All together…Creedence Clearwater Revival had 65 total songs. It seems like more but that was it. Their recording career spanned from 1967 to 1972. They had 7 studio albums in that span which is incredible.
I looked back at photos of them during that time. They looked like a garage band that could have lived next door to you. They don’t look like what they really were…the hottest American band. You see pictures of The Beatles, Stones, Led Zeppelin, and The Who back then and there is a certain gloss about them…not with CCR. CCR didn’t look larger than life…they looked like our blue-collar neighbors from down the street. That is one of the reasons that I still like them so much.
From 1968 to 1972 they were constants in the charts. They didn’t take months to make an album…they just reeled them off. They pulled off a Beatles trick by having hit singles and critically acclaimed albums. That is not easy to do.
There is an anomaly about them that is puzzling. Their songs have become standards but never had a number 1 song. Well did I say never? It took 50 years but that was finally broken in 2021…they peaked at #1 in the US Rock Digital Sales and also the Canadian Digital Sales for Have You Ever Seen The Rain.
I have no conspiracy theory about them not having a number 1 in their time but personally, I always thought that being on Fantasy Records had something to do with it. If they would have been with Capitol, Columbia, or any other major record label…I believe that would have helped. Those labels had the money for huge advertising and had a connection to DJs and other clients to help. Don’t get me wrong… Fantasy Owner Saul Zaentz was making a lot of money but when it came to the band…he did not like letting it go. That contributed to the short career of CCR.
Anyway back to this song. It was on the great album Willy and the Poor Boys released in 1969. The album had the well-known hits Fortunate Son, Down On The Corner, The Midnight Special, and the fan favorite It Came Out of the Sky. The album peaked at #3 on the Billboard Album Charts, #2 in Canada, and #10 in the UK.
I would have loved to see these guys live. I want to thank one blogger named Jeff from Eclectic Music Lover for sharing his story of seeing Creedence live…that was his first concert. I will always be jealous of that. My first concert came years later and was REO…not a comparison there.
John Fogerty: “There were things going on in the country that upset me, but having grown up in the ‘hippie’ generation, there were a lot of things about my own generation that upset me as well. The song ‘Don’t Look Now’ was trying to address that. It wasn’t that I was a fence rider, it was just that some stuff was getting out of hand.”
Don’t Look Now (It Ain’t You or Me)
Who will take the coal from the mine? Who will take the salt from the earth? Who’ll take a leaf and grow it to a tree? Don’t look now, it ain’t you or me.
Who will work the field with his hands? Who will put his back to the plough? Who’ll take the mountain and give it to the sea? Don’t look now, it ain’t you or me.
Don’t look now, someone’s done your starvin’; Don’t look now, someone’s done your prayin’ too.
Who will make the shoes for your feet? Who will make the clothes that you wear? Who’ll take the promise that you don’t have to keep? Don’t look now, it ain’t you or me.
Don’t look now, someone’s done your starvin’; Don’t look now, someone’s done your prayin’ too.
Who will take the coal from the mines? Who will take the salt from the earth? Who’ll take the promise that you don’t have to keep? Don’t look now, it ain’t you or me
John’s voice is on display in this song. This was on Creedence Clearwater Revival’s debut album. It was a cover written by Screaming Jay Hawkins. John Fogerty forgot the swamp rock and just plugged into the psychedelic sound with this cut. It’s a slightly creepy song to listen to on a long car ride in the dark. Fogerty draws on every bit of soul he has in this vocal.
This was the second single they ever released as CCR…the singles they released before this was from The Goliwogs. They rightly decided that a name change would be in order. A question for the readers…if they would have remained The Golliwogs…would they have made it? What’s in a name right? Well, it can probably be argued.
This song did rather well! I didn’t know it did this much in the charts. It peaked at #11 on the Billboard 100 and #10 in Canada in 1968 and went Platinum.
The original version by Screaming Jay Hawkins was released in 1956. The song was banned from most radio stations because of groans and moans. He played it up to the hilt on appearances that he made.
Be Safe tonight and I hope all of you have a great time!
I Put A Spell On You
I put a spell on you
Because you’re mine
You better stop
The things that you’re doin’
I said “Watch out!”
I ain’t lyin’, yeah!
I ain’t gonna take none of your
Foolin’ around
I ain’t gonna take none of your
Puttin’ me down
I put a spell on you
Because you’re mine
All right!
I put a spell on you
Because you’re mine
You better stop
The things that you’re doin’
I said “Watch out!”
I ain’t lyin’, yeah!
I ain’t gonna take none of your
Foolin’ around
I ain’t gonna take none of your
Puttin’ me down
I put a spell on you
Because you’re mine
I’ve seen this song listed as (Night Time is) The Right Time, Night Time Is The Right Time, and The Right Time.
I first heard this song from the Creedence Clearwater Revival cover version of it. I loved it and then I heard the Ray Charles version…I was lost. Night Time Is the Right Time was first performed by Roosevelt Sykes in 1937. His version, which he wrote with fellow bluesman Jimmy Oden was different than the version we know.
In 1938 Big Bill Broonzy recorded this song. Napoleon Brown Goodson Culp (Nappy Brown) recorded it in 1957 as The Right Time. Brown’s version had the Night and Day backing vocals. His version was on a small label and didn’t make much impact. Brown got credited as the songwriter after he changed it around.
When Ray Charles released this in 1958 it was a hit…it’s become the definitive version of the song. It’s been covered many times…some who covered it are Creedence Clearwater Revival, Tina Turner, The Rolling Stones, Lulu, Aretha Franklin, James Brown, Rufus & Carla Thomas, and The Animals.
The song peaked at #5 on the Billboard R&B charts in 1958. Margie Hendrix with Charles’ backup singers the Raelettes provided the accompaniment to Charles’ vocals.
Nappy Brown: , “The difference between me and Ray Charles’s ‘Night Time Is the Right Time’ … is he had it up-tempo with Mary Ann and them behind him—the ladies [Charles’ female backup singers, the Raelettes]. I had mine in a slow tempo with a gospel group behind me. That was my gospel group. But he got everything just like mine, note for note”.
Night Time Is The Right Time
You know the nighttime, darling (night and day) Is the right time (night and day) To be (night and day) With the one you love, now (night and day)
Say now oh baby (night and day) When I come home baby, now (night and day) I wanna be with the one I love, now (night and day) You know what I’m thinking of (night and day)
I know the nighttime (night and day, oh) Whoa, is the right time (night and day, oh) To be with the one you love, now (night and day) I said to be with the one you love (night and day)
You know my mother, now (night and day) Had to die, now (night and day) Mm, and my father (night and day) Well, he broke down and cry (night and day)
Whoa! Whoa, baby (night and day) When I come home baby now (night and day) I want you to hold my hand (night and day) Yeah, tight as you can (night and day)
I know the nighttime (night and day, oh) Whoa, is the right time (night and day, oh) To be with the one you love (night and day) You know what I’m thinking of (night and day)
Whoa! Sing your song, Margie Baby (night and day) Baby (night and day) Baby (night and day) Oh, baby (night and day)
Girl, I love you (night and day) No one above you (night and day) Hold me tight (night and day) And make everything all right (night and day)
Because the nighttime (night and day) Oh, is the right time (night and day) To be with the one you love now (night and day) Oh, yeah (night and day)
Tease me (night and day) Squeeze me (night and day) Leave me (night and day) Ah, don’t leave me (night and day)
Lawdy, baby (night and day) Take my hand, now (night and day) I don’t need (night and day) No other man (night and day)
Because the nighttime (night and day) Ow, is the right time (night and day) To be with the one you love (night and day) Oh, yeah (night and day)
I said baby (night and day) Baby (night and day) Baby (night and day) Whoa! Baby now (night and day)
Oh, come on baby (night and day) You know I want you by my side (night and day) I want you to keep (night and day) Oh, keep me satisfied (night and day)
I know the nighttime (night and day) Every day is the right time (night and day) Yeah, to be with the one you love now (night and day) Well, you know it’s all right
Creedence cut through his song and stripped it bare with their version. I love Marvin Gaye’s version of this song but Creedence spun it into a garage band’s dream. I really like the steady drums that keep it tethered to earth. CCR’s drummer Doug Clifford played off of John Fogerty’s rhythm and it created the atmosphere of the song.
This is embarrassing but this song really hit my radar through constant commercials in 1987. It was used in California Raisin commercials that played, and played, and played more. When I would go to Hardees for lunch…they would give me a plastic figure of one of the raisins. Yea…I collected them. Former drummer of the Jimi Hendrix Band of Gypsies, Buddy Miles, sang lead in those commercials.
Creedence’s album version was a whopping (I love using that word) 11-minute song. This was a change from their other compact songs. This of course was not an original. It was written by Norman Whitfield and Barrett Strong. Strong came up with the idea and asked Motown writers Holland-Dozier-Holland to work on it with him. They refused to credit another writer, so Strong took it to Whitfield, who helped put it together…so it was credited to Norman Whitfield and Barrett Strong.
In December 1975, CCR’s label Fantasy Records re-released the song as a single, which peaked at #43 on the Billboard 100 and #76 in Canada. This release came in the middle of some heated legal battles between the band and the label, which resulted in John Fogerty taking a 10-year break from making music. The song was edited down to a more reasonable length for radio.
The song was originally on their Cosmo’s Factory album released in 1970 which is possibly their best album.
Below….the first is one of the many commercials, the second was the single version, and the third is the album’s 11-minute version.
I Heard It Through The Grapevine
Ooh-ooh, bet you’re wondering how I knew
‘Bout your plan to make me blue
With some other guy that you knew before?
Between the two of us guys, you know I love you more
Took me by surprise, I must say, when I found out yesterday
Ooh-ooh, I heard it through the grapevine
Not much longer would you be mine
Ooh-ooh, I heard it through the grapevine
And I’m just about to lose my mind
Honey, honey yeah
You know that a man ain’t supposed to cry
But these tears I can’t hold inside
Losing you would end my life, you see
‘Cause you mean that much to me
You could’ve told me yourself that you found someone else
Instead
I heard it through the grapevine
Not much longer would you be mine
Ooh-ooh, I heard it through the grapevine
And I’m just about to lose my mind
Honey, honey yeah
People say “You hear from what you see
Not, not, not from what you hear.”
I can’t help but being confused
If it’s true, won’t you tell me dear?
Do you plan to let me go
For the other guy that you knew before?
Ooh-ooh, I heard it through the grapevine
Not much longer would you be mine
Ooh-ooh, I heard it through the grapevine
And I’m just about to lose my mind
Honey, honey yeah
Ooh-ooh, I heard it through the grapevine
Not much longer would you be mine
Ooh-ooh, I heard it through the grapevine
And I’m just about to lose my mind
Ooh-ooh, I heard it through the grapevine
Not much longer would you be mine
Aah-aah, I heard it through the grapevine
And I’m just about to lose my mind
Honey, honey yeah
This song has one of the most recognizable guitar licks in rock history.
A bar band needing another song to get through the night? This is the one that the guitar player would noodle around and get it and the band could kick in without rehearsing. I saw the clock turn to 3am playing this song many times… if you could see the clock through the smoke. The guitar riff on the original version was created by the then-15-year-old James Burton.
The song took Dale Hawkins and his band three months to perfect the song on the stages throughout the south. He was the original singer of the song and it came out in 1957. The song was credited to Dale Hawkins, Robert Chaisson, Stan Lewis, and Eleanor Broadwater. The song peaked at #24 on the Billboard 100 and #7 on the R&B Charts.
This song is the only top 40 song for CCR not written by John Fogerty. This song started it all for Creedence. After this, they were one of the most successful bands in the world. The song peaked at #11 on the Billboard 100 and #10 in Canada. Fogerty wanted to make their identity with this song.
CCR’s version became popular on the West Coast before it was available on vinyl. The band brought a cassette tape of the song to a San Francisco DJ, who played it in appreciation for the group’s earlier support of a DJ strike. Fantasy records then had to get the single out. The song was on their debut album called Creedence Clearwater Revival released in 1968. It peaked at #52 on the Billboard Album Charts.
The Rolling Stones also covered it on their 1964 12 x 5 album.
John Fogerty:“I knew I needed to work on arranging the song so that the band would sound like Creedence Clearwater Revival, would sound professional, mysterious and also have their own definition. The song I chose was ‘Susie Q.’ I decided not to write the song myself. I decided to pick something that existed because it’d just be easier. I’d be less self-conscious about doing things.”
John Fogerty on hearing it for the first time: “I went crazy and immediately began banging on the dashboard.”
When asked what the rhymes are in the latter part of the song, bass player Stu Cook said, “They were just simple rhymes. John hated it when songwriters used simple rhymes just to make things rhyme, so this was a statement against that. It was sort of anti-Dylan.”
Suzie Q
Oh Susie Q, oh Susie Q
Oh Susie Q baby I love you, Susie Q
I like the way you walk
I like the way you talk
I like the way you walk
I like the way you talk
Susie Q
Well, say that you’ll be true
Well, say that you’ll be true
Well, say that you’ll be true and never leave me blue, Susie Q
Well, say that you’ll be mine
Well, say that you’ll be mine
Well, say that you’ll be mine, baby all the time, Susie Q
Uh uh
Uh uh
Uh uh
Uh uh
Oh Susie Q, oh Susie Q
Oh Susie Q, baby I love you, Susie Q
I like the way you walk
I like the way you talk
I like the way you walk I like the way you talk, Susie Q
Oh Susie Q, oh Susie Q
Oh Susie Q, baby I love you, Susie Q
Dave from A Sound Day (check out the other posts on Dave’s “Turntable Talk”) posted this on November 5, 2022. He wanted a group of us to write about what we thought was the best year in music…I ended up picking the turbulent year of 1968.
When I think of the best year of music …for me it’s between 7 years. I would pick 1965 through 1971. I cannot pick all so here it goes…I pick 1968. It had some of the greatest albums and singles ever.
It was a turbulent year, to say the least. We lost two proponents of peace—Martin Luther King, Jr., and Robert F. Kennedy. Other events include the Vietnam War’s Tet Offensive, riots in Washington, DC, the Civil Rights Act of 1968, and heightened social unrest over the Vietnam War, values, and race.
The music was also toughened up by moving away from psychedelic music. The social climate and The Band’s album Music from Big Pink had a lot of influence on this. You still had psychedelic music released but overall, music was more stripped down to the basics.
My favorite album of all time was released by The Beatles. My favorite album by The Rolling Stones was released that year as well. Let’s look at the albums released in 1968…it’s outstanding.
The Beatles – The Beatles (The White Album)
The Rolling Stones – Beggars Banquet
The Kinks – Are the Village Green Preservation Society
That list could be on my desert island list… those albums are still being played today. I’ve only scratched the surface of the albums that year.
The Holy Trinity of Rock all released music that year… which would be The Beatles, The Who, and The Stones. I can’t imagine living in the era when these bands were in their prime and roamed the earth. The Who didn’t release an album, but they did release some singles and were gearing up for the following year. Let’s look at some of the singles of that year.
The Beatles – Hey Jude/Revolution
The Beatles – Lady Madonna
The Who – Magic Bus
The Rolling Stones – Jumping Jack Flash
Steppenwolf – Born To Be Wild
The Doors – Hello, I Love You
The Rascals – People Got To Be Free
Cream – Sunshine Of Your Love
Otis Redding – The Dock of the Bay
The Supremes – Love Child
The Chamber Brothers – Time Has Come Today
Janis Joplin – Piece of My Heart
Creedence Clearwater Revival – Suzie Q
Joe Cocker – With A Little Help From My Friends
The year featured the debut album of Creedence Clearwater Revival. Brian Jones made his final album with the Rolling Stones and it was the start of their great 5 album stretch. The Who started to record the album that would break them worldwide with Tommy. Dock of the Bay would be released posthumously after Otis Redding died in a plane crash on December 10, 1967. The Grateful Dead would release their second album Anthem of the Sun and continue to build one of the largest fan bases ever. Jimi Hendrix was breaking barriers with his experimentation in the studio as well as live.
The Band would change the game by releasing Music From Big Pink. It influenced nearly everyone at the time to go back to a rootsy kind of music. Fleetwood Mac would release their debut album this year. Jeff Beck would release his legendary album Truth.
FM radio was getting huge at this time and showed that audiences didn’t have to have top 40 hits to buy albums. Take Van Morrison for instance. Astral Weeks didn’t have a “hit” on the album but continued to be played and sell. The Beatles The White Album is as diverse as you can get… Pop, Rock, Country, Folk, Reggae, Avant-Gard, Blues, Hard Rock, and some 20’s British Music Hall thrown in for good measure. No singles were released from this album or Sgt Pepper the previous year. They treated singles and albums as two different things. Hey Jude and the hit version of Revolution was recorded during the White Album but yet they left those two off. The Stones would do the same and leave off Jumpin’ Jack Flash from Beggars Banquet.
1968 set the stage for the coming decade’s rock music. Bands like The Who, Beatles, Rolling Stones and Led Zeppelin didn’t need hit singles. You bought the album now and listened to the music in the context of that format. There were still pop/rock singles but the albums were gaining traction.
To wrap it up…I think any of the years between 1965-1971 could have a strong argument for my tastes. If you are into disco or synth music…not as much.
If I had to pick a favorite song of Creedence Clearwater Revival it would be hard… but this song would be a contender and probably my overall favorite. It’s the way Fogerty wearily sings the lyrics, he sounds so much older than he was at the time. The song is off of the “Green River” album.
Sometimes lines grab my attention and these did. Met myself a comin’ county welfare line. I was feelin’ strung out, Hung out on the line.
The album did very well…the Green River album peaked at #1 in the Billboard Album Charts, #2 in Canada, and #20 in the UK in 1969. If you want proof that life isn’t fair… Green River the title track was kept from #1 because of the novelty bubblegum song “Sugar, Sugar” by The Archies.
With Creedence…you won’t hear any “alternative takes” with the band. Fogerty destroyed all copies of the first version of songs because he never wanted any of his outtakes to make it into the public’s hands. This has been a regular practice of him throughout his career.
The album ended up charting 4 different songs. Green River, Lodi, Bad Moon Rising, and Commotion. John Fogerty released a new version of the song on his ninth solo studio album, also titled Wrote a Song for Everyone. This version features Miranda Lambert and Tom Morello.
Jeff Tweedy of Wilco has cited this as a song that had a profound influence on him. A huge Fogerty fan, Wilco credits him with forming the foundation of the Americana genre.
John Fogerty:“Inspired by my young wife at the time. It was early ’69, and I was 23 years old. We had our first child, who, at the time, was two and a half. I was sitting in my room, writing the songs, pushing my career. Without the songs, the career ends. You might be a great band, but without the songs, you’re not going anywhere. At one point, my wife and I had a mild misunderstanding, I wouldn’t even call it a fight, She was miffed, taking our young son out, wishing I would be more involved. But there I was, the musician manic and possessed the only guy holding things up. Without me, it all collapses, so I’m feeling quite put upon. As she walks out the door, I say to my self, “I wrote a song for everyone, and I couldn’t even talk to you.” I looked at my piece of paper and changed gears. How many great leaders can’t even manage their own families? So I went with that. “Pharaohs spin the message/Round and round and true/Richmonds about to blow up” referring to nearby Richmond, California. It was actually a true emotion that took on a larger meaning. It’s still a special song in the sense that it keeps my feet on the ground. You sit and write these songs, yet you try to talk to your own son and daughter and maybe you’re totally inadequate, trying to explain life to a child. We used to record our album very quickly and I remember finishing five different songs in one afternoon. The fifth one didn’t work, and that was “Wrote A Song For Everyone.” I had to start over on that one.”
“Wrote A Song For Everyone”
Met myself a comin’ county welfare line. I was feelin’ strung out, Hung out on the line. Saw myself a goin’, down to war in June. All I want, All I want is to write myself a tune.
[Chorus:] Wrote a song for ev’ryone, Wrote a song for truth. Wrote a song for ev’ryone And I couldn’t even talk to you.
Got myself arrested, Wound me up in jail. Richmond ’bout to blow up, communication failed. If you see the answer, now’s the time to say. All I want, All I want is to get you down to pray.
[Chorus]
[Chorus]
Saw the people standin’ thousand years in chains. Somebody said it’s diff’rent now, look, it’s just the same. Pharoahs spin the message, round and round the truth. They could have saved a million people, How can I tell you?
This one is a sad song. It reminds me a little of Cat’s in the Cradle…except more painful. This one was inspired by Fogerty’s parents getting a divorce when he was younger.
This song was on their last studio album Mardis Gras. To put it bluntly…a bad album. The only bad album in their original catalog. The band was coming apart at this time and John’s brother Tom had already quit after the last album. They made the album as a trio. John Fogerty, Stu Cook, and Doug Clifford. The others wanted to be able to have more of a say on the direction of the band.
John had heard this for a while so he basically told them…you two are responsible for a 1/3 of the album so go write. The other two were not ready for this as they had to write songs and sing also. The album was a disaster and was known as “Fogerty’s Revenge” and after the album they did a tour and the band was over after that.
The song peaked at #25 in the Billboard Album Charts and #29 in Canada in 1972. The album peaked at #11 in the Billboard 100 and #12 in Canada on the strength of Sweet Hitch Hiker and Someday Never Comes.
John Fogerty:
“Someday Never Comes” is simply a song about my parents undergoing a divorce when I was a child and me not knowing many things. When my dad left me, he told me to be a man and someday I would understand everything. Now, I’m here basically repeating the same thing really. I had a son in 1966 and I went away when he was five years old or so and again told him “someday” he would understand everything. Really, all kids ask questions like “Daddy, when are we going fishing?” and parents always answer with “someday”, but in reality someday never comes and kids never learn what they’re supposed to learn. –
When I wrote this song, my life was pretty chaotic. I knew my marriage was going to break up. My band was falling apart. I was beginning to sense the darkness that was Fantasy Records. This song was inspired by my parents’ divorce when I was a young boy and the effect it had on me. At the time, they told me, “Someday, you’ll understand.” The truth of this is that you never do and I found myself facing this as a parent. The irony was painful and inescapable
Someday Never Comes
First thing I remember was asking papa, why, For there were many things I didn’t know. And daddy always smiled and took me by the hand, Saying, someday you’ll understand.
Well, I’m here to tell you now, each and every mother’s son, That you better learn it fast, you better learn it young, ‘Cause someday never comes.
Well, time and tears went by and I collected dust. For there were many things I didn’t know. When daddy went away, he said, try to be a man, And someday you’ll understand.
Well, I’m here to tell you now, each and every mother’s son, That you better learn it fast, you better learn it young, ‘Cause someday never comes.
And then one day in April, I wasn’t even there, For there were many things I didn’t know. A son was born to me. Mama held his hand, Sayin’ someday you’ll understand.
Well, I’m here to tell you now, each and every mother’s son, That you better learn it fast, you better learn it young, ‘Cause someday never comes Ooo someday never comes.
Think it was September, the year I went away, For there were many things I didn’t know. And still I see him standing, tryin’ to be a man, I said, someday you’ll understand.
Well, I’m here to tell you now, each and every mother’s son, That you better learn it fast, you better learn it young, ‘Cause someday never comes Ooo someday never comes.
Hey Tonight is the B-side of “Have You Ever Seen the Rain,” the first single Creedence Clearwater Revival released in 1971 and the last the band launched as a quartet. Both single cuts also appear on the Pendulum album. What terrific singles this great band produced like clockwork.
This is yet another song that has the character “Jody” in it. Songs like It Came Out Of The Sky, Hey Tonight, and a solo Fogerty song called Almost Saturday Night. He has never said one way or another if it was based on someone or just sounded good in the song…probably the latter.
John Fogerty wrote “Hey Tonight” and the band rehearsed it before the group hit the studio in 1970. Fogerty thought the song was one of the better ones on the album despite the fact it was written in while the band was in turmoil at that time. Creedence Clearwater played “Hey Tonight” live for a first time at the private party the band held to music writers at Cosmo’s Factory on December 12th, 1970.
John not only wrote, sings and plays guitar on every track, he also overdubbed organ and saxophone (which he played himself) on some of the songs.
Have You Ever Seen The Rain?/Hey Tonight peaked at #9 in the Billboard 100 and #1 in Canada in 1971.
This video below is not a real video to the song but it shows some footage I haven’t seen before of the band as a trio after Tom quit. The song is right below this one.
Hey Tonight
Hey, Tonight, Gonna be tonight, Don’t you know I’m flyin’ Tonight, tonight. Hey, c’mon, Gonna chase tomorrow Tonight, tonight.
Gonna get it to the rafters, Watch me now. Jody’s gonna get religion All night long.
Hey, c’mon, Gonna hear the sun Tonight, tonight.
Gonna get it to the rafters, Watch me now. Jody’s gonna get religion All night long.
Aaaah! Hey, Tonight, Gonna be tonight, Don’t you know I’m flyin’ Tonight, tonight. Tonight, tonight.
It’s hard to say what song by Creedence is my favorite…but this one is in my top 3.
Creedence had some of the best singles ever. This was released as the B-side to the single for “Up Around the Bend,” which was issued in April and quickly went gold. Up Around the Bend/Run Through The Jungle peaked at #4 in the Billboard 100 and #1 in Canada in 1970.
Many people thought this was about Vietnam but Fogerty has said it was about America and guns. He isn’t anti-gun but many people he thought were “gun happy” and that is what the song is about. John’s quote is below
Long after this song was released and Fogerty released his single “Old Man down the Road” in 1985…Former CCR executive Saul Zaentz claimed that that song, which Fogerty released as a solo artist, was too similar to Run Through The Jungle, and even took him to court. It was perhaps the first time an artist was sued for plagiarizing himself.
Fogerty won that case, but Zaentz also sued him for his song “Zanz Kant Danz,” professing that it was an attack on him. Zaentz won that case and Fogerty not only had to pay a fine, but also had to change the song’s name to “Vanz Kant Danz.” Zaentz was the root of the problem between the members of CCR.
John Fogerty: “I think a lot of people thought that because of the times, but I was talking about America and the proliferation of guns, registered and otherwise. I’m a hunter and I’m not antigun, but I just thought that people were so gun-happy – and there were so many guns uncontrolled that it really was dangerous, and it’s even worse now. It’s interesting that it has taken 20-odd years to get a movement on that position.”
From Songfacts
This is often believed to be about the Vietnam War, as it referred to a “jungle” and was released in 1970. The fact that previous CCR songs such as “Who’ll Stop the Rain?” and “Fortunate Son” were protests of the Vietnam War added to this theory. In response,
This position is best demonstrated in this lyric:
200 million guns are loaded
Satan cries, “Take aim!”
This opens with jungle sound effects created by, according to Stu Cook, “lots of backwards recorded guitar and piano.”
Speaking about the musical influence on this song, John Fogerty said: “There were so many more people I’d never heard of – like Charlie Patton (an early Delta bluesman). I’m ashamed to admit that, but he wasn’t commercially accessible, I guess. I read about him, and about a month or two later, I realized there were recordings of his music. To me, that was like if Moses had left behind a DAT with the Dead Sea Scrolls or something! ‘You mean you can hear him?! Oh my God!’ And then when I did hear Patton, he sounded like Howlin’ Wolf, who was a big influence on me. When I did ‘Run Through the Jungle,’ I was being Howlin’ Wolf, and Howlin’ Wolf knew Charlie Patton!”
The line, “Devil’s on the loose” (“They told me, ‘Don’t go walking slow ’cause Devil’s on the loose'”) was taken from music journalist Phil Elwood, who misinterpreted the line “doubles on kazoo” from the song “Down on the Corner” (“Willy goes into a dance and doubles on kazoo”). Fogerty saw this misquoted lyric in the newspaper and loved it, so he thanked Phil and used it for “Run through the Jungle.”
Most artists didn’t use songs that could be standalone singles as B-sides, but if you bought a CCR single, you often got two hit songs – another example is “Travelin’ Band” and “Who’ll Stop The Rain?,” which were paired on the same single.
John Fogerty played the harmonica part. Like the vocals on “Down on the Corner,” he recorded it after recording the actual song and dubbed it in, because it went from harmonica to vocals so quickly and he couldn’t remove the harmonica from his mouth fast enough. John also played harmonica on his solo effort The Wall (not to be confused with the Pink Floyd album).
Fogerty told Guitar World in 1997 that when he sang “Run Through the Jungle,” he was “being Howlin’ Wolf,” an artist he cites as a major influence on him.
The Gun Club covered this for their album Miami, although with different lyrics because vocalist and band leader Jerry Pierce couldn’t understand what John Fogerty was singing. He took some lyrics from black slavery songs, a Willie Brown song and personal experience (a heroin overdose is mentioned). They first performed it at a friend’s birthday party before they were persuaded to include it on the album.
Besides Gun Club, this has been covered by Bruce Springsteen, Georgia Satellites, 8 Eyed Spy, Los Lobos and Killdozer.
Tom Fogerty called this song, “My all-time favorite Creedence tune.” He added, “It’s like a little movie in itself with all the sound effects. It never changes key, but it holds your interest the whole time. It’s like a musician’s dream. It never changes key, yet you get the illusion it does.”
This song has appeared in the following movies:
Air America (1990) My Girl (1991) Rudy (1993) The Big Lebowski (1998) Radiofreccia (1998) Radio Arrow (1998) Tropic Thunder (2008) Drift (2013)
And these TV series:
Entourage (The Scene – 2004) Supernatural (“Sin City” – 2007, “Out of the Darkness, Into the Fire” – 2015) Hawaii Five-0 (“Kahu” – 2012)
Run Through The Jungle
Whoa thought it was a nightmare Lord it was so true
They told me don’t go walking slow The devil’s on the loose
Better run through the jungle Better run through the jungle Better run through the jungle Whoa don’t look back to see
Thought I heard a rumblin’ Calling to my name
Two hundred million guns are loaded Satan cries “take aim”
Better run through the jungle Better run through the jungle Better run through the jungle Whoa don’t look back to see
Over on the mountain, thunder magic spoke Let the people know my wisdom Fill the land with smoke
Better run through the jungle Better run through the jungle Better run through the jungle Whoa don’t look back to see
I love this song by Creedence but it’s probably the song I seek out the least…only because I’ve probably heard it the most. If I hear it on the radio I like it though all over again. This song was the game changer for CCR.
Fogerty refused to play his Creedence songs that he wrote for years because of bitter memories and bad contracts he signed with Creedence. He didn’t think about relenting until a stage appearance on February 19. 1987 with Dylan and George Harrison at a Taj Mahal concert at the Palomino, a Los Angeles club.
Dylan told him ‘Hey, John, if you don’t do these tunes, the world’s going to remember “Proud Mary” as Tina Turner’s song.” That got John thinking that ignoring his back catalog probably harmed his career and started to play those songs again.
When CCR recorded this song, John Fogerty wasn’t happy with the harmony vocals so when the band was at dinner…he recorded them himself and overdubbed them onto the track. This caused further tension in his already tension filled relationship with his bandmates.
The song was on Bayou Country released in 1969 and it peaked at #7 in the Billboard Album Charts, #14 in Canada, and #62 in the UK.
The song peaked at #2 in the Billboard 100, #2 in Canada, #8 in the UK, and #3 in New Zealand.
The song came together on the day that John Fogerty got his discharge papers from the US Army. Fogerty had been drafted in 1966 and was part of a Reserve unit, serving at Fort Bragg, Fort Knox, and Fort Lee. His discharge papers came in 1967.
John Fogerty:“The Army and Creedence overlapped, so I was ‘that hippie with a record on the radio.’ I’d been trying to get out of the Army, and on the steps of my apartment house sat a diploma-sized letter from the government. It sat there for a couple of days, right next to my door. One day, I saw the envelope and bent down to look at it, noticing it said ‘John Fogerty.’ I went into the house, opened the thing up, and saw that it was my honorable discharge from the Army. I was finally out! This was 1968 and people were still dying. I was so happy, I ran out into my little patch of lawn and turned cartwheels. Then I went into my house, picked up my guitar and started strumming. ‘Left a good job in the city’ and then several good lines came out of me immediately. I had the chord changes, the minor chord where it says, ‘Big wheel keep on turnin’/Proud Mary keep on burnin” (or ‘boinin’,’ using my funky pronunciation I got from Howling’ Wolf). By the time I hit ‘Rolling, rolling, rolling on the river,’ I knew I had written my best song. It vibrated inside me. When we rehearsed it, I felt like Cole Porter.”
John Fogerty liked Ike and Tina’s version:“When it ended, if they had a camera and came back to me it’d be like, when Shrek and the donkey go to Far, Far Away and they push the button for that little arcade machine and it tells the whole story of their town! And the Donkey’s like [Eddie Murphy impression] ‘Let’s do that again!’ That’s how I felt when that ended. I loved it, and I was so honored. I was like, ‘Wow, Ike and Tina!’ I had actually been following their career for quite some time. Way back in the day, when Janis and Grace Slick started to get known by the kids who were my age, I’d be like, ‘Man, Tina Turner, c’mon!’ She finally got her due, but for a while there, she wasn’t noticed. It was a really good version, and it was different. I mean, that’s the key. Instead of the same thing, it was really exciting.”
From Songfacts
In the beginning, “Proud Mary” had nothing to do with a riverboat. Instead, John Fogerty envisioned it as the story of a woman who works as a maid for rich people. “She gets off the bus every morning and goes to work and holds their lives together,” he explained. “Then she has to go home.”
It was Stu Cook who first introduced the riverboat aspect of the song. The idea came to him as the group watched the television show Maverick and Stu made the statement, “Hey riverboat, blow your bell.” John agreed that the boat seemed to have something to do with the song that had been brewing in his mind for quite some time, waiting to take conscious shape. When he wrote the music, he made the first few chords evoke a riverboat paddlewheel going around. Thus, “Proud Mary” went from being a cleanup lady to a boat.
Fogerty wrote the lyrics based on three song title ideas: “Proud Mary,” “Riverboat,” and “Rolling On A River.” He carried around a notebook with titles that he thought would make good songs, and “Proud Mary” was at the top of the list. So it was that an all-American classic was born from the pressure-cooker atmosphere of the late 1960s. Fogerty suspected right away that his “Tin Pan Alley” song was a radio-friendly hit, and he was right. The song hit #2 in the US, reached #8 in the UK, and #1 in Austria.
This was the first of five singles by Creedence that went to #2 on the US chart; they have the most #2 songs without ever having a #1.
Despite popular belief, John Fogerty was not writing from experience when he wrote this. Thanks to his military commitment, he hadn’t ventured further east than Montana. After the song was recorded, he took a trip to Memphis so he could finally see the Mississippi River.
The original CCR version peaked at #2 in March 1969. In June, Solomon Burke’s rendition hit #45. His was the first to include a spoken into:
I know a lot of you folks would like to know what the old Proud Mary is all about
Well, I’d like to tell you about her
She’s nothing but a big old boat
You see, my forefathers used to ride the bottoms of her as stokers, cooks, and waiters
And I made a vow that when I grew up, I’d take a ride on the old Proud Mary
And if you’d let me, I’d like to sing about it
Burke then sings, “looking for a job in the city,” as opposed to “left a good job in the city.”
This was a #4 hit in the US for Ike & Tina Turner in 1971, and a highlight of their live shows. Tina Turner recalled in an interview with Rolling Stone magazine in 1971 how they came to record this on their Workin’ Together album: “When we cut the album, we were lacking a few tunes, so we said ‘Well, let’s just put in a few things that we’re doing on stage. And that’s how ‘Proud Mary’ came about. I had loved it when it first came out. We auditioned a girl and she had sung ‘Proud Mary.’ This is like eight months later, and Ike said, ‘You know, I forgot all about that tune.’ And I said let’s do it, but let’s change it. So in the car Ike plays the guitar, we just sort of jam. And we just sort of broke into the black version of it. It was never planned to say, ‘Well, let’s go to the record shop, and I’d like to record this tune by Aretha Franklin’… it’s just that we get it for stage, because we give the people a little bit of us and a little bit of what they hear on the radio every day.”
“Proud Mary” attracted 35 covers in the year 1969 alone. Over 100 have been made since.
These are the US charting versions:
Creedence Clearwater Revival (#2, 1969) Solomon Burke (#45, 1969) Checkmates, Ltd. feat. Sonny Charles (#69, 1969) Ike & Tina Turner (#4, 1971) Glee Cast (#115, 2009)
The line, “Pumped a lot of pain down in New Orleans” is actually “Pumped a lot of ‘Pane,” as in propane. He was pumping gas.
The Checkmates, Ltd. did a horn-powered, gospel inflected version of this song that was produced by Phil Spector and featured Sonny Charles on lead vocals. Running 4:30, it’s substantially longer than the 3:07 original, and went to #69 in November 1969.
This arrangement was clearly an influence on the Ike & Tina Turner version, which they started performing soon after. There was speculation that Spector, who produced Ike & Tina on their 1966 single “River Deep – Mountain High,” brought this version to Ike Turner’s attention.
Fogerty came up with the famous chord riff on guitar when he was playing around with Beethoven’s “5th Symphony.” That one goes “dun dun dun duuunnnnn…,” but Fogerty thought it would sound better with the emphasis on the first note, which is how he arrived at “do do do do.”
This part reminded him of the paddle wheel that impels a riverboat. “‘Proud Mary’ is not a side-wheeler, it’s a stern-wheeler,” he explained.
Even though Creedence Clearwater Revival was from El Cerrito, California, many people thought they were from New Orleans or some other part of the South because of their swamp rock sound. They helped feed the rumor by naming their second album Bayou Country.
Tina Turner recorded a solo version for her 1993 album What’s Love Got To Do With It, which was the soundtrack to her biopic of the same name. In the film, it was lip-synced by Angela Bassett and Laurence Fishburne (who played Ike and Tina), but on the recording, Tina’s sax player Tim Cappello did Ike’s bass vocals. By recording her own version with no trace of Ike, it made sure he could not profit from its use in the film or soundtrack – an important distinction considering Tina’s accusations of spousal abuse.
When Tina performed the song live, she would usually do a variation on the spoken part, but without the male vocal.
Ike & Tina Turner’s version charted for the first time in the UK on the chart dated October 2, 2010 after it was performed on X-Factor by auditioneees Diva Fever. This version was credited to Tina Turner only.
Ike and Tina performed their version on the Season 2 premiere of Soul Train in 1972, becoming the first big act to appear on the program. The show became very popular its first season because of the dancers, but they were able to book many famous guests in subsequent seasons.
The occasion didn’t inspire Fogerty to start regularly performing CCR songs again, but it did break it for that one evening as four legends of rock jammed together.
According to the book Bad Moon Rising, Bob Dylan called “Proud Mary” his favorite song of 1969.
A film about a hitwoman titled Proud Mary was released in January 2018. Not only does the action movie take its name from the song, but altered lyrics from the tune appear on the poster promoting it, with the tagline, “Killing for the Man every Night and Day.”
John Fogerty took to Twitter to complain:
“I wrote the song ‘Proud Mary’ 50 years ago, and I was very excited to have written such a good song. In fact, it was my very first good song.
My songs are special to me. Precious. So it irks me when people seek to capitalize on the popularity of my music and the good will it has earned with the public for their own financial gain. Over the years, I have often found myself directly opposed to these uses.
This movie has nothing to do with me, or my song. They simply picked the title and wrote a completely fictitious story around it.”
He added: “No one ever asked me about using my song this way, or even about the meaning of Proud Mary.”
The film, as well as the trailer, features the Tina Turner version of the song. Fogerty lost the rights to his CCR songs in 1973, so there was nothing he could do about having a cover version of the song used in the film.
Leonard Nimoy, who played “Mr. Spock” on Star Trek, recorded an infamous cover of this song. Near the end, he sings the chorus Elmer Fudd style – “Big wheel keep on toynin’, Pwoud Mawy keep on boinin’…” It is included on a CD called Golden Throats.
This song was used to disastrous effect to open the 1989 Academy Awards ceremony in a bit where host Rob Lowe sang it with an actress playing Snow White, with the lyrics changed to be about Hollywood:
Klieg lights keep on burnin’
Cameras keep on turnin’
Rollin’ Rollin’
Keep the cameras rollin’
Proud Mary
Left a good job in the city Workin’ for the man ev’ry night and day And I never lost one minute of sleepin’ Worryin’ ’bout the way things might have been
Big wheel keep on turnin’ Proud Mary keep on burnin’ Rollin’, rollin’, rollin’ on the river
Cleaned a lot of plates in Memphis Pumped a lot of pane down in New Orleans But I never saw the good side of the city ‘Til I hitched a ride on a river boat queen
Big wheel keep on turnin’ Proud Mary keep on burnin’ Rollin’, rollin’, rollin’ on the river Rollin’, rollin’, rollin’ on the river
If you come down to the river Bet you gonna find some people who live You don’t have to worry ’cause you have [if you got] no money People on the river are happy to give
Big wheel keep on turnin’ Proud Mary keep on burnin’ Rollin’, rollin’, rollin’ on the river Rollin’, rollin’, rollin’ on the river
Rollin’, rollin’, rollin’ on the river Rollin’, rollin’, rollin’ on the river Rollin’, rollin’, rollin’ on the river
I was headed over to see my then girlfriend in 1985 and I was exiting off of the interstate. That is when I saw a beautiful girl hitch-hiking. She was stunning and conservatively dressed. So being a caring guy… I wanted to do a good deed! I stopped and asked her if I could help. She got in the car and was very nice and well spoken. She asked me where I was going and I told her to my girlfriend’s house.
Then came the question…did I want a “date” for that night…I told her my girlfriend would probably frown on that idea so I took her back where I found her and let her out…she was totally nice but yea I was a naïve 18 year old and ever since then this song reminds me of her…So this song is for her where ever she is now.
This is a great song that was on what was regarded as Creedence’s worse album.
The Mardi Gras album. By this time John’s brother had quit and the other two (Stu Cook and Doug Clifford) members had wanted more to do with the band’s direction. John told them for this album they would have more to do like writing and singing 3 songs each…they were not ready for that and the result was Mardi Gras…it was universally panned but there are some good songs on it…mostly the Fogerty contributions. It was their last studio album.
The song peaked at #6 in the Billboard 100, #1 in Canada, and #36 in the UK in 1971. The album peaked at #12 in the Billboard Album Charts and #11 in Canada.
From Songfacts
This was the first CCR album that John Fogerty did not dominate. Other members of the band had accused him of being a control freak, so Fogerty let them do more of the songwriting and have a more prominent role on this album. It was the beginning of the end for CCR, as the album was a flop and this song the last of their hits.
In the line, “We could make music at the Greasy King,” The Greasy King was the nickname for the local burger stand in Berkeley, California near their rehearsal space, which they called “Cosmo’s Factory.”
This was the first single CCR released as a trio – Tom Fogerty left before the album was recorded.
The band started a four-continent tour as this was released.
Since they did not have other new songs to go along with this track, it was released as a single a year before the Mardi Gras album was issued.
The follow-up single, “Molina”/”Sailor’s Lament,” was never released in North America. It was released in Germany and became a major hit there in late 1971.
Sweet Hitchhiker
Was ridin’ alongside the highway Rollin’ up the country side Thinkin’ I’m the devil’s heatwave What you burn in your crazy mind? Saw a slight distraction Standin’ by the road She was smilin’ there Yellow in her hair Do you wanna, I was thinkin’ Would you care?
Sweet Hitchhiker We could make music at the Greasy King Sweet Hitchhiker, Won’t you ride on my fast machine?
Cruisin’ on through the junction I’m flyin’ ’bout the speed of sound Noticin’ peculiar function I ain’t no roller coaster Show me down I turned away to see her Whoa, she caught my eye But I was rollin’ down Movin’ too fast Do you wanna, she was thinkin’ Can it last?
Sweet Hitchhiker We could make music at the Greasy King Sweet Hitchhiker Won’t you ride on my fast machine?
Was busted up along the highway I’m the saddest ridin’ fool alive Wond’ring if you’re goin’ in my way Won’t you give a poor boy a ride? Here she comes a ridin’ Lord, she’s flyin’ high But she was rollin’ down Movin’ too fast Do you wanna, she was thinkin’ Can I last?
Sweet Hitchhiker We could make music at the Greasy King Sweet Hitchhiker Won’t you ride on my fast machine?
I love CCR…what a band they were…they didn’t have the resources the Beatles, Stones, and The Who as in a big record company, managers, and producers but they kept up with their British counterparts.
John Fogerty wrote this song. The song has been dissected a lot and some say it was a protest of the Vietnam War like “Fortunate Son”. Fogerty has said that when he was at Woodstock, He watched the festival goers dance in the rain, muddy, naked, cold, huddling together, and it just kept raining.
So when he got back home after that weekend, he sat down and wrote “Who’ll Stop the Rain,” making it not a Vietnam protest at all, but a recounting of his Woodstock experience.
Another great single by CCR…the B side to this song was Travelin’ Band.
The song was on what was perhaps their best album Cosmo’s Factory. The album peaked at #1 in the Billboard 100, The UK, and Canada.
Who’ll Stop The Rain peaked at #4 in the Billboard 100, #4 in Canada, and #8 in the UK in 1970.
John Fogerty:When interviewed by Rolling Stone magazine, John Fogerty was asked, “Does ‘Who’ll Stop The Rain’ contain lyrically specific meanings besides the symbolic dimension?” His response: “Certainly, I was talking about Washington when I wrote the song, but I remember bringing the master version of the song home and playing it. My son Josh was four years old at the time, and after he heard it, he said, ‘Daddy stop the rain.’ And my wife and I looked at each other and said, ‘Well, not quite.'”
From Songfacts
This was used in the 1978 motion picture of the same name starring Nick Nolte as a Vietnam veteran. The movie was going to be called Dog Soldiers, but when the producers got the rights to use this song, they changed the title to Who’ll Stop The Rain.
This was released as the B-side to “Travelin’ Band.” It’s one of the many CCR singles to stall at #2. Creedence Clearwater Revival never had a #1 hit in the US.
The line, “I went down Virginia, seekin’ shelter from the storm” gave Bob Dylan the idea for the title of his 1975 song “Shelter From The Storm.”
This is one of many rain-themed CCR songs, including “Have You Ever Seen the Rain?”
Bruce Springsteen opened with this song during his summer stadium tour of 2003 whenever it was raining
During the lockdown John and his family has played a lot of Creedence’s songs for fans… This is one.
Who’ll Stop The Rain
Long as I remember The rain been coming down. Clouds of mystery pouring Confusion on the ground. Good men through the ages, Trying to find the sun; And I wonder, Still I wonder, Who’ll stop the rain.
I went down Virginia, Seeking shelter from the storm. Caught up in the fable, I watched the tower grow. Five year plans and new deals, Wrapped in golden chains. And I wonder, Still I wonder Who’ll stop the rain.
Heard the singers playing, How we cheered for more. The crowd had rushed together, Trying to keep warm. Still the rain kept pouring, Falling on my ears. And I wonder, Still I wonder Who’ll stop the rain.
Walter and Eric said they’d put him on a network TV show The White House said, “Put the thing in the blue room” The Vatican said, “No, it belongs to Rome” And Jody said, it’s mine but you can have it for seventeen million
This is one Creedence song that you don’t hear everyday…that doesn’t make it any less of a song than their others.
It’s about a farmer called Jody who finds a UFO and become famous. The event first triggers fear and later greed. Between the lines, there’re also sarcastic remarks on American show business, media and politics.
The character of “Jody” comes up in other songs of John Fogerty. Jody is in Almost Saturday Night, Hey Tonight and this one of course.
The song name checks different people and places. Ronald Reagan, Spiro Agnew, The White House, Hollywood, and the Vatican. Also in the mix are news reporters Walter Cronkite and Eric Sevareid.
It Came Out Of The Sky was never released as a single in America. In the UK it was backed with Side of the Road. It didn’t get much airplay there and didn’t chart.
The song was on the album Willy and the Poor Boys…a great album that peaked at #3 in the Billboard Album Charts, #2 in Canada, and #10 in the UK in 1970. Creedence had 18 songs in the top 100 and 9 top 10 hits yet no number 1’s in the Billboard 100…which I still find hard believe.
The song appeared in an episode of Better Call Saul and WKRP…the classic episode of Turkey’s Away.
It Came Out Of The Sky
Oh, it came out of the sky, landed just a little south of Moline Jody fell out of his tractor, couldn’t believe what he seen Laid on the ground and shook, fearin’ for his life Then he ran all the way to town screamin’ it came out of the sky
Well, a crowd gathered ’round and a scientist said it was marsh gas Spiro came and made a speech about raising the Mars tax The Vatican said, “Woe, the lord has come” Hollywood rushed out an epic film And Ronnie the popular said it was a communist plot
Oh, the newspapers came and made Jody a national hero
Walter and Eric said they’d put him on a network TV show The White House said, “Put the thing in the blue room” The Vatican said, “No, it belongs to Rome” And Jody said, it’s mine but you can have it for seventeen million
Oh, it came out of the sky, landed just a little south of Moline Jody fell out of his tractor, couldn’t believe what he seen Laid on the ground a shakin’, fearin’ for his life Then he ran all the way to town screamin’ it came out of the sky Oh
Seven thirty-seven comin’ out of the sky Won’t you take me down to Memphis on a midnight ride I want to move Playin’ in a travelin’ band
This one is a rocker and doesn’t let up. It came off of perhaps their best album Cosmo’s Factory and was released as a double A-side single with Who’ll Stop The Rain on the other side.
“Travelin’ Band” is very similar in style to the music of Little Richard, which Fogerty saw as a heartfelt tribute to the singer. Specialty Records, which owned Richard’s catalog, saw things differently and sued the band, reaching a settlement to earn some royalties from the song.
After the basic track was cut, John Fogerty went back to the studio and added many of the instrumental parts, including horns and piano, which he played himself.
Travelin’ Band/Who’ll Stop The Rain peaked at #2 in the Billboard 100, #4 in Canada, and #8 in the UK in 1970.
From Songfacts
Written by lead singer John Fogerty, this song is all about the hectic lifestyle of Creedence Clearwater Revival and their road warrior ways. In 1969, the band toured constantly and played many of the major festivals, including Woodstock. There was a rush of excitement in going from place to place, but as their drummer Doug Clifford explained, their baggage was constantly getting lost (“baggage gone, oh well”) and they spent a lot of time waiting around in the heat during those famous festivals. The traveling got easier for the band when they got their own private plane.
The lawsuit claimed the Little Richard’s “Good Golly Miss Molly” was being copied, but Creedence bass player Stu Cook said he thought it sounded more like “Long Tall Sally.” Cook described the song as a combination of ’50s Rock classics, but not a ripoff of any one song.
Travelin’ Band
Seven thirty seven comin’ out of the sky Won’t you take me down to Memphis on a midnight ride I want to move Playin’ in a travelin’ band Yeah Well I’m flyin’ ‘cross the land tryin’ to get a hand Playin’ in a travelin’ band
Take me to the hotel baggage gone, oh well Come on, come on won’t you get me to my room I want to move Playin’ in a travelin’ band Yeah Well I’m flyin’ ‘cross the land, tryin’ to get a hand Playin’ in a travelin’ band
Listen to the radio talkin’ ’bout the last show Someone got excited, had to call the state militia Want to move Playin’ in a travelin’ band Yeah Well, I’m flyin’ ‘cross the land, tryin’ to get a hand Playin’ in a travelin’ band
Here we come again on a Saturday night With your fussin’ and your fightin’ won’t you get me to the rhyme I want to move Playin’ in a travelin’ band Yeah Well, I’m flyin’ ‘cross the land, tryin’ to get a hand Playin’ in a travelin’ band
Playin’ in a travelin’ band Playin’ in a travelin’ band Won’t you give myself a hand? Playin’ in a travelin’ band Well, I’m flyin’ ‘cross the land, tryin’ to get a hand Playin’ in a travelin’ band
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