Synopsis
The true story of Creedence Clearwater Revival, "Bad Moon Rising" is richly illustrated with rare photos and memorabilia. Index.
Reviews
Departing from the psychedelic sound that dominated the airwaves in the late 1960s, California's Creedence Clearwater Revival churned out a string of roots-rock hits so critically acclaimed and commercially successful that, after the Beatles broke up in 1971, CCR was hailed by some as the world's most popular band. But within a year, CCR too had disbanded, victims of the internecine squabbles and exploitative record deals that have destroyed all too many rock groups. Bordowitz, a contributor to such magazines as Spin and Guitar Player, charts the band's lowly beginnings as a quartet of high school pals struggling to make ends meet on the northern California club circuit, their meteoric rise to the top of the charts following the release of their debut album in 1968 and the conflicts over creative controlAespecially between frontman John Fogerty and his brother and rhythm guitarist, TomAthat led to their breakup. Bordowitz provides evenhanded treatment of highly charged issues such as the often bitter sibling rivalry and the band's protracted legal wranglings with their record company, as well as insights into the songcraft behind their biggest hits, including "Proud Mary," "Bad Moon Rising" and "Have You Ever Seen the Rain." An unabashed fan, Bordowitz ably interweaves other critical assessments of the group's output over the years, persuasively demonstrating that CCR has earned their reputation as one of the most important bands in rock history. Photos. Agents, Fran Liebowitz and Jason Weiner. Foreign rights, Jennifer Hayes.
Copyright 1998 Reed Business Information, Inc.
A doggedly researched but plodding, unambitious bio of the fondly remembered late '60s swamp-rock band. Though Creedence Clearwater Revival had nine top-ten hits and has remained perpetually popular on the radio since its 1972 demise, the group has become practically as famous for the number of lawsuits that have percolated in its wake. From early on, rock journalist Bordowitz focuses on the tensions between singer/songwriter/guitarist John Fogerty and his bandmates, as Fogerty gradually took over the band (originally called the Blue Velvets, then the Golliwogs) from his older brother, Tom, who was shunted from singing and songwriting to rhythm guitar. John rapidly emerged as both a gifted songwriter and a tyrannical leader, and Tom quit within three years of their first hit. The band fizzled out with a last album on which John Fogerty, bassist Stu Cook, and drummer Doug Clifford split singing and songwriting duties equally. Fogerty claimed he had simply acquiesced to the others - gripes about creative input, while Cook says, - John wouldn - t even play on our songs, other than rhythm guitar. - In subsequent years, Fogerty and the others fought endless legal battles with Fantasy Records, which had a cutthroat contract with the band and helped them to invest their earnings in a Bahamian banking scheme that went belly-up. Fantastically, Fantasy sued Fogerty for copyright infringement in the mid-'80s because a song on his solo album allegedly plagiarized one of the band - s songs, which Fantasy owned. (Fantasy lost.) The other three members made their peace with Fantasy, and bitter public exchanges among the survivors (Tom Fogerty died in 1990) have made clear that there will never be even a one-time Creedence Clearwater reunion. Endlessly describing how Fogerty and the others - festered along - with recriminations, Bordowitz offers no perspective to keep the narrative momentum from slowing to a crawl in the long post-breakup half of the book. (40 b&w photos, not seen) -- Copyright ©1998, Kirkus Associates, LP. All rights reserved.
Creedence Clearwater Revival (CCR) were Bay Area music scene misfits: they eschewed the psychedelic excesses and drug use of their contemporaries while adhering to a strict work ethic that led to a prolific string of hit albums and singles from 1968 to 1972, including their most famous anthem, "Proud Mary." But the thing that made the group a success?the rigid creative control wielded by singer-songwriter-producer John Fogerty?also destroyed the group as the other three members struggled for more input. In his first book, and the first major biography of the band, freelance music writer Bordowitz brings CCR's complex story to life, from their decade-long struggle for success to the bitter in-fighting over the group's legacy that continues 25 years after Creedence self-destructed. Bordowitz never takes sides or passes judgment yet brilliantly illuminates the tragedy of CCR's lost potential. Demand may be heightened by Fogerty's current comeback album and tour. Highly recommended.?Lloyd Jansen, Stockton-San Joaquin Cty. P.L., CA
Copyright 1998 Reed Business Information, Inc.
Changing its name from the Golliwogs, Creedence Clearwater Revival had a 1968 hit with a psychedelic remake of Dale Hawkins' rhythm and blues hit "Suzie Q" and followed up with "Born on the Bayou" and "Proud Mary," quickly achieving impressive sales. Reflecting a mythical American South, the band's music appealed to hippies, truck drivers, and Top 40 radio programmers alike. Its southernness was mythical, indeed, since songwriter John Fogerty had but fleeting acquaintance with the region. Natives of El Cerrito, California, the members of CCR created a sound unlike those of other '60s San Francisco bands, whom John Fogerty called "drugged out, moccasin wearing hippies," according to CCR bassist Stu Cook. The band broke up on account of money squabbles and internecine disaffection, seemingly intensified by the fact that the four musicians were two brothers and two lifelong friends. Bordowitz's recounting of all the acrimony is well detailed and not too hyperbolic. This is must reading for CCR-philes and fans of John Fogerty's subsequent solo career--all told, a sizable group. Mike Tribby
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