Canard
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Travelin' Band: Creedence Clearwater Revival at the Royal Albert Hall
I watched this yesterday on Netflix. It is a documentary which quickly outlines the early history of CCR (and there is a lot of it before success came to them) and finishes with their concert at the Royal Albert Hall.
It is interesting just how unexceptional CCR was, except for John Fogerty’s voice and writing skills.
They did not seem to have had problems with drugs and alcohol.
They weren’t radical. They weren’t conservative. They were only very obliquely political if they were political at all.
They don’t come off as either really bright or really dumb, just sort of normal.
They were unpretentious, refreshingly so.
They worked really hard and were very productive.
Musically they lived by the KISS principle. They were like a good bar band; it seems to have been a level of competency self-consciously aimed for. Up until Cosmos Factory, perhaps, they never recorded anything that they couldn’t play live as a four piece. KISS on steroids.
For record sales at the time they threatened The Beatles. They crossed boundaries. Rock radio stations played them. Black radio stations played them. I don’t think Country stations played them at first—their long hair would have prevented that—but every Country bar band I heard at the time had CCR tunes in their set lists. I played their tunes. The kid with the new guitar next door was playing their tunes. Everybody played their tunes.
The documentary avoids the ugliness of their later problems by stopping with the concert footage, a good place to stop, perhaps.
I watched this yesterday on Netflix. It is a documentary which quickly outlines the early history of CCR (and there is a lot of it before success came to them) and finishes with their concert at the Royal Albert Hall.
It is interesting just how unexceptional CCR was, except for John Fogerty’s voice and writing skills.
They did not seem to have had problems with drugs and alcohol.
They weren’t radical. They weren’t conservative. They were only very obliquely political if they were political at all.
They don’t come off as either really bright or really dumb, just sort of normal.
They were unpretentious, refreshingly so.
They worked really hard and were very productive.
Musically they lived by the KISS principle. They were like a good bar band; it seems to have been a level of competency self-consciously aimed for. Up until Cosmos Factory, perhaps, they never recorded anything that they couldn’t play live as a four piece. KISS on steroids.
For record sales at the time they threatened The Beatles. They crossed boundaries. Rock radio stations played them. Black radio stations played them. I don’t think Country stations played them at first—their long hair would have prevented that—but every Country bar band I heard at the time had CCR tunes in their set lists. I played their tunes. The kid with the new guitar next door was playing their tunes. Everybody played their tunes.
The documentary avoids the ugliness of their later problems by stopping with the concert footage, a good place to stop, perhaps.