I start to re-upload all of them plus some new one now in January 2013. Every thing before that date as been deleted by the authority. Enjoy the music and if you like a band just buy it at your music store.

Wednesday, June 30, 2010

SERGE GAINSBOURG / couleur cafe

Couleur cafe

Bit rate: 320 kps

LINK: couleur cafe


Thank you again for this French singer.

1. Cha Cha Cha Du Loup (Instrumental)
2. Mambo Miam Miam
3. L'Anthracite
4. Laissez-Moi Tranquille
5. Cha Cha Cha Du Loup
6. L'Eau A La Bouche
7. Les Amours Perdues
8. Erotico-Tico (Instrumental)
9. Ces Petits Riens
10. Baudelaire
11. Couleur Cafe
12. Pauvre Lola
13. Les Cigarillos
14. New York Usa
15. Tatoue Jeremie
16. Ce Grand Mechant Vous
17. La-Bas C'Est Naturel
18. Joanna
19. Marabout
20. L'Ami Caouette

Serge Gainsbourg

Serge Gainsbourg

Background information
Birth name Lucien Ginsburg
Also known as Julien Grix[1]
Born 2 April 1928(1928-04-02)
Origin Paris, France
Died 2 March 1991 (aged 62)
Genres Adult contemporary, jazz, reggae, French rock, French pop, electronic, New Wave, yé-yé
Occupations poet
Instruments Piano, guitar, bass, accordion, harmonica
Years active 1957 - 1991
Labels Mercury/Universal Records
Website Serge Gainsbourg

Serge Gainsbourg, born Lucien Ginsburg (French pronunciation: [sɛʁʒ ɡɛ̃zbuʁ]; 2 April 1928 – 2 March 1991) was a French singer-songwriter, actor and director. Gainsbourg's extremely varied musical style and individuality make him difficult to categorize. His legacy has been firmly established, and he is often regarded as one of the world's most influential popular musicians.


Personal life

He was born Lucien Ginsburg in Paris, France, the son of Russian Jewish parents, Joseph Ginsburg (1896 — 22 April 1971) and Olga Bessman (1894 — 16 March 1985), who fled to France after the 1917 Russian Revolution. His childhood was profoundly affected by the occupation of France by Nazi Germany, during which he and his family, as Jews, were forced to wear the yellow star and eventually flee Paris. Before he was 30 years old, Gainsbourg was a disillusioned painter, but earned his living as a piano player in bars.

He first married Elisabeth "Lize" Levitsky on 3 November 1951, and divorced her in 1957. He married a second time on 7 January 1964, to Françoise-Antoinette "Béatrice" Pancrazzi (b. 28 July 1931), with whom he had two children: a daughter named Natacha (b. 8 August 1964) and a son, Paul (born in spring 1968, after Serge had gotten back together with Béatrice). They divorced in February 1966.

In late-1967, he had a short but ardent love affair with Brigitte Bardot to whom he dedicated the song and album Initials BB.

In mid-1968, Gainsbourg fell in love with the much younger English singer and actress Jane Birkin, whom he met during the shooting of the film Slogan. Birkin remembers the beginning of her affair with Gainsbourg: he first took her to a nightclub, then to a transvestite club and afterwards to the Hilton hotel, where he passed out in a drunken stupor. In 1971 they had a daughter, the actress and singer Charlotte. Birkin left Gainsbourg in 1980 when pregnant with her third daughter, Lou, by the film director Jacques Doillon, whom she later married.

His last partner was Bambou (Caroline Paulus, grandchild of General Friedrich Paulus). In 1986 they had a son, Lucien (best known as Lulu).

Early work

His early songs were influenced by Boris Vian and were largely in the vein of old-fashioned chanson. Very early, however, Gainsbourg began to move beyond this and experiment with a succession of different musical styles: jazz early on, pop in the 1960s, rock and reggae in the 1970s, and electronica in the 1980s.

Many of his songs contained themes with a morbid or sexual twist in them. An early success, "Le Poinçonneur des Lilas", describes the day in the life of a Paris Métro ticket man whose job it is to stamp holes in passengers' tickets. Gainsbourg describes this chore as so monotonous that the man eventually thinks of putting a hole into his own head and being buried in another.

More success began to arrive when, in 1965, his song "Poupée de cire, poupée de son" was the Luxembourg entry in the Eurovision Song Contest. Performed by French teen singer France Gall, it won first prize. The song was covered in English as "A Lonely Singing Doll" by British teen idol Twinkle.

His next song for Gall, "Les Sucettes" ("Lollipops"), caused a scandal in France: Gainsbourg had written the song with double-meanings and strong sexual innuendo, of which the singer was apparently unaware when she recorded it. Whereas Gall thought that the song was about a girl enjoying lollipops, it was really about oral sex. The controversy arising from the song, although a big hit for Gall, threw her career off-track in France for several years.

Gainsbourg arranged other Gall songs and LPs that were characteristic of the late 1960s psychedelic styles, among them Gall's 1968 album. Another of Serge's songs "Boum Bada Boum" was entered in by Monaco in the 1967 contest, sung by Minouche Barelli; it came fifth. He also wrote hit songs for other artists, such as "Comment Te Dire Adieu" for Françoise Hardy.

In 1969, he released "Je t'aime... moi non plus", which featured explicit lyrics and simulated sounds of female orgasm. The song appeared that year on an LP, Jane Birkin/Serge Gainsbourg. Originally recorded with Brigitte Bardot, it was released with future girlfriend Birkin when Bardot backed out. While Gainsbourg declared it the "ultimate love song," it was considered too "hot"; the song was censored in various countries, and in France even the toned-down version was suppressed. The Vatican made a public statement citing the song as offensive. However, despite all the controversy, it charted within the top ten in many European countries.

The seventies

Histoire de Melody Nelson was released in 1971. This concept album, produced and arranged by Jean-Claude Vannier, tells the story of a Lolita-esque affair, with Gainsbourg as the narrator. It features prominent string arrangements and even a massed choir at its tragic climax. The album has proven influential with artists such as Air, David Holmes, Jarvis Cocker, Beck and Dan the Automator.

In 1975, he released the album Rock Around the Bunker, a rock album written entirely on the subject of the Nazis. Gainsbourg used black comedy, as he and his family suffered during World War II. While a child in Paris, Gainsbourg had worn the yellow badge as the mark of a Jew. Rock Around the Bunker belonged in the mid-1970s "retro" trend.

The next year saw the release of another major work, L'Homme à tête de chou (Cabbage-Head Man), featuring the new character Marilou and sumptuous orchestral themes. Cabbage-Head Man is one of his nicknames, as it refers to his ears. Musically, L'homme à tête de chou turned out to be Gainsbourg's last LP in the English rock style he had favoured since the late 1960s. He would go on to produce two reggae albums recorded in Jamaica (1979 and 1981) and two electronic funk albums recorded in New York (1984 and 1987).

In Jamaica in 1978 he recorded "Aux Armes et cetera", a reggae version of the French national anthem "La Marseillaise", with Robbie Shakespeare, Sly Dunbar, and Rita Marley. This song earned him death threats from right-wing veterans of the Algerian War of Independence who were opposed to certain lyrics. Bob Marley was furious when he discovered Gainsbourg made his wife Rita Marley sing erotic lyrics.[8] Shortly afterward, Gainsbourg bought the original manuscript of "La Marseillaise". He was able to reply to his critics that his version was, in fact, closer to the original as the manuscript clearly shows the words "Aux armes et cætera..." for the chorus.

The next year saw him coin the nickname Gainsbarre, for the evil himself in the song "Ecce Homo", Gainsbarre being a kind of Mr Hyde hiding in him.

Final years

Serge Gainsbourg's house on the rue de Verneuil in Paris, looked after by Charlotte Gainsbourg after her father's death

After a turbulent 13-year-long relationship, Jane Birkin left Gainsbourg. In the 1980s, near the end of his life, Gainsbourg became a regular figure on French TV. His appearances seemed devoted to his controversial sense of humour and provocation. In March 1984, while this was illegal (article 132 of the "Code Penal") and highly offensive, he burned a 500 French franc bill on television to protest against heavy taxation. He would show up drunk and unshaven on stage: in April 1986, in Michel Drucker's live Saturday evening show with the American singer Whitney Houston, he exclaimed to the host (in English), "I want to fuck her". The same year, in another talk show interview, he appeared alongside Catherine Ringer, a well known singer who had appeared in pornographic films. Gainsbourg shouted, "You're nothing but a filthy whore, a filthy, fucking whore". Ringer scolded back, "Look at you, you're just a bitter old alcoholic. I used to admire you but these days you've become a disgusting old parasite".

By December, 1988, while a judge at a film festival in Val d'Isère, he appeared raging drunk at a local theatre where he was to do a presentation. While on stage he began to tell an obscene story about Brigitte Bardot and a champagne bottle, only to stagger offstage and collapse in a nearby seat. Subsequent years saw his health deteriorate. He had to undergo liver surgery, but denied any connection to cancer or cirrhosis. His appearances and releases become sparser as he had to rest and recover in Vezelay. During these final years, he released Love on the Beat, a controversial electronic album with mostly sexual themes in the lyrics, and his last studio album, You're Under Arrest presented more synth-driven songs.

His songs became increasingly eccentric during this period, ranging from the anti-drug "Aux Enfants de la Chance" to the highly controversial duet with his daughter Charlotte named "Lemon Incest". This translates as "Inceste de citron", a wordplay on "un zeste de citron" (a tang of lemon). The title demonstrates Gainsbourg's love for puns - another example of which is Beau oui comme Bowie, a song he gave to Isabelle Adjani.

Film work

During his career, he wrote the soundtracks for more than 40 films. In 1996, he received a posthumous César Award for Best Music Written for a Film for Élisa, along with Zbigniew Preisner and Michel Colombier.

He directed four movies: Je t'aime... moi non plus, Équateur, Charlotte For Ever and Stan The Flasher.

He made an brief appearance with Jane Birkin in 1980 in Egon Schiele Exzess und Bestrafung, a film by Herbert Vesely, and also starred at "Les Chemins de Katmandou", with Jane Birkin.


Gainsbourg wrote a novel entitled Evguénie Sokolov.

Death and legacy

Serge, Olga and Joseph Gainsbourg's grave

Gainsbourg died on March 2, 1991 of a heart attack. He was buried in the Jewish lot of the Montparnasse Cemetery, in Paris. His funeral brought Paris to a standstill, and French President François Mitterrand said of him, "He was our Baudelaire, our Apollinaire... He elevated the song to the level of art." His home at the well-known address rue de Verneuil is still covered in graffiti and poems.

Since his death, Gainsbourg's music has reached legendary stature in France. His lyrical brilliance in French has left an extraordinary legacy. His music, always progressive, covered many styles: jazz, ballads, mambo, lounge, reggae, pop (including adult contemporary pop, kitsch pop, yé-yé pop, '80s pop, pop-art pop, prog pop, space-age pop, psychedelic pop, and erotic pop), disco, calypso, Africana, bossa nova, and rock and roll. He has gained a following in the English-speaking world with many non-mainstream artists finding his arrangements highly influential.

One of the most frequent interpreters of Gainsbourg's songs was British singer Petula Clark, whose success in France was propelled by her recordings of his tunes. In 2003, she wrote and recorded La Chanson de Gainsbourg as a tribute to the composer of some of her biggest hits.

His lyrics are collected in the volume Dernières nouvelles des étoiles.

In 2005, the album Monsieur Gainsbourg Revisited was released by Virgin Records. The album consisted of specially-recorded English-language cover versions of Gainsbourg's songs, recorded by artists as diverse as Franz Ferdinand, Portishead, Placebo, and Michael Stipe.

Film adaptation

A feature film titled Gainsbourg (Vie héroïque) was released in France in January 2010, which is based on the graphic novel by the writer-director of the film, Joann Sfar. Gainsbourg is portrayed by Eric Elmosnino and Kacey Mottet Klein.

Covers and tributes

  • One of the celebrating events of the Year of France in Brazil was a concert in September 2009 called "Gainsbourg Imperial", an event celebrating the music of Serge Gainsbourg. It was performed by Brazilian Samba Big Band Orquestra Imperial, having French maestro Jean-Claude Vannier, French singer Jane Birkin and Brazilian musician and singer Caetano Veloso as special guests.
  • Belinda Carlisle covered "Bonnie and Clyde" and "Contact" on her 2007 French language album Voila.
  • Giddle & Boyd (Giddle Partridge and Boyd Rice) covered "Bonnie and Clyde" on their 2008 EP Going Steady with Peggy Moffitt.
  • The first English-language version of a Gainsbourg song was Dionne Warwick's 1965 version of Mamadou.
  • Australian rock musician Mick Harvey released two CDs of Gainsbourg's songs translated into English.
  • Placebo did a cover of Gainsbourg's "The Ballad of Melody Nelson".
  • Gainsbourg's song "Bonnie and Clyde" is featured in the burlesque show scene of Rush Hour 3 and in the romantic film Laurel Canyon starring Christian Bale and Kate Beckinsale.
  • American indie rock band Luna included a cover of "Bonnie and Clyde" as a hidden track on their 1995 album Penthouse.
  • Okkervil River covers "Je suis venu te dire que je m'en vais" in English ("I Came Here to Say I'm Going Away").
  • Jarvis Cocker has also covered the above mentioned song, but named it "I Just Came To Tell You That I'm Going" instead.
  • Arcade Fire covered "Poupée de cire, poupée de Son" and also released it as a split 7" single with LCD Soundsystem (covering Joy Division's "No Love Lost" on their side).
  • Beirut often covers "La Javanaise" in their live sets and it is included in the live album Live at the Music Hall of Williamsburg (2009).
  • Australian pop singer-songwriter Kylie Minogue extensively sampled his duet with Brigitte Bardot "Bonnie and Clyde" on the song "Sensitized" off her 2007 album X. In 2003, she sampled "Je t'aime... moi non plus" in a modified version of her song "Breathe" (which originally did not contain any samples) for a special one-off live performance at the Hammersmith Apollo in promotion of her album Body Language.
  • French rapper MC Solaar sampled "Bonnie and Clyde" in his song "Nouveau Western" on his 1994 album Prose Combat
  • Irish musician David Holmes covered "Cargo Culte" in his song "Don't Die Just Yet" on his 1997 album Let's Get Killed.
  • American emcee Princess Superstar sampled the melody of the songs "Melody" and "Cargo Culte" in the song "You Get Mad At Napster" on her album Princess Superstar Is.
  • The Welsh comedy-rap band Goldie Lookin Chain extensively sampled the title track of Gainsbourg's "Cannabis" film soundtrack for their single "Your Missus Is a Nutter".
  • In 1997 Tzadik records released a tribute to Gainsbourg in their Great Jewish Composers series. The album includes covers by John Zorn, Medeski, Martin and Wood, Mike Patton, Fred Frith, Ikue Mori, Marc Ribot and Cyro Baptista.
  • On the HBO show Flight of the Conchords, the sequence for the song "A Kiss is Not a Contract" is a tribute to Gainsbourg's video for "Ballade de Melody Nelson".
  • The track "Serge" on The Herbaliser's album Take London is about a chance encounter with Gainsbourg 3 days before his death.
  • Black Grape's "A Big Day in the North" is based on a sample taken from Initials B.B. and also features samples from "Ford Mustang".
  • In the film High Fidelity, when a pair of punks steals from Rob Gordon's record store, one of the things they stole was a Serge Gainsbourg record.
  • American hip hop duo The Beatnuts sampled "Melody" on their track "Superbad" off their album The Beatnuts LP.



Tribute albums and posthumous releases

  • 1997: Great Jewish Music: Serge Gainsbourg (tribute album)
  • 1997: Comic Strip
  • 2001: Gainsbourg Forever (integral box set)
  • 2001: Le Cinéma de Gainsbourg (box set)
  • 2001: I Love Serge: Electronicagainsbourg (remix album)
  • 2005: Monsieur Gainsbourg Revisited (tribute album)
  • 2008: Classé X (compilation)



Trop jolies pour être honnêtes


Sunday, June 27, 2010

CREEDENCE CLEARWATER REVIVAL / madison square garden

Madison Square Garden
New York, NY

Soundboard Recording (WNEW-FM acetate)

Bit rate: 128 kbps

LINK: madison

01. Don't Look Now
02. Travelin' Band
03. Who'll Stop The Rain?
04. Born On The Bayou
05. Green River
06. Bad Moon Rising
07. Proud Mary
08. Fortunate Son
09. Down On The Corner

Bonus Tracks:

Seattle WA

Audience Recording

10. Born On The Bayou
11. Green River
12. Tombstone Shadow
13. Travelin' Band
14. Fortunate Son
15. Commotion
16. Bad Moon Rising
17. Proud Mary
18. Up Around The Bend
19. Night Time Is The Right Time
20. Keep On Chooglin'

Creedence Clearwater Revival

Creedence Clearwater Revival

CCR, 1968. L-R: Tom Fogerty, Doug Clifford, Stu Cook, and John Fogerty
Background information
Origin El Cerrito, California
Genres Roots rock, country rock, swamp rock, rock and roll, Southern rock, Blue-eyed soul
Years active 1959–1972
Labels Fantasy
Associated acts The Blue Velvets
The Golliwogs
Creedence Clearwater Revisited
Website creedence-online.net
Former members
John Fogerty
Tom Fogerty
Stu Cook
Doug Clifford

Creedence Clearwater Revival (often abbreviated CCR) was an American rock band that gained popularity in the late 1960s and early 1970s with a number of successful singles drawn from various albums.

The group consisted of lead vocalist, lead guitarist, and primary songwriter John Fogerty, his brother and rhythm guitarist Tom Fogerty, bassist Stu Cook, and drummer Doug Clifford. Their musical style encompassed rock and roll and swamp rock genres. Despite their San Francisco Bay Area origins, they are sometimes also cited as southern rock stylists.

CCR's music is still a staple of American and worldwide radio airplay and often figures in various media. The band has sold 26 million albums in the United States alone.CCR was inducted into the Rock and Roll Hall of Fame in 1993.


Before Creedence: 1959-1967

John Fogerty, Doug Clifford, and Stu Cook (all born 1945) met at junior high school in El Cerrito, California and began playing instrumentals and "juke box standards" together under the name The Blue Velvets. The trio also backed singer Tom Fogerty— John's older brother by three years—at live gigs and in the recording studio. By 1964, the band had signed to Fantasy Records, an independent jazz label based in San Francisco at the time.

Fantasy had released Cast Your Fate to the Wind, a national hit for jazz pianist Vince Guaraldi. The record's success was the subject of an NET TV special, which prompted budding songwriter John Fogerty to contact the label.[5] For the band's first release, however, Fantasy co-owner Max Weiss renamed the group The Golliwogs (after the children's literary character, Golliwogg), apparently to cash in on a wave of popular British bands with similar names.

During this period, band roles underwent some changes. Stu Cook had gone from piano to bass guitar and Tom Fogerty became the band's rhythm guitarist. John Fogerty also began to write much of the band's material. Most notably, the young guitarist had taken over lead vocal duty. As Tom would later say, "I could sing, but John had a sound!"

Early success: 1967-68

The group had suffered a setback in 1966 when the draft board called up John Fogerty and Doug Clifford for military service. Fogerty managed to enlist in the Army Reserve instead of the regular Army while Clifford did a tenure in the United States Coast Guard Reserve.

In 1967, Saul Zaentz purchased Fantasy Records from Weiss and offered the band a chance to record a full-length album, but only if the group changed its name. Never having liked The Golliwogs, the foursome readily agreed. Zaentz and the band agreed to come up with ten suggestions each, but he enthusiastically agreed to their first: Creedence Clearwater Revival. The band took the three elements from, firstly, Tom Fogerty's friend Credence Newball, (to whose first name Credence they added an extra 'e', making it resemble a faith or creed); secondly, "clear water" from a TV commercial for Olympia beer; and finally "revival", which spoke to the four members' renewed commitment to their band. (Rejected contenders for the band's name included 'Muddy Rabbit', 'Gossamer Wump,' and 'Creedence Nuball and the Ruby', but the last was the start that led to their finalized name.)

By 1968, Fogerty and Clifford had been discharged from military service. All four members subsequently quit their jobs and began a heavy schedule of rehearsing and playing area clubs full-time.

The resulting 1968 debut album Creedence Clearwater Revival struck a responsive note with the emerging underground pop culture press, which touted CCR as a band worthy of attention. More importantly, AM radio programmers around the United States took note when a song from the LP, "Suzie Q", received substantial airplay in the San Francisco Bay Area as well as on Chicago's WLS. Blues aficionados doubtless appreciated the similarities between CCR's tough style and R&B artists on the Chess and Vee-Jay labels.

A remake of a 1956 song by rockabilly singer Dale Hawkins, "Suzie Q" was the band's second single, and its first to crack the Top 40. Reaching #11 nationally, it would be Creedence's only Top 40 hit not written by John Fogerty. Two other singles from the debut were released: a cover of Screamin' Jay Hawkins' "I Put a Spell On You" (which made it to #58) and "Porterville", written during John Fogerty's Army Reserve stint.

Peak success: 1969-70

While undertaking a steady string of live dates around the country to capitalize on their breakthrough, CCR also was hard at work on their second album Bayou Country at RCA Studios in Los Angeles. Released in January 1969 and becoming a #7 platinum hit, the record was the first in a string of hit albums and singles which continued uninterrupted for the next three years.

Bayou Country's seven songs were well-honed from Creedence's constant live playing. The album showed a distinct evolution in approach, much more simple and direct than the band's first release. The single "Proud Mary", backed with "Born On the Bayou", went to Number 2 on the national Billboard chart. It would eventually become the group's most-covered song, with some 100 cover versions by other artists to date, including a hit version in 1971 by Ike and Tina Turner. Bob Dylan named it his favorite single of 1969. The album also featured a blistering remake of the rock & roll classic "Good Golly Miss Molly" and the band's nine-minute live-show closer, "Keep On Chooglin' ".

Only weeks later, in March 1969, "Bad Moon Rising" backed with "Lodi" was released and peaked at #2 on the charts. The band's third album, Green River, followed in August and quickly went gold along with the single "Green River", which again reached #2 on the Billboard charts. The B-side of "Green River", "Commotion"—a one-chord two-step about the perils of city life—peaked at #30. The bar-band story of "Lodi" became a popular staple on then-emerging FM radio. The band's emphasis on remakes of their old favorites continued with "The Night Time Is the Right Time", which found its way into the band's live set as a crowd sing-along.

In 1969, Harry Shearer interviewed Cook and John Fogerty for the Pop Chronicles radio documentary.

Creedence continued to tour heavily including performances at the Atlanta Pop Festival and Woodstock. Their set was not included in the Woodstock film or its original soundtrack because John Fogerty felt the band's performance was subpar. (Several CCR tracks from the event were eventually included in the 1994 commemorative box set.) Stu Cook's view: "The performances are classic CCR and I'm still amazed by the number of people who don't even know we were one of the headliners at Woodstock '69." The band also complained that they had to take the stage at three in the morning because The Grateful Dead had jammed far past their scheduled set time. By the time Creedence began playing — "the hottest shot on Earth at that moment", said John Fogerty bitterly, nearly twenty years later — many in the audience had gone to sleep.

"Creedence Clearwater Revival, which disbanded in 1972, were progressive and anachronistic at the same time. An unapologetic throwback to the golden era of rock and roll, they broke ranks with their peers on the progressive, psychedelic San Francisco scene. Their approach was basic and uncompromising, holding true to the band members’ working-class origins. The term “roots rock” had not yet been invented when Creedence came along, but in a real way they defined it, drawing inspiration from the likes of Little Richard, Hank Williams, Elvis Presley, Chuck Berry and the artisans of soul at Motown and Stax. In so doing, Creedence Clearwater Revival became the standard bearers and foremost celebrants of homegrown American music.” - from the Rock and Roll Hall of Fame's website.[3]

Woodstock wasn't a cause for concern. Creedence was busy honing material for a fourth album, Willy and the Poor Boys, released in November 1969. "Down on the Corner", a good-time street-corner number, and the famously militant "Fortunate Son" climbed to #3 and #14, respectively, by year's end. The album was Creedence in its standard form, featuring Fogerty originals and two reworked Leadbelly covers, "Cotton Fields" and "Midnight Special". Both the latter songs also had been performed by actor Harry Dean Stanton in the movie Cool Hand Luke, suggesting a subtle non-conformist theme to an apparently tradition-oriented album.

1969 had been a remarkable chart year for the band: three Top Ten albums, four hit singles (charting at #2, #2, #2, and #3) with three additional charting B-sides. On November 16, 1969, they performed "Fortunate Son" and "Down on the Corner" on The Ed Sullivan Show.

Just after the new year, 1970, CCR released yet another new double-sided 45, "Travelin' Band"/"Who'll Stop the Rain". John Fogerty has said that the flip side was inspired by the band's experience at Woodstock. The speedy "Travelin' Band", however, bore enough similarities to "Good Golly, Miss Molly" to warrant a lawsuit by the song's publisher; it was eventually settled out of court. In the meantime, the single had topped out at #2. The band also recorded its January 31, 1970, live performance at the Oakland Coliseum Arena in Oakland, California, which would later be marketed as a live album and television special. In February, the Creedence foursome was featured on the cover of Rolling Stone, although only John Fogerty was interviewed in the accompanying article.

In April 1970, Creedence was set to begin its first European tour. To support the upcoming live dates, Fogerty came up with "Up Around the Bend", a good-time party rocker, and the brooding "Run Through the Jungle", about the burgeoning problem of societal violence in the United States. The single—written, recorded, and shipped in only a few days' time—went to #4 that spring, enjoying enthusiastic response from European live audiences and high commercial success in the U.S. and the rest of the world.

The band returned to Wally Heider's San Francisco studio in June to record what many consider the finest CCR album, Cosmo's Factory. The title was an in-joke about their various rehearsal facilities and factory work ethic over the years. (Drummer Doug Clifford's longtime nickname is "Cosmo", due to his keen interest in nature and all things cosmic.) The album contained the earlier Top 10 hits "Travelin' Band" and "Up Around the Bend" plus highly popular album tracks such as the opener "Ramble Tamble", an ambitious and snarling seven-minute cut about life in urban America with its "police on the corner, garbage on the sidewalk, actors in the White House."

Cosmo's was released in July 1970, along with yet another #2 national hit, "Lookin' Out My Back Door"/"Long As I Can See the Light". It was the band's fifth #2 single. Though they topped some international charts and local radio countdowns (such as WLS's, which rated three of their singles at #1), Creedence Clearwater Revival never had a #1 Billboard Hot 100 hit. Their five #2 singles were exceeded only by Elvis Presley and Madonna with 6 each. CCR has the odd distinction of having the most #2 singles on the Billboard charts without ever having had a #1.

Other cuts on the "Cosmo's Factory" album included an incisive eleven-minute jam of the 1967 and 1968 R&B hit "I Heard It Through The Grapevine" ( which would become a minor hit when an edited version was released as a single in the 70s a few years after the group's breakup ) and a nearly note-for-note homage to Roy Orbison's "Ooby Dooby". John Fogerty's musical range clearly had expanded. He now wove in slide guitar, keyboards, saxophones, tape effects, and layered vocal harmonies—and pushed himself vocally more than ever on "Long As I Can See the Light". The album, eleven songs in all, was Creedence's best seller and went straight to #1 on the Billboard 200 album charts and #11 on Billboard's Soul Albums chart.

Decline and breakup: late 1970-1972

From left to right, John Fogerty, Stu Cook, and Doug Clifford, 1972.

The Cosmo's Factory sessions had seen the stirrings of tensions within the foursome as the incessant touring and heavy recording schedules took their toll. John had taken control of the group in its business matters and its artistic output. The situation began to grate on Tom, Stu, and Doug, who wanted more of a say in the band's workings. John resisted, feeling that a 'democratic' process would threaten their success. Other issues included John's decision at a 1970 Nebraska gig that the band would no longer give encores at its live shows.

Pendulum, released in December 1970, was another top seller, spawning a Top 10 hit with "Have You Ever Seen the Rain?". The album marked yet another shift in the band's approach: a more minimal approach to production values, as opposed to the "wall of sound" style of the previous three albums. The single's flip side, the ringing "Hey Tonight", was also a hit. Somewhat experimental was the closer track, "Rude Awakening #2", a bizarre and almost tuneless free-form instrumental in which the musicians seem to have thrown in every sound and effect they could imagine.

But even continued musical innovation and success could not resolve the differences between John and Tom Fogerty. During the recording of Pendulum Tom Fogerty, who had already quit the band several times in disgust but was always talked into returning, left Creedence Clearwater Revival permanently. His departure was made public in February 1971. The band members considered replacing Tom but never did, Fogerty saying on an Australian TV broadcast that no new member could endure being in Creedence.

In spring 1971, John Fogerty informed a startled Cook and Clifford the band would continue only by adopting a 'democratic' approach: each member would now write and sing his own material. Fogerty also would contribute only rhythm guitar to his bandmates' songs. Cook and Clifford, who had wanted more of a voice in the band's music and business decisions, resisted this arrangement. Fogerty insisted they accept the new arrangement, or he would quit the band.

Despite the dissension, the CCR trio put its new work ethic to the test in the studio, releasing the Top 10 single "Sweet Hitch-Hiker" in July 1971, backed with Stu Cook's "Door to Door". The band toured both the U.S. and Europe that summer and autumn, with Cook's song a part of the live set. In spite of their continuing commercial success, however, relations among the three had become increasingly strained.

The band's final album, Mardi Gras, was released in April 1972, featuring songs written by Fogerty, Cook, and Clifford and a cover of "Hello Mary Lou" (a song Gene Pitney originally wrote for Ricky Nelson.) It received mostly poor, even savage reviews: Rolling Stone reviewer Jon Landau called it "the worst album I have ever heard from a major rock band".

The sales of Mardi Gras were weaker than those of the previous albums, although the album was not a total flop commercially. Mardi Gras peaked at #12, perhaps due more to the strength of the Creedence name than to the particular music on the record. This final release had the worst showings of any Creedence album and single since 1968. The 1971 hit single "Sweet Hitch-Hiker"/"Door to Door" was included on the album. Fogerty's "Someday Never Comes", backed with Clifford's "Tearin' Up the Country", also cracked the US Top 40.

By this point, Fogerty was not only at direct odds with his bandmates, but he had also come to see the group's relationship with Fantasy Records as onerous, feeling that label owner Zaentz had reneged on his promise to give the band a better contract. Cook — who holds a degree in business — claimed that because of poor judgment on Fogerty's part, CCR had to abide by the worst record deal of any major American recording artist.

Despite the relatively poor reception of Mardi Gras and deteriorated inter-group relationships, the band immediately embarked upon a two-month, 20-date U.S. tour. Hecklers reportedly pelted the band with coins at the final stop of the tour on May 22 in Denver. Finally, on October 16, 1972 - less than six months later - Fantasy Records and the band officially announced the disbanding of Creedence Clearwater Revival.

Creedence Clearwater Revival never reunited after the break up, although Cook and Clifford eventually started the band Creedence Clearwater Revisited.

After Creedence

John Fogerty

In 1973, John began his solo career with The Blue Ridge Rangers, his one-man band collection of country and gospel songs. Under his old Creedence contract, however, Fogerty owed Fantasy eight more records. In the end, he simply refused to work for the label any longer. The impasse was resolved only when Asylum Records' David Geffen bought Fogerty's contract for $1,000,000. His next major hit was Centerfield, a chart-topping success in 1985. On tour in 1986, however, Fogerty suffered complaints over his steadfast refusal to play Creedence songs live and suffered with recurring vocal problems which he blamed on having to testify in court. Fogerty's explanation for not playing CCR songs was that he would have had to pay performance royalties to copyright holder Saul Zaentz—and that it was "too painful" to revisit the music of his past.

With the Centerfield album, Fogerty also found himself entangled in new, tit-for-tat lawsuits with Zaentz over the song "The Old Man Down the Road" which was, according to Zaentz, a blatant re-write of Fogerty's own 1970 Creedence hit "Run Through the Jungle". Since Fogerty had traded his rights to Creedence's songs in 1980 to cancel his remaining contractual obligations, Fantasy now owned the rights to "Run Through the Jungle" and sued Fogerty essentially for plagiarizing himself. While a jury ruled in Fogerty's favor, he did settle a defamation suit filed by Zaentz over the songs "Mr. Greed" and "Zanz Kant Danz". Fogerty was forced to edit the recording, changing the "Zanz" reference to "Vanz".

On February 19, 1987, at the Palomino Club in Los Angeles, Fogerty broke his self-imposed 1972 ban on performing his CCR hits, on an admonition from Bob Dylan and George Harrison (who both joined him onstage) that "if you don't, the whole world's gonna think 'Proud Mary' is Tina Turner's song." At a Fourth of July benefit for Vietnam veterans, Fogerty finally ran through the list of Creedence hits—beginning with "Born on the Bayou" and ending with "Proud Mary"—to an ecstatic audience. He retreated from music again in the late 1980s but returned in 1997 with the Grammy-winning Blue Moon Swamp. John Fogerty still tours frequently and plays CCR tunes alongside material from his newer albums.

Tom Fogerty

Tom Fogerty released several solo albums, though none reached the success of CCR.

Tom's 1974 solo album Zephyr National was the last to feature the four original band members. A few of the songs sound very much in the Creedence style, particularly the aptly-titled "Joyful Resurrection". All four members did play on the song, but John recorded his part to the mix separately.

In September 1990, Tom Fogerty died of AIDS, which he contracted via a tainted blood transfusion he received while undergoing back surgery.

Stu Cook and Doug Clifford

Junior high buddies Doug Clifford and Stu Cook continued to work together following the demise of CCR both as session players and members of the Don Harrison Band. They also founded Factory Productions, a mobile recording service in the Bay Area. Clifford released a solo record, Cosmo, in 1972. Cook produced artist Roky Erickson's The Evil One and was bassist with the popular country act Southern Pacific in the 80s.

Following a relatively lengthy period of musical inactivity, the two formed Creedence Clearwater Revisited in 1995 with several well-known musicians. Revisited toured globally performing the original band's classics. John Fogerty's 1997 injunction forced 'CCRev' to change to 'Cosmo's Factory', but the courts later ruled in Cook's and Clifford's favor.

Fantasy Records

After Creedence, Fantasy Records released several greatest-hits packages and curiosities such as 1975's Pre-Creedence, a compilation album of The Golliwogs' early recordings. Fantasy also released the highly successful Chronicle, Vol. 1, a collection of Creedence's twenty hit singles, in 1976. Several years later, the label released a live recording entitled The Royal Albert Hall Concert. Contrary to its title, the 1970 performance was recorded in Oakland, California, not at the Royal Albert Hall in London, England. Subsequent issues of the original 1981 album have been retitled simply The Concert.

The success of Creedence Clearwater Revival made Fantasy and Saul Zaentz a great deal of money. Indeed, Fantasy built a new headquarters building in 1971 at 2600 Tenth Street in Berkeley, California. Zaentz also used his wealth to produce a number of successful films including Best Picture Oscar winners One Flew Over the Cuckoo's Nest, Amadeus, and The English Patient. In 2004, he sold Fantasy to Concord Records. As a goodwill gesture, Concord honored the unfulfilled contractual promises Fantasy made nearly forty years earlier, finally paying the band a higher royalty rate on their sales.

One decision made by John Fogerty rankled his bandmates and would leave all of them without most of their hard-earned money and facing legal and financial problems for years. Without the other three band members' knowledge, Fogerty agreed to a tax shelter scheme proposed by Saul Zaentz and his lawyers in which most of the bandmembers' assets were transferred to Castle Bank of Nassau. Zaentz and his associates withdrew their assets before the bank eventually dissolved — along with the savings of the four CCR band members. A series of lawsuits began in 1978 and eventually ended with a California court awarding $8.6 million to the band members in April 1983. Despite this legal victory, very little of the money was recovered.[citation needed]

John Fogerty, seeing that Zaentz was no longer involved with the company, also signed a new contract with Concord/Fantasy. In 2005, the label released The Long Road Home, a collection of Creedence and Fogerty solo classics. After Revival came out on the Fantasy label in October, 2007 but before his following album Blue Ridge Rangers Rides Again was issued in 2009, Fogerty switched from Fantasy to Verve Forecast Records.

The original Creedence lineup rarely reunited after their breakup, and never professionally. All four members jammed together at Tom Fogerty's wedding on October 19, 1980. John, Stu, and Doug played at their 20th El Cerrito High School reunion in 1983, but they performed as their original incarnation, The Blue Velvets. In the 1980s and 90s, new rounds of lawsuits between the band members, as well as against their former management, deepened their animosities. By the time Creedence Clearwater Revival was inducted into the Rock and Roll Hall of Fame in 1993, John Fogerty refused to perform with his surviving bandmates Stu Cook and Doug Clifford. The pair were barred from the stage, while Fogerty played with an all-star band that included Bruce Springsteen and Robbie Robertson. Tom Fogerty's widow Tricia had expected a Creedence reunion, and even brought the urn containing her husband's ashes to the ceremony.

In popular culture

Creedence Clearwater Revival's catalogue of songs has frequently been used or referenced in popular culture. In part this is because John Fogerty "long ago signed away legal control of his old recordings to Creedence's record label, Fantasy Records." Fogerty objected to what he regarded as a misuse of his music in an NPR interview:

Folks will remember "Forrest Gump" and that was a great movie, but they don't remember all the really poor movies that Fantasy Records stuck Creedence music into: car commercials, tire commercials. I'm remembering a paint thinner ad at one point, the song "Who'll Stop the Rain". Oh, boy. That's clever, isn't it?

Of particular interest was the use of his protest song Fortunate Son in a blue jean commercial. In this case, the advertiser eventually stopped using the song, as Fogerty related in a later interview:

Yes, the people that owned Fantasy Records also owned all my early songs, and they would do all kinds of stuff I really hated in a commercial way with my songs. ... Then one day somebody from the L.A. Times actually bothered to call me up and ask me how I felt, and I finally had a chance to talk about it. And I said I'm very much against my song being used to sell pants. ... So my position got stated very well in the newspaper, and lo and behold, Wrangler to their credit said, "Wow, even though we made our agreement with the publisher, the owner of the song, we can see now that John Fogerty really hates the idea," so they stopped doing it.[16]



Years Line-up Releases
  • John Fogerty – lead vocals, lead guitar, keyboards, harmonica
  • Stu Cook – bass guitar, lead and backing vocals, keyboards, guitar
  • Doug Clifford – drums, percussion, lead and backing vocals