Rating: 9 out of 10
Incredibly, Creedence Clearwater Revival's third album of 1969! When was the last time anyone churned out music at this break-neck pace, with consistently high-quality songs? Music acts are now considered prolific if they release a trite offerering of pablum every second year. This is the record that epitomizes Creedence's extremely wide range of musical styles. I challenge anyone to find an album by other artists that contains so much variety. Virtually every song is in a unique genre! The tracks show how John Fogerty's song-writing had dramatically improved from the early albums, and the tunes sound very polished, unlike the raw Creedence of the beginning (not that there was ever anything wrong!) I've read many rock critics say that this was the best CCR album and it's difficult for me to argue otherwise, though I still find the first two records slightly more appealing.
Down On the Corner (2:44) - A carefree and fun song about the street-corner band mentioned in the album title. The rhythm section does all the work here, especially Stu Cook's pounding bass. The happy lyrics provide some shelter from the despair and bad luck on Green River. I'll lay my money down anytime!
It Came Out of the Sky (2:52) - A fast-paced, energetic song that you just can't help moving to! Fogerty's point about how the media and politicians pounce on exciting news stories is driven home by hilarious lyrics. The frantic guitar chords and drums combine perfectly and the piano runs occur in just the right places.
Cotton Fields (2:54) - CCR's performance of the traditional song is wonderfully simple. After just one listen, almost anyone knows all the words! This tune is ideal for large groups of people traveling by car to sing together to pass the time. Try it! My sister claims when she hears it, it plays back in her head for hours - is that so wrong?
Poorboy Shuffle (2:24) - CCR becomes the street-corner band from "Down On the Corner" for this breif but delightful instrumental. The primitive instruments harmonize perfectly in a nice rhythm. If you turn the volume all the way up after "Cotton Fields" last note, you can hear the band banter cheerfully.
Feelin' Blue (5:02) - Beginning before "Poorboy Shuffle" ends, these are CCR's only "conjoined" songs, and I can't imagine separating them! They slow things down for a tune about ... feelin' blue! As usual, there is my silly complaint about slow songs, but Fogerty does nice slow guitar work between verses.
Fortunate Son (2:17) - A hard-driving single that leaves no doubt as to it's powerful message - the rich send to poor to fight their wars, and look out for their own interests. The rhythm section is the real force behind the pounding beat, Fogerty's guitar taking a back seat for this charged ride. We're all fortunate to have heard this!
Don't Look Now (2:07) - In my opinion, this is Creedence's first attempt at a country and western song, but some people have said it's more rockabilly. Regardless of it's upbeat tempo, I still find the song lacking in excitement somewhat, and the vocals are too faint at times. The lyrics are nice and thought-provoking, though.
The Midnight Special (4:10) - John Fogerty's wonderful arrangement of the famous folk song begins with a marvelously intimate interlude - you can almost see him on a porch in Alabama! Then the rest of the group appears and the tune continues merrily. Like "Cotton Fields", a great sing-along song. Fogerty even encourages it during the live album The Concert!
Side O' the Road (3:20) - The second instrumental on the album, but there is only one other vocal-less tune in the rest of the Creedence catalog! The rhythm section provides a groovy beat, but Fogerty's three electrifying guitar licks are the definite highlights. The spaces between the outbursts are somewhat dull, though.
Effigy (6:28) - I honestly thought this song was about a raging forest fire until I read a review that said it was on the aftermath of a nuclear war. Now that I know the lyrics, I feel there are several interpretations but that is probably the most meaningful. This could be considered a "power ballad" - the beat and vocals are slow, but the guitar simply rocks so hard! I feel this has the finest fade-off (as opposed to direct endings, which I usually prefer) in CCR, and perhaps of all rock music - the inventive, driving rhythms continue to the bitter end. Another of my all-time favorites.
Rating: 9 out of 10
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