Creedence Clearwater Revival

Certain Songs #258: Creedence Clearwater Revival – “Ramble Tamble”

July 22, 2015 by Jim Connelly

Album: Cosmo’s Factory
Year: 1970

It goes without saying that Creedence Clearwater Revival were American originals, and still one of the greatest singles bands ever.

And in fact, those singles were so dominant on the radio of my youth and in the albums that I own, I’ve only ever loved one of their albums start-to-finish: 1970’s titanic Cosmo’s Factory

Of course, that just might be because Cosmo’s Factory starts with their greatest non-single — and quite possibly their greatest song — the onomatopoetically-named “Ramble Tamble,” which was once named by The A.V. Club as “The Most Rockin’ Song of All-Time.”

Certain Songs #257: Creedence Clearwater Revival – “Fortunate Son”

July 21, 2015 by Jim Connelly

Album: Willy and The Poor Boys
Year: 1969

One of John Fogerty’s heaviest and most passionate songs, “Fortunate Son” is also a song that has not aged even a whit in the 40 years since it first burst out of Willy and The Poor Boys.

Which sucks. Because you want songs about economic disparity and how the rich take advantage of their privilege to get out of military service in a way that the poor never ever can to feel completely anachronistic. No such luck.

Certain Songs #256: Creedence Clearwater Revival – “Born on the Bayou”

July 20, 2015 by Jim Connelly

Album: Bayou Country
Year: 1969

Ahhh, here we go. With its feedback lick rising like an alligator from the swamp, “Born on the Bayou” is 5:14 of mysterious sonic pleasure.

On one level it’s so simple: Tom Fogerty’s guitar is in one channel and John Fogerty’s guitar in the other, while Stu Cook and Doug Clifford are holding down the fort in the middle. So in that respect, it’s not that different from many other CCR songs. And yet, it’s totally different from not just other CCR songs, but every other song ever.

25 Musical Moments To Die For

July 25, 2008 by Jim Connelly

You can talk about genres, artists, albums, or even songs, but sometimes what keeps us coming back to music is the discovery of the transcendent musical moment. For me, “the moment” is the part of the song that fully and utterly engages me; the reason that I keep coming back to it.

I’m not necessarily talking about hooks here, because the purpose of hooks is the draw you into a song. I’m really talking more about traps: the part of a song that that keeps you there.

Every single moment I’ve listed below kills me single every time I hear it.