve loved many of their songs since I was a teen. For a long time ‘Who’ll Stop The Rain’ was my favorite but many years ago a girl, no, woman I loved told me how much she loved ‘Long As I Can See The Light’, a song I’d previously not given a lot of thought to. I remember listening to it again with newly opened ears and I marveled at its beauty. It’s been my favorite CCR tune ever since and every time I listen to it, which isn’t often enough, I think of her, what she’s doing, who is he and is he good to her, after so many before him who weren’t.

Anyway, yeah. Fogerty, a tremendous songwriter.

Thanks for sharing that, SD. Wise words on the difference(s) between the two bands. Things like "Up Around The Bend" and their UK #1, "Bad Moon Rising", were like a breath of fresh air in the years around 1970. I particularly liked "It Came Out Of The Sky", which resumes the "little green men" theme of early classic rock and roll:

https://www.youtube.com/watch?v=VuPtOtGF4TY

Yes, he wrote all those great songs, timeless songs, and he had the voice to deliver them, and the guitar chops. In his autobiography, it becomes clear that he worked very hard at singing, songwriting, and playing, constantly trying to improve.
That's why it's so sad what happened between him and his bandmates. John doesn't like to admit it now, but CCR had a great groove as a unit. After reading his book, I had to wonder, "gee, was Stu really that terrible of a bass player?" So I go back to the records, watch the live videos on youtube, and no, Stu was great. Bass is probably the last thing I consciously notice in a band - but some of the things he did really jump out at me now, like, "that's really cool, distinctive, original". And Cosmo has always been one of my favorite drummers. Their records were great to play along to when I was learning drums years ago.
It doesn't seem unreasonable to me that Tom could have sung a couple of songs per album. He had a good voice, more mellow than John's, although there are a few solo songs of his where he pushes his voice more, such as Joyful Resurrection.
So I do admire John as a talent, and I think it's great that he's always called attention to the originators of rock and roll, but he's probably not an easy guy to work with.

Having some time on my hands, I've spent a good deal of time on youtube, and have spent a fair amount of it checking out JCFogerty/CCR.  In watching Fogerty's solo live videos something is very apparent -- in particular the drummers (usually Kenny Aronoff) have chops Doug Clifford never thought of, but the groove just is not there, not at all.   Fogerty is a force of nature, but for him to bad mouth either of those guys is either very mean spirited or really stupid.

I will always take groove over technical ability.

CCR had a great sound, definitely! Tony Joe White said that he always wondered why Fogerty let the others go, as they were such a good rhythm section. I guess in the end it was just personal issues. You listen to CCR today and they still sound as fresh as ever. Now, there are not many drummers who come close to Aronoff, but they don't nedd to, if the outcome is right.

Anyway, yes, Fogerty was/is one hell of a songwriter and musician. It's unbelievable what he put out during those couple of years. It's not unlike what Brian Wilson put out in '63-'64 (Beach Boys albums and singles, outside productions, co-writes) while touring at the same time. Talent, pure talent!
I must admit though, looking at Fogerty today, I liked him better when he was still bitter.

He still seems pretty bitter towards Cook and Clifford. He's a little kinder towards his brother Tom, probably because he's dead.

Out of all the music from home videos these days, Fogerty & Family are my favorite I've seen so far.  It's a real joy to watch him with his kids.

I want that baseball bat guitar. 😳 A mixture of two of my very favorite things, music and baseball. You simply can’t get more American than John, a true original. I’m happy he played ‘Long As I Can See The Light’, which I ranted lovingly about on the previous page.

You're totally right. What I meant was this exaggerated happiness and positivity he shows nowadays. It really goes on my nerves because it seems so fake. And all that stupid hippie-stuff on his tour with the VW camper. Have you seen the Red Rocks show (I think it's called "My 50 year trip" or something to that effect) with all those cheap hippie wigs and lava lamps and the corny antics on stage? It just looks so ridiculous and in the mid of all is John Fogerty. The one person I never thought would go clownish.
 
No question he's still bitter toward Doug and Stu, but he was not as much opposed to a reunion as he once was and they now have a LLC and can approve new releases. That's good and if they ever can make peace with each other, than that's a great thing. It wasn't so much this bitterness that I was talking about. Even if they never play ttogether anymore, it would be nice to at least have some kind of conciliation now that they are all in their 70s

i'd  be for a reunion just so he's play with an appropriate damn drummer.

I agree about the fake happiness. Don't get him started about Julie. He still seems bitter underneath the fake smile; get him started about his former bandmates, and it's back to the bs about "Tom played one string guitar" and "I had to teach Stu how to play the bass".

I don't understand the negativity toward John Fogerty here.  I think most people would be bitter if they lost ownership of hit songs they wrote an people can be bitter for years before they put it behind them.  I know that's happened with me anyway so I wouldn't assume he is faking anything.  Anyway, a very nice performance by him today of City of New Orleans:

https://youtu.be/7zmNs6sWTD8

I don't think there's any negativity towards him, at least not from my side, and that is all I can talk about. I'm just saying that his way of acting in interviews and such seems kinda faked to my eyes. I know that I've acted similarly when I was trying to hold down certain things. It's just my interpretation. I also think that he seemed more real in earlier years.

I don't think anyone is denying that he was ripped off; I don't see anyone putting him down as a songwriter, singer, or guitarist. There were three other guys that helped him achieve his dream of rock and roll immortality, but to hear him tell it today, they impeded him instead of helping him. I don't believe that is true. With rock bands, there is a tendency to always focus on the frontman or lead singer, main songwriter, but a great singer and songwriter needs a good band backing him up. How great would Elvis been at Sun Records without Scotty and Bill there to play those songs? How good would The Beatles have been minus George and Ringo? Give credit where credit is due, that's all i'm asking.

I think everyone posting here acknowledges Fogerty's immense talent, and I don't see anyone ripping him.  We're giving our opinion on what we see.  If we're only going to say nice things here you need to go delete 90% of the threads on the main forum.

Of course anyone can write their opinion on a discussion board.  I don't think he's faking being happy but I don't know him personally so can't say for sure.

On the main forum, there was a thread recently about Beach Boys covers.  I noticed Cotton Fields was released by the BB before the CCR version.  I wonder if the BB version might have inspired the CCR recording or if they were already working on the song independently. 

I was wondering about that myself, since Fogerty liked the Beach Boys very much. On the other hand, "Cottonfields" was totally out of that type of music that CCR was based on. And the Boys' version was a big hit everywhere except the US, so I don't know if Fogerty was aware of it. During rehearsals of the movie "That's the way it is" in 1970 you can hear Elvis singing an impromptu version of it as well. Since he's using the original lyrics (as did CCR), I guess he had heard Creedence's recording and remembered the song.
So, it's hard to say. On one hand, it's a well known folk song, on the other hand two versions of the same song released so close to each other makes you wonder.


Somehing else BBs related: On Facebook Fogerty posted an excerpt from his book while talking about "Green river" and mentioned that he saw a TV ad in '67 that, at least in his mind, definitely featured the Beach Boys singing. This reminded me of reading that "Cool, cool water" was written for a commercial (I don't know if I got this right and if it was the Sunflower song or the early stages of it during '67). Did that ever come to fruition and was it this that Fogerty remembered hearing?

Fogerty just posted a picture of him in the studio with this caption:

Recording a new song in the studio today with Don Was and Jim Keltner. Pretty cool working with these two legends. 🎸

For what it's worth Fogerty did put out a live album to mark the anniversary:

https://www.amazon.com/50-Year-Trip-Live-Rocks/dp/B07Y98NFYV/ref=sr_1_2?crid=PQ81BAX8Z4EC&dchild=1&keywords=john+fogerty&s=music&sprefix=john+fog%2Caps%2C220&sr=1-2

There's also a DVD companion. It was shown in german TV (minus a couple of songs). It was done as a 50th tribute to Woodstock I believe. Well, I love John's music and his live offerings are usually top. But this is a complete freak show imo. It's what his Vegas stint seems to have been like. Including background singers in hippie clothes and bad(!!) wigs. It's what you would think a caricature would look like (or a Nickelodeon hippie TV show) but I believe they are serious about this. I was not only disappointed but shocked that John would go this road. It's almost like John tries to make us believe he was a real Hippie. He still has a great band of course.

Better get the fantastic CCR at Woodstock CD. That one is a fantastic sounding album. Incredible!

This release was ok, although not as good as some of his other live releases he's put out in the last 25 years.  Premonition was pretty good as was The Long Road Home - In Concert.  He also put out the DVD Comin' Down The Road that had some deep cuts on there and a pretty smokin' live version of "The Old Man Down The Road". 

My favorite memory of him was when I saw him perform in the 90's and after the show a bunch of us were walking to our cars which we had to walk past the tour bus to get to.  As we walked by we saw him in the window and we all enthusiastically cheered as a "thank you" of sorts.  He responded by callously closing the window curtain and dismissing us completely.  I guess the show was over.   :lol

Yeah, based on the various interviews I've seen with him, I would say he's not exactly Mr. Warmth. John's always been a "me first" kind of guy; not dissing him as a talent, although his solo career hasn't exactly been prolific. I thought his Revival album from roughly 10 years ago was excellent.

Pandemic spurs ‘Fogerty’s Factory’ album from CCR’s John Fogerty and family

https://www.cleveland.com/entertainment/2020/11/pandemic-spurs-fogertys-factory-album-from-ccrs-john-fogerty-and-family.html?fbclid=IwAR3eYgREOj2rSwElwoPl56l1H-3_r8rpp-OeuxawXdbjAdfTQX1euY_-41Q

This was posted by Fogerty's Facebook account:


A brand new song is almost here. Weeping In The Promised Land is out tomorrow!

Here it is.


Weeping in The Promised Land - John Fogerty


https://www.youtube.com/watch?v=4ODrkRdwb3k

He still sounds amazing. Also, I saw him live on his 50th year trip tour and while I can understand that some didn't like that spectacle it was really cool in person.

I know it's 2021, but it still feels weird to me now that artists just put a song on social media, youtube, etc, and that's their new song. Not a 7 inch record, not a compact disc, just a song that anyone can click on and listen to for free.

CREEDENCE CLEARWATER REVIVAL’S PENDULUM AND MARDI GRAS SET FOR HALF-SPEED MASTERED 180-GRAM VINYL REISSUES


https://craftrecordings.com/blogs/news/creedence-clearwater-revival-s-pendulum-and-mardi-gras-set-for-half-speed-mastered-180-gram-vinyl-reissues


Craft Recordings continues the salute to the enduring musical legacy of Creedence Clearwater Revival with the release of half-speed mastered editions of the band’s two final albums: Pendulum, which was released exactly 50 years ago today (December 9, 1970), and their closing studio album, 1972’s Mardi Gras. Pressed on 180-gram vinyl and set for release February 12th, both records were mastered by the award-winning engineer Miles Showell at Abbey Road Studios. Available for pre-order beginning today, these audiophile-quality LPs come housed in beautifully crafted jackets (tip-on gatefold for Pendulum and embossed for Mardi Gras), replicating the albums’ original packaging.

Pendulum, which marked CCR’s second release of 1970—following Cosmo’s Factory—was a unique title in the band’s catalog for several reasons. First, the album was the group’s sole LP to feature all original material. Typically, CCR sprinkled covers of blues songs, traditional material, and rock ‘n’ roll standards into each of their albums, putting their own spin on classic favorites. Pendulum also found the guitar-heavy group expanding their sonic palate—experimenting with new sounds (including the use of saxophones, vocal choirs, and keyboards) and even venturing into psychedelia.

The quartet’s musical explorations paid off. Not only was Pendulum a critical success, but it also spawned two global Top Ten hits: the reflective “Have You Ever Seen the Rain” and the upbeat “Hey Tonight.” The singles, released as a double A-side in 1971, peaked at No.8 on the Billboard Hot 100. Other highlights included the stomper “Molina,” the bluesy “Pagan’s Groove” and the twangy “Sailor’s Lament.” Recently, “Have You Ever Seen the Rain” gained renewed popularity with the 2018 launch of a new official music video featuring Sasha Frolova, Jack Quaid, and Erin Moriarty (the latter two also featuring in Amazon’s smash hit series, The Boys), introducing the song to a new generation. To date, the video has received over 61 million plays.
Creedence Clearwater Revival’s seventh and final studio album, 1972’s Mardi Gras, followed the departure of founding member and rhythm guitarist Tom Fogerty. The album, however, found the remaining trio of musicians taking a more collaborative approach to songwriting. Prior to Mardi Gras, frontman John Fogerty was the band’s creative leader—writing, arranging, and producing the majority of every album. For Mardi Gras, bassist Stu Cook and drummer Doug Clifford not only penned many of the tracks (including Cook’s hard-driving “Door to Door,” and Clifford’s rollicking “Tearin’ Up the Country”) but also sang on them. Other highlights off the album include a cover of the rockabilly classic “Hello Mary Lou,” as well as the Fogerty-penned rocker “Sweet Hitch-Hiker”—a Top Ten hit in the US, Australia, Canada, and across Europe. The poignant “Someday Never Comes,” meanwhile, marked the group’s final single.

While the band members went their separate ways after Mardi Gras, Creedence Clearwater Revival’s legacy only continued to grow. Today, CCR remains one of the best-selling groups of all time, thanks to their trove of generation-defining hits and their singular, roots-rock sound.

Roughly half a century later, CCR fans can enjoy a new vibrancy when they revisit Pendulum and Mardi Gras, thanks to the exacting process of half-speed mastering. Using high-res transfers from the original analog tapes, the process involves playing back the audio at half its recorded speed while the cutting lathe is also turned to half the desired playback speed. The technique allows more time to cut a micro-precise groove, resulting in more accuracy with frequency extremes and dynamic contrasts. The result on the turntables is an exceptional level of sonic clarity and punch.

Both of these special pressings were previously released only as part of Creedence’s collectible, seven-LP The Studio Albums Collection box set, and follow standalone reissues of the band’s first five albums.

Creedence Clearwater Revival- Interview 1972 [Reelin' In The Years Archive]

https://www.youtube.com/watch?v=mQuMdDRlBKM

I don't know, somehow I'm always late to new CCR releases:


Creedence Clearwater Revival at the Royal Albert Hall (Album Unboxing Trailer)


https://www.youtube.com/watch?v=zfdtt6tKB4Y




Unreleased Creedence Clearwater Revival concert at Royal Albert Hall in 1970 to drop in September
The record will feature ‘long-lost’ footage of their 1970 Royal Albert Hall Show as well as a concert documentary narrated by Jeff Bridges.


https://guitar.com/news/music-news/creedence-clearwater-revival-live-album-september-1970-london-royal-albert-hall/




Creedence Clearwater Revival - Bad Moon Rising (at the Royal Albert Hall) (Official Audio)

https://www.youtube.com/watch?v=GvQIM0pTRcE





EDIT: Looks like this new video features some of the 1970 footage:


Creedence Clearwater Revival - Travelin' Band (Official Music Video)

https://www.youtube.com/watch?v=ZXLqECpHW2o

Video from the upcoming release:


Creedence Clearwater Revival - Fortunate Son (At The Royal Albert Hall)


https://www.youtube.com/watch?v=b0Upk41P7aw

Creedence Clearwater Revival share unseen ‘Proud Mary’ performance
Exclusive: Watch the unearthed performance from the rock icons on Rolling Stone UK


https://www.rollingstone.co.uk/music/news/creedence-clearwater-revival-share-unseen-proud-mary-performance-22207/

Travelin' Band: Creedence Clearwater Revival at the Royal Albert Hall (Official Film Trailer)

https://www.youtube.com/watch?v=aSgjNffYBdo


The new documentary concert film, 'Travelin’ Band: Creedence Clearwater Revival at the Royal Albert Hall,' will be available for streaming on Netflix beginning September 16 (in the US, Canada, United Kingdom, Australia, NZ, Latin America and Africa).

The film is also coming to UK cinemas for a special one-night event with Everyman Cinemas on Monday, September 12th. Get your tickets here: https://found.ee/ccr-rah-everyman 

The film coincides with the release of the live album 'Creedence Clearwater Revival at the Royal Albert Hall,' also releasing September 16th, on 180-gram vinyl, CD, cassette and digital formats (including ATMOS® immersive and hi-res audio). A Super Deluxe Edition box set, which includes a Blu-ray featuring the film, will follow on November 18th (detailed below). Order the album here: https://found.ee/ccr-rah-album

When CCR took the stage for two nights in April of 1970, the band members had reached the height of their international stardom and arrived ready to prove themselves as equals to the likes of Led Zeppelin, Jimi Hendrix, and the Beatles, who had announced their breakup just days before. Their performance—which included hits like “Born On The Bayou,” “Proud Mary,” "Fortunate Son," and “Bad Moon Rising”—was met with a 15-minute standing ovation and rave next-day reviews in the UK’s top publications.

More than 50 years after that legendary show, the original multitrack tapes have been meticulously restored and mixed by GRAMMY®-winning producer Giles Martin and engineer Sam Okell. The 180g LP was mastered by Miles Showell at Abbey Road Studios using half-speed technology for the highest-quality listening experience.

The film is directed by two-time GRAMMY® Award-winner Bob Smeaton (The Beatles Anthology and Jimi Hendrix Band of Gypsies) and narrated by Academy Award®-winning actor Jeff Bridges, the film takes viewers from the band’s earliest years together in El Cerrito, CA through their meteoric rise to fame. Featuring a wealth of unseen footage, Travelin’ Band culminates with the band’s show at the Royal Albert Hall—marking the only concert footage of the original CCR lineup to be released in its entirety.

Exclusive to CraftRecordings.com, a Super Deluxe Edition of the album includes the complete live set on two 180-gram LPs, mastered at 45-RPM, as well as on CD. A second CD features music from the film, including formative recordings from the band’s earliest incarnations (Tommy Fogerty and the Blue Velvets and the Golliwogs), while the Blu-ray offers the complete 'Travelin’ Band' film, plus the digital album in hi-res and Dolby ATMOS® immersive audio. Limited to 5,000 copies worldwide, each individually numbered set is housed in a 12” x 12” box, with embossed gold foil detail, and includes a reproduction of the original 1970 tour program, a 17” x 24” poster, and a 16-page booklet, featuring an excerpt from Bridges’ voice-over script, which offers background on the band’s incredible path to the London show. Order here: https://found.ee/ccr-rah-deluxe

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Creedence Clearwater Revival’s Spellbinding Royal Albert Hall Concert Finally Sees the Light of Day: Album Review


https://variety.com/2022/music/album-reviews/creedence-clearwater-revival-royal-albert-hall-concert-album-review-1235375083/  





Out Now: Creedence Clearwater Revival’s Previously ‘Lost’ Royal Albert Hall Live Album; Film Streaming on Netflix

https://rockcellarmagazine.com/creedence-clearwater-revival-royal-albert-hall-live-album-film-netflix-listen-watch/




Doug “Cosmo” Clifford on Creedence Clearwater Revival’s ‘Lost’ Royal Albert Hall Concert Film/LP

https://rockcellarmagazine.com/creedence-clearwater-revival-interview-doug-clifford-royal-albert-hall-film/#main

John Fogerty Reveals How Creedence Clearwater Revival Got Its Bayou Sound
The NorCal musician opens up about the legacy of his band Creedence Clearwater Revival, their landmark show at the Royal Albert Hall, and their “supernatural” concert mode.


https://www.thedailybeast.com/john-fogerty-reveals-how-creedence-clearwater-revival-got-its-bayou-sound?ref=scroll

Thanks for the links, Rocker, looking foward to seeing the film if and when it comes out on DVD.

This is very cool! Probably repeating myself, but the footage of CCR at Woodstock has been one of my go-to YouTube videos for well over a year now, I can't get over how good they were and how and why Fogerty didn't want that to be released because he thought the performance was off. Fogerty himself had one of the absolute guitar highlights of the entire festival with his solo on "I Put A Spell On You"...an absolute jaw-dropper of a solo on his Rickenbacker. And the band was so tight. I'm excited to hear a full show live like this!

Just for CCR fans, I heard this over the summer and the first thing I thought of was how they nailed the CCR groove on this track, especially that Cosmo drum beat and sound. Marcus King, "Blood On The Tracks":
https://www.youtube.com/watch?v=E7Q74anxPm4 (https://www.youtube.com/watch?v=E7Q74anxPm4)

It was great to hear a current artist paying tribute to CCR like this.

Makes you wonder how they sounded when Fogerty was satisfied.
Have you heard the "Live at Woodstock"-CD from a couple of years back? I don't have the DVD but the sound on the CD is incredible. I won't even try to describe it because it would make me sound like an idiot.

Creedence Clearwater Revival At Royal Albert Hall: No Encores, But Worth The 52-Year Wait
Five decades on, a long-lost documentary and live album from CCR's 1970 Euro tour have been released. Drummer Doug Clifford and director Bob Smeaton discuss the releases, playing the Beatles' house, and a lifetime of chooglin'.


https://www.grammy.com/news/creedence-clearwater-revival-live-at-royal-albert-hall-live-album-documentary-doug-clifford-bob-smeaton





The Most American Band

https://www.nationalreview.com/corner/the-most-american-band/




CCR’s John Fogerty Talks New ‘Creedence Clearwater Revival at the Royal Albert Hall’ Album and Documentary
Time changes things. There were years there when John Fogerty, legendary frontman for the rock and roll band Creedence Clearwater Revival, harbored frustration toward some of the musical entities he was connected to closely, whether that was former band members, family, or record executives. But now that’s largely, if not entirely, all gone. Fogerty’s changed feelings can be summed up in a neat package when considering CCR’s newest release, a two-pronged album and documentary film featuring the music from the band’s now infamous performance at the Royal Albert Hall in London.

https://americansongwriter.com/ccrs-john-fogerty-talks-new-creedence-clearwater-revival-at-the-royal-albert-hall-album-and-documentary/

This footag has been around a while but this is more complete than what I've seen before. And in better qualiy.


Creedence Clearwater Revival (CCR) • “Hey Tonight”/Interview/“Keep On Chooglin’” • LIVE 1971 [RITY]


https://www.youtube.com/watch?v=NNm24nYZyiY

Always nice to see some vintage CCR



CREEDENCE CLEARWATER REVIVAL arrival in Belgium


https://www.youtube.com/watch?v=BtKF7NoN5KY

Whatever happened with that CCR documentary that came out a couple years ago? I kept expecting I would see it in the DVD section of my music store.

You mean the excellent Netflix one? 

https://youtu.be/aSgjNffYBdo?si=Wy5pKuk5k_8rtqnj (https://youtu.be/aSgjNffYBdo?si=Wy5pKuk5k_8rtqnj)

no dvd version?

Not that I'm aware of.

Sh!#. F$$$. I'm just too dang old. Still hung up on physical media.

The Biggest Band in America in 2024 Is … Creedence Clearwater Revival
CCR are huger than ever right now, without anyone really noticing. What we choogle about when we choogle about Creedence

August 1969 was a very Creedence month. But so were most months back then. Creedence Clearwater Revival, the most popular band in America, were riding the hot streak of all hot streaks, cranking out swamp-rock classics at a crazy pace. John Fogerty and his Northern California crew released their masterpiece Green River in the first week of August, a few months after their masterpiece Bayou Country and a couple of months before their October masterpiece Willy and the Poor Boys. Their Top 40 hits that year: “Proud Mary,” “Bad Moon Rising,” “Fortunate Son,” “Down on the Corner,” and the ultimate summer guitar choogle, “Green River.” CCR banged out five of the all-time greatest rock & roll albums in under two years: Bayou, Green River, Willy in 1969, Cosmo’s Factory and Pendulum in 1970.

So it totally makes sense that Creedence were America’s biggest band in the summer of ’69. The weird part is that Creedence are also America’s biggest band in the summer of ’24.

CCR are the most awesomely bizarre case of a classic band that’s bigger than ever right now, without anyone really noticing. But their greatest-hits collection Chronicle is riding high on the Billboard 200 every week, always somewhere in the thirties or forties. It’s currently Number 39, right ahead of the new Ariana Grande album. It’s higher than anything by the Beatles or the Stones or Zeppelin or Queen. It’s crazy because there’s no star power involved, no cult of personality, no Freddie Mercury, no Stevie/Lindsey, no backstory or drama or charisma, no biopic or TV placement, and God knows no sex appeal. Just four anonymous flannel dudes and a bunch of perfect guitar songs about rivers.

Of all the “classic rockers who stay famous forever” stories, this is the one where there’s nothing but the songs. Of all the fans who bought/streamed/whatevered Chronicle this week, I doubt half could give the leader’s name, or tell you a thing about him. But only a hardcore fan could name the other three. Anyone who can tell Stu Cook from Doug Clifford probably is Stu Cook or Doug Clifford. You couldn’t pick any of these dudes out of a police lineup. There’s no hero worship, no narrative, no stars. There’s no love story, no death story. Only the songs.

A couple of years ago, when Kate Bush’s “Running Up That Hill” blew up into a surprise Top Five pop smash, that’s when I really started noticing the astoundingly unastounding popularity of CCR. While the world was celebrating Kate’s triumph, it was funny to see Chronicle hanging around the Top 50 of the album chart, quietly topping the era’s biggest pop icons. But you couldn’t call it a renaissance, since (1) these songs never vanished, and (2) nothing was driving this. No meme or TikTok dance. No soundtrack moment. No band has ever needed a revival less.

There just aren’t any comparable examples. Bruce Springsteen doesn’t have any records this big. Neither do Pink Floyd or Van Halen or the Beach Boys or the Eagles. Any other music franchise this popular has some larger-than-life personality or drama in the brand. To pick the most obvious example, everybody who loves Fleetwood Mac — which means everybody — knows the real-life heartbreak behind the music. You could run down every Rumours track and tell me who’s breaking up with who on which drugs. But Chronicle is just as massive, without any sex or tragedy. (Rumours always goes neck and neck with CCR on the charts; last week Chronicle beat Rumours, this week the Mac slipped ahead.) Nobody will ever base a movie, novel, or Broadway show on the making of Green River. (Ugh, can you imagine a duller rock flick than Choogle Hard with a Vengeance: The Creedence Story?)

If you love those old-school rock legends, you undoubtedly relate to their personal struggles: John vs. Paul, Mick vs. Keith, Waters vs. Gilmour, Eddie vs. Dave, Steely Dan vs. the Cuervo Gold and fine Colombian. Don’t you dare look me in the eye and claim you don’t pick sides between Brian Wilson and Mike Love. But that doesn’t happen with CCR. If you were forced to come up with a juicy Behind the Music anecdote, you’d have to say, “Well, they overinvested in an offshore tax shelter in the Bahamas, which turned out to be a fraud, so they lost the publishing rights to … wait, come back!” You want a fashion statement? Flannel. You want glamour, gossip, danger? More flannel.

And it’s not even like there’s one big tentpole hit to sell the others — “Proud Mary” is probably their most famous song, but it’s not much bigger than the sixth or seventh biggest. They had five Number Two hits but never hit Number One; I don’t know if that’s a record, but it’s a perfect anti-dramatic flex for Creedence, comparable to Al Kaline retiring with 399 homers. They’ve graced a million soundtracks (who can forget the Dude in The Big Lebowski, drumming on the roof of his car?) but nothing ever became “The Song From That Movie” because they’re more famous than any flick they’ve been in.

There’s only one explanation for CCR’s phenomenal popularity: People just keep falling in love with these songs, without caring about demographic niches or generational clichés or fashion trends. It’s the kind of popularity that officially isn’t supposed to exist.

But all Creedence ever needed, then or now, was these tunes. They’ve got Koufax numbers — 65 tunes in their songbook, at least 40 of them undeniably great. They took pride in being an ace singles band, yet their albums are full of insanely brilliant deep cuts only freaks know. “Ramble Tamble,” the greatest of all Creedence songs, is a seven-minute doom-choogle that builds from pastoral bliss to apocalyptic rage, but I’ve never heard it on the radio even once. You could eliminate all 20 Chronicle hits from their catalog and you’d still have the best non-Beatles/Stones band of their era.

But why would you want to do that? It’s America’s favorite greatest-hits album because it’s also the best, with CCR’s angriest (“Fortunate Son”), scariest (“Born on the Bayou”), sluttiest (“Sweet Hitch-Hiker”), screamiest (“Travelin’ Band”), dreamiest (“Long As I Can See the Light”), hippiest (“Up Around the Bend”), meanest (“Run Through the Jungle”), countriest (“Green River”), and funniest (“Lookin’ Out My Back Door”), with the finest three seconds of Fogerty’s vocal life, that “yeeeeah” into the final chorus of “Have You Ever Seen the Rain.” But my favorite isn’t even a Fogerty tune — “I Heard It Through the Grapevine” is their bash at a Marvin Gaye classic, not even getting the words right, just a headbang guitar jam riding Doug Clifford’s cowbell clunks, their most libidinal sex groove, building for a comically absurd 11 minutes. No song sounds better in the car in the summer sun with the windows down. Except maybe the other songs on Chronicle.

The Creedence guitars are full of NoCal hippie sunshine, with the band merrily jamming away, except they never sounded like other hippies because they had a drummer who didn’t suck. Cook and Clifford were a monster rhythm section, the U.S. answer to Wyman and Watts. Green River is my sentimental fave, even if I concede that Cosmo’s Factory is better. “Sinister Purpose” is an evil blues slither where Fogerty growls, “Burn away the goodness/You and I remain.” (Pavement used to rip up that one live, one of the countless indie bands that worshipped CCR.) “Tombstone Shadow” has the spookiest one-note guitar solo this side of “Cinnamon Girl.” He ends with the lament “Wrote a Song for Everyone” (“when I couldn’t even talk to you”), but it’s no boast, because he’s selling himself short: He wrote a few dozen songs for everyone.

But Fogerty never had any interest in the starmaking machinery. Nobody ever wondered who he was making out with, if only because he never bothered to sing about making out. “Born on the Bayou” has that out-of-nowhere line about “rollin’ with some Cajun queen,” but she’s only there because he’s trying to make conversation with his hound dog. (Maybe he meant Skee-Ball?) He was a kid from the Bay Area suburbs, writing American myths out of his rock & roll fantasies. He’d never set foot on a bayou in his life. He made up regional accents nobody spoke. (“Big wheel keep on toinin’,” “I hoid it through the grapevine” — who’s his dialect coach, Curly Howard?) He avoided the whole cult-of-personality thing. In Tina Turner’s version of “Proud Mary,” she turns it into a pageant of American history, the clash between past and present, rural and urban, misogyny and racism and class rage, summing up the nation’s cultural memory. When Fogerty sings it, it’s a dude who likes boats.

But ironically, there’s plenty of dramatic lore in the Creedence story, if anyone knew or cared. There’s two brothers hating each other — after big brother Tom Fogerty quit the band, they never reconciled before his death. John was one of the very few rock stars to get drafted in the Vietnam era — he did his time in the Army, waiting out a year of misery, then returned to fight his way back into the Bay Area bar-band scene. None of his peers had a struggle like that to boast about, but it was a cred card he refused to play, even when he was protesting the war in “Fortunate Son.” There’s even the hilarious lawsuit after his 1985 solo hit “The Old Man Down the Road” — it sounded so much like Creedence, his ex-label took him to court, making him the only rock star ever to get sued for plagiarizing himself. He had to take the witness stand with a guitar, to show the jury why his songs sounded like John Fogerty. During cross-examination, he snapped, “What am I supposed to do, get an inoculation?”

Great stories — but only hardcore fans know them, because Fogerty had zero knack for talking about himself. Since the band broke up, he’s never stopped railing at his ex-bandmates, stewing over business injustices he never had much luck convincing anyone else to care about. His 2015 memoir is a barely-readable pity party. Even in their heyday, the group’s interviews were nothing but drab complaints about not getting taken seriously enough. As Cook groused to Rolling Stone, “People know about our music but they don’t know about our heads.”

That hasn’t changed — but it’s never gotten in the way of the music. If there’s one hit that sums up Fogerty’s populist genius, it’s “Travelin’ Band” — Huey “Piano” Smith played at Ramones velocity, connecting the Crescent City with CBGB. (I saw Bon Jovi play it on the New Jersey tour, with Sebastian Bach wailing along; Lainey Wilson just did a great country version this spring.) “Fortunate Son” and “Don’t Look Now” are two of rock’s fiercest political rants, paired together on Willy in under five minutes, talking class privilege in prescient ways. He was the first singer to flip off Reagan (“Ronnie the Popular”), raging about “actors in the White House,” seeing the future of American fascism more clearly than self-righteous hippie types did. “It’s Just a Thought” is one of rock’s most bittersweet hippie-dad meditations on growing up, at the ripe old age of 25. Even the much-maligned “Sailor’s Lament” is righteous Dead fan-fic: Uncle John Fogerty’s Band, the workingman’s Workingmans Dead. (As my editor Jon Dolan brilliantly calls it, “proto-yacht.”)

CCR were always the band that everybody likes. Their populism spoke to punk rebels from Sleater-Kinney (“Fortunate Son”) to the Clash (play “London Calling” next to “Walk on the Water”) to the Minutemen — it took nerves of blue-collar steel to aim “Don’t Look Now” at the Reaganist charade of 1984. Mike Watt decorated an early Firehose record with an autograph from his hero: “To Mike. Keep on keepin’ on.” You can make a great playlist of CCR knockoffs: The Hollies’ “Long Cool Woman (In a Black Dress),” Lou Reed’s “September Song,” Nick Lowe’s “Stick It Where the Sun Don’t Shine.” But the best: Pavement’s “Harness Your Hopes,” a Nineties B-side choogle nobody noticed for 20 years, until the world suddenly realized it was a lost classic.

All these years later, it’s still a shock that Creedence packed so many legendary songs into two madcap years. But it’s an even bigger shock how these songs hold up now. Chronicle has never peaked higher than Number 18, yet it’s still a blockbuster every week. No other act has been so popular for so long, based on absolutely nothing but the music. Like their most famous fictional fan, the Dude, these songs abide. Creedence will be massive in September 2024, just as they were massive in September 1969. These songs will keep rolling, as long as those big wheels keep on turning.




Source: https://www.rollingstone.com/music/music-features/creedence-clearwater-revival-ccr-chronicle-americas-biggest-band-1235073385/

I'm a huge CCR fan, but I have never owned a copy of Chronicle. I did buy Creedence Gold and More Creedence Gold years ago because they were cheap, but I have all the original studio albums, plus the two live albums released back in the day.

I don't think you're missing anything. Although Chronicle features the edited "Grapevine", I'm not sure if it is on the Gold compilations.

My father owned Chronicle on LP and I still have that copy. It was my introduction to everything CCR and I remember how amazing that picture of Fogerty on the front looked to me.

I do have a Collectables single of Grapevine, on orange vinyl. That recording always takes me back to when I was a drummer. I would put the album version on, and play along.

There is something special about CCR's "Grapevine". I mean the song itself is so great and I don't know if it's even possible to do a bad version of it but what CCR makes out of it is so totally different. It sounds like it's their song. Really cool. And I'm sure it's fun to drum along to it.

Yeah, it's a great one. Paul Revere and the Raiders did a version in the 80's that feels to me like a mashup of CCR's and Marvin's.