Your browser will redirect to your requested content shortly. Please forward this error screen to 88. Disclaimer: this page it Came Out Of The Sky – Creedence Clearwater Revival – Willy And The Poor Boys not written by from the point of view of a CCR fanatic and is not generally intended for narrow-perspective CCR fanatics.

If you are deeply offended by criticism, non-worshipping approach to your favourite artist, or opinions that do not match your own, do not read any further. If you are not, please consult the guidelines for sending your comments before doing so. For reading convenience, please open the reader comments section in a parallel browser window. Ah, the little silly swamp guys. I got tired of ’em, they don’t appear on my CD player too often, never mind: I still hold a soft spot for Mr John Fogerty, his magnificent raunchy voice and delicious guitar chops.

Back in the late Sixties, when they burst out on the scene, CCR certainly constituted a mighty opposition to the predominant directions that unfortunate American rock music had taken: the ultra-professional and rich, but not thoroughly entertaining, blueswailing of the Allman Brothers Band and its peers, on one side, and the acid-dripping psychedelia of the Airplane and its peers, on the other. CCR were neither trippy nor esoteric. The main problem with CCR has thus always resided within the question: what did these guys ever bring into rock music? A question which is indeed hard to answer. Overall, the four-star rating that I give ’em here is justified by a whole bunch of significant advantages.

The key to the band’s secret certainly lies in the giftedness of their leader and main ego – John Fogerty. CCR to occupy the position they’re currently occupying and – I hope – will occupy for as long as the world stands. John managed to render even the most generic blues numbers completely enjoyable, and his own material was always penned according to the principle ‘no hook – no song’. I think the key to CCR’s secret lies in their ‘genial simplicity’: John and company demonstrated that you could be an exceptionally good blues player without having to turn your six-string into a monstrous riffing machine a la late Sixties hard rock or, even worse, into a complicated solo programming machine.