Rating: 8.5 out of 10
Creedence Clearwater Revival's last album (and only one as a trio) was the most under-rated album in history. Critics heard it, and said "This sounds different, therefore it's awful." I read one reviewer, Jon Landau, claim "It's the worst album ever released by a major band." While I'm the first to admit it's far from the best Creedence, it's hardly a total throwaway, and well-worth seaching out, if only because it has by far the best CCR album cover. The picture is of a pretty young girl holding a tambourine, with the band's name in a big circle around her. My mother suggested I have the LP sleeve framed, but I don't think I'll go that far! For my 21st birthday, my family had a custom watch made with the cover as the face! Supercool! Although it signalled the end of the group, Mardi Gras was a very noble effort. After Tom Fogerty's departure, John Fogerty demanded that Stu Cook and Doug Clifford share equally in the songwriting and singing departments, and the inexperienced pair complied. It seems that John almost wanted to produce a sub-par record to destroy the group. Usually the only tunes mentioned off the album are John's contributions, but Doug's songs are also excellent. Admittedly, Stu's singing leaves something to be desired but his tracks are not all bad. The commercial and critical failure resulted in the disbandment of the group several months after the release. A sad end to a phenomenal rock and roll band.
Lookin' For a Reason (Singer: John 3:25) - Creedence's most country-sounding song. I'm not too fond of country beats, but John still does some nice guitar playing. Although it's never been one of my cherished tunes, the fine vocals and lyrics save this from the pit of mediocrity.
Take It Like a Friend (Stu 3:01) - Stu Cook takes over the reins of the singing and song-writing for the best of his three efforts. His deep, rough voice isn't really suited for singing, but his bass and guitar still shine brightly.
Need Someone To Hold (Doug 2:59) - The drummer proves he has a much nicer voice than his rhythm section partner on this excellent ballad. The piano in the background in nice, and the guitar break in the middle is perfectly restrained to preserve the subdued mood.
Tearin' Up the Country (Doug 2:13) - Another western song, but with a much quicker pace. This provides a rollicking good time. I love the lyrics even if they show a lack of experience. I'd rather play my music real loud than go to school too!
Someday Never Comes (John 3:59) - Unquestionably (in my opinion) CCR's best ballad, with utterly poignant lyrics about ignorance passing down to future generations. Some might feel the charged chorus jars the somber mood too much, but I think it fits in well. The ending is weak, but forgivable. In my mind the "Someday" is when CCR reunites.
What Are You Gonna Do (Doug 2:51) - This is a prime example of a lost classic. This gem isn't on any compilation I've heard of (none of Stu or Doug's songs are - except a live version of "Door To Door"), but is stuck on a hard-to-find album. I think the switches from fast to slow tempo and back are masterful, and the guitar just rocks! What am I gonna do? I'll listen to this again!
Sail Away (Stu 2:25) - On the other hand, some songs deserve to be lost! Stu's crooning is atrocious, and the guitar is too mellow. The only good point is the tempo change during some of the verses. This tune almost makes "Rude Awakening #2" sound good!
Hello Mary Lou (John 2:11) - This delightful cover is very similar to Ricky Nelson's famous version - I think the guitar break in the middle is the same note-for-note (it probably wouldn't be a cover otherwise!), but this take still sounds better than the original, just because it's Creedence!
Door To Door (Stu 2:07) - I think Stu tried too hard to make this song really rock. The sound is so raw that it's somewhat muffled and difficult to listen to. The clearer performance on Live In Europe is better.
Sweet Hitch-Hiker (John 2:59) - CCR's last big hit came out as a single well in advance of the album's release. John Fogerty, not Stu Cook, was the one who knew how to make songs that really rocked, and his gravelly voice returns for a last hurrah. Like "Pagan Baby", this seems like it should have been recorded earlier in Creedence history, but at least the final album ended with a great track.
Rating: 8.5 out of 10
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