Bayou Country
Creedence Clearwater Revival
1969
Album Summary
Bayou Country is the second studio album by American rock band Creedence Clearwater Revival, released by Fantasy Records in January 1969, and was the first of three albums CCR released in that year. After ten years of struggling as the Blue Velvets and the Golliwogs, singer/guitarist John Fogerty, his brother guitarist Tom Fogerty, bassist Stu Cook and drummer Doug Clifford scored a No. 11 hit single with "Susie Q" in June 1968 under the name Creedence Clearwater Revival. Their self-titled album peaked at No. 52 on the Billboard albums chart. Despite their new-found success, however, seeds of discontent among the four members had already been planted due to John Fogerty assuming control of the band at just about every level. "There was a point at which we had done the first album. Everybody had listened to my advice. I don't think anybody thought too much about it," Fogerty recalled to Michael Goldberg of Rolling Stone in 1993. "But in making the second album, Bayou Country, we had a real confrontation. Everybody wanted to sing, write, make up their own arrangements, whatever, right? This was after ten years of struggling. Now we had the spotlight. Andy Warhol's fifteen minutes of fame. 'Susie Q' was as big as we'd ever seen. Of course, it really wasn't that big...I didn't want to go back to the carwash." In 2007, the singer elaborated to Joshua Klein of Pitchfork, "I determined, we're on the tiniest record label in the world, there's no money behind us, we don't have a manager, there's no publicist. We basically had none of the usual star-making machinery, so I said to myself I'm just going to have to do it with the music...Basically I wanted to do what the Beatles had done. I sensed that I just had to do it myself."
WikipediaLiked it. Not surprised the Dude didn't get his Creedence tapes back to be honest. Sorry Dude, life goes on, man.
Remember when John Fogerty got sued for stealing John Fogerty’s music? Well John Fogerty won. Then asked for his attorneys’ fees to be paid. And John Fogerty lost. Then the fee collection part went to the Supreme Court. And John Fogerty won…I think. John Fogerty 2…not John Fogerty 0. It got a little confusing there. I do know John Fogerty’s case set the precedent for copyright defendants being able to collect fees when they are victorious. Also Clarence Thomas concurred to the outcome to which the other 8 justices agreed. Not because he agreed with their reasoning but because he thought a previous civil rights attorneys’ fees case result should have been overturned. Typical Clarence Thomas…being cranky and not thinking plaintiffs need financial incentives in bringing civil rights cases. I digress. On to Bayou Country. I find it amusing that a band from San Francisco is often falsely thought to be from the bayou. Understandably the album and opening song titles lead one to believe this myth. But still, hehe. I’m really not sure why this cracks me up. Onto the songs. I promise. I dig the blues rock style on this album. I’m digging Fogerty’s voice, which from past reviews you’ll know can sink an otherwise decent band quickly for me. Actual song info. Really. I knew the two most well known tracks, Born on the Bayou and Proud Mary, very well coming into this. They are solid, but not my favorites after a couple listens. I think I like the third and fifth tracks are the best, but I can’t decide which one. Graveyard Train is a slow and snap inducing blues number. The song is not complicated, yet still impactful. I was humming the bass line during dinner and the kids started clapping along almost immediately. Harmonica can be overplayed, but this is not the case here. Again not complicated, but impactful. John Fogerty’s growls perfectly to convey the loss of his character’s companion amongst the 30 dead. Penthouse Pauper is a powerhouse of a song where John Fogerty sings forcefully intertwined with some screaming lead guitar with every verse. The guitar is like John Fogerty’s wing man in mind conquering over financial holdings for status in this world. I should also mention that this a very good take on Good Golly Miss Molly.
Peak swamp rock. Also the word “chooglin’” needs to become popular again (if it ever even was) Favorite track(s): “Born on the Bayou” and “Keep on Chooglin’”
Good, fun, solid album. Very easy to listen to. I don't know if there actually is a lot of variation but it feels like there is, which either way is a plus for me. Can't help but dance along a little bit. Some songs drag on a little bit
I'm listening to Bayou Country from CCR as my album of the day. It's good, solid music and it lays the blueprint for their sound and I understand the place this album has in music history. But man, the squealing guitars, and the bluesy swampy sound is a bit rough in fluorescent cube farm I'm working in right now. I'm looking forward to Proud Mary as the next track, it's cool to hear such a giant song in the smaller context of this album and track list. Trying to imagine hearing this for first time in 1969. The song literally rolls, like on the river, and the ebbs and flows become hypnotic.
Not my favorite CCR record, but it does have my favorite track of theirs, ‘Born on the Bayou.’ This album would benefit from a little focus. It gets a little too noodly in parts and makes the album seem longer than it actually is. Having said that, John Fogerty’s vocals and guitar playing are incredible. I grew up listening to this band so it’s hard for me to give them anything less than a four.
Phenomenal Americana - all the good parts - Blues, folk, rock, country and not an inkling of jazz. Strong start, sweet nougat center with a finish that fills you you up with musical goodness.
This album defines their 'swamp rock' sound and showed the world what they could do in terms of lyrics("Born on the Bayou" and " Proud Mary") but also that they can dish out the awesome guitar solos ("keep on chooglin" ) and even has some lighter/catchier tracks ("Bootleg" and "rollin' on the river") and the fact that they released this album and it was so great but also put out 2 other albums the same year.
The album where CCR established sound and it only gets better here. Very bluesy, but for some weird music, their music really does sound "swampy" and I'm not sure why. Obviously the lyrics but also the gritty atmosphere and the rural folk-like strings and percussions (that remind me of say the banjo in Deliverance). These 7 tracks do what they do well. But there are honestly no bad tracks. Starts off with a classic. Then a track to explore their aesthetic. I'm a personal fan of their longer tracks like "Graveyard Train" and "Keep on Chooglin" that have plenty of room to breathe and express themselves. I loved the Little Richard cover just because it's a CCR cover of a song I've already heard plenty times before, and I love their sound. "Penthouse Pauper" is the only song that doesn't stick out but if you listen to it on its own, you'll find it's still a great song. Maybe a sign of slight album repetition. Then another classic, followed by a classic closer. A great introduction to CCR impossible not to like.
I still think one of the greatest achievements in rock history is Creedence releasing 3 stellar albums in one year. This is the first of those 1969 albums. It's probably #3 in my ranking, but even with that it's still a classic album. Proud Mary and Born on the Bayou are all-time classics, and the rest ain't bad either. 4 stars.
Always liked the raw, bluesy rock of CCR. I like John Fogerty's raspy voice and lead guitar work. Of course, Born on the Bayou and Proud Mary are the big hits, but there is some nice work on Graveyard Train, and Keep on Chooglin, even though those two songs are a bit too long. CCR did a good job of covering Good Golly Miss Molly. Liked Fogerty's harmonica, too.
CCR's second album is when the band started gaining momentum and it was the start of a group of essential albums they released over a short period of time in the late 60's. This isn't their best, but definitely was the blueprint for greater things to come. Their sound, the hits and John Fogerty's amazing songwriting is already evident on Bayou Country. A near classic!
Is there any major American songwriter more consistently overlooked than John Fogerty? All the man did was write hits, and once he stopped writing for the band, they put out an album so putrid that no one ever talks about it. This album has the same basic style of the other Creedence albums, with plenty of songs that you already know. I don't like it as much as Cosmo's factory, but it's solid all the way through 4/5
What impresses me most about CCR is their consistency. And that consistency seems to be born of simplicity and hard work. Just 4 guys—2 brothers accompanied by 2 neighborhood classmates—who started playing together as early as 1959, with no additional personnel on this record, which all sounds to be recorded live and was self-produced by writer/singer/guitar player Mr. Fogerty himself. Simply, they worked out a handful of songs that give their Northern California band a distinct Southern Rock feel, throw a blurry album cover over it and whamm-o! a timeless record. And hardworking because not only was this the first of three records they released in 1969, but they would go on to release 2 more in 1970, not to mention their fantastic debut in 1968, nor their arguable masterpiece released in 1970 (the first of two albums released that year I might add.) And each of those album’s finds the band reinventing themselves, all while maintaining their consistency. It’s like the 1960s equivalent of King Gizzard and the Lizard Wizard without all that psych rock madness or PR. My one knock on this album is in regards to those few moments where Mr. Fogerty’s adopted, Southern affectation starts to overstay its welcome. His pronunciation of “boinin’” on “Proud Mary” in particular makes me grind my teeth a bit. But nonetheless! A few future album cuts aside, the songs on this album might be the most consistent, and straight-ahead grooviest and rockin-est of CCR’s releases. This album certainly maintains a pure rock sound that, after this, is abandoned a bit in favor of a sound that leans a little more pop. I especially liked the longer cuts “Born on the Bayou,” “Graveyard Train,” and “Keep on Chooglin’.” “Bootleg” kicks my ass as well. As does the ripping Little Richard cover “Good Golly Miss Molly.” I better stop myself before I go ahead and namecheck every song on the album because they’re all good! Beyond consistency, Bayou Country has a unique identity unto itself. It works as a concept album of sorts; a California band experimenting with another region’s rock sound. Playing musical dress up of sorts and ultimately owning a different sound that’s all their own. All that, and I could listen to this album on loop for hours and hours honestly. It’s that consistent. 4 stars. Keep on chooglin’.
I decided to take a little drive while listening to this one as it reminds me so much of driving around with my dad as a kid. Big CCR guy. This album opens up with such a killer riff, man. The type of riff that makes you go, “oh, yeah. that’s the stuff.” It is crazy to me that Fogerty was able to just channel this character so well. Apparently out of nowhere, too. Guy just stared at a wall and thought about the bayou. True story. This album is so cool. Green Onions type cool. Cigarette jet black hair type cool. Love the twangy noodles. Love Fogerty’s silly accent. Of course, I’ve got my nostalgia glasses on and could see how someone would be bored by this journey through some guy’s lucid swamp dream but I am here for it. Not to be taken too seriously, just have some fun and keep on chooglin.
The music's not objectively bad but there's something about this band that doesn't sit right with me, I don't know what it is.
This is country rock, very American. Kindly short & I thought the singer kind of sounds like Elvis? Maybe it’s just his accent or something. Some of the songs were okay, some were bad, one was great. Final question: what on earth does “chooglin” mean??? Best tracks: Proud Mary (Had no idea this was the original version of this song. I’m mostly familiar with the Glee version, but it’s a classic for a reason), Good Golly Miss Molly Worst tracks: Graveyard Train (lyrically weak, way too long - over 8 minutes in an album with a 33 minute run time is insane for a track this bad), Bootleg (I spent half the song thinking he was saying “Voulez” before I checked the song title)
Art and Paul were the soundtrack of my childhood. I never listened to the entire album before and it was an interesting mix of mellow and lively.
I needed some CCR this monday morning. Proud Mary is an all timer, but it was great to hear some new tracks that aren't on all the greatest hits albums.
I loved this album! Bluesy rock, and a little bit folk, and country. Great sounds and the voice of the lead singer is incredible.
A classic. Loved all the songs. CCR has such a distinct sound that I really like.
Fuck yeah. Five stars baby. I've never listened to this whole thing but it has some of my favorite songs on it.
The start of CCR becoming one of the greatest bands of all time. Seriously, if they were able to exist for more years then I’d say they would’ve gone down in history as one of the greatest bands ever.
This album ROCKS. Sure, John Fogerty was born about as far from the Bayou as possible, but I'll listen to him sing about it any time. All the tracks rock, but my favorites are the stone-cold classics (Born on the Bayou and Proud Mary), plus Bootleg (sounds like he's singing Bouley-Bouley), their cover of Good Golly Miss Molly, and Penthouse Pauper ("If I were a politician I could prove that monkeys talk"). Graveyard Train and Keep on Chooglin' are both pretty good. Yeah, I just said every track is at least pretty good to great. Easy 5.
I used to think of Creedence as just a greatest hits band. While I was listening to this album though I really enjoyed the tracks that I didn't know. They really rock on here. I especially like the longer bluesy Graveyard Train and Keep on Chooglin'. Easy 5 stars again.
Absolute classic. It's been awhile since I've listened to these guys and it just reminds me of how awesome they were are still Are!
Excelente rock sureño de los años 60 interpretado por una banda muy reconocible
Who doesn't love some CCR? So American, though I assumed they were southern and reading now I see they are actually from San Francisco. Bluesy guitar, gritty vocals, catchy tunes, quotable lyrics, an irresistible groove. It is no surprise their songs became standards. This is their debut album and it comes out of the gate with "Born on the Bayou" establishing the iconic sound and mood right away. Also featuring Good Golly Miss Molly and Proud Mary, this album is indeed epic. And they published two more albums in 1969! Guess they were just bubbling over with ideas.
5/5. Short n’ sweet. Great performances, packed with bangers. One of the best CCR.
Uma banda, três álbuns, todos explêndidos.. não tenho muito a dizer.. a guitarra de Born on the bayou é um riff, uma basee um solo, tudo ao mesmo tempo!
Join Fogerty is a genius. Every creedence album gets full points. This is just half an hour of non-stop hits. 5/5.
a couple of super 5-star evergreens and some very solid songs; if played on a decent hifi the album sounds as great as ever (and there are even a couple of better CCR albums around..)
I haven't listened to this album as much as the other two Creedence albums on this list, but still a 5 for me. A bit heavier and looser than their other albums. Some serious jams.
They still sound edgy somehow, which is quite a feat half a century later. "Born on the Bayou" is ELECTRIC. It does get too jammy at times, but then they'll come back with a ripper. Real vitality and soul on this album.
Debatía entre el 4 y el 5, pero la neta es que sí es muy buen disco y no hay razón para no darle la 5 estrella. La voz de John Fogerty es una chingonería que marcó un estilo y sus solos en la guitarra también son de lo que más vale la pena de esta banda. Me sorprendió lo cortito de este disco, aunque en realidad trae dos canciones que pasan de los 7 minutos aunque no se sienten pesadas. También me llama la atención que traiga un cover, que ya para estas alturas de su carrera no todo mundo haría.
Fuck yes! I love me some CCR. This is the soundtrack of my early childhood, my dad in the kitchen cooking up dinner for his three rambunctious daughters, the shitty Sony radio on the countertop with this tape in it filling our house with good time tunes. They are the most classic of all the classic rocks for me because of the way they take me back to that place in an instant. John Fogerty has one of the all-time greatest voices because of the way it fuses blues/rock/country sounds into an unforgettable gritty rasping growl. The lyrical content and themes are perfectly complimented by the badass honky tonking guitar work. It's a whole ass mood of down home fun. I can still hear my old hound dog barkin', chasin' down a hoodoo there.
A timeless classic with some of their biggest hits. CCR is and always will be a unique band with a unique sound.
I love their stuff, this one is a nice and tight album with some staying power and brilliant swampy blues.
5/5, penthouse pauper and good golly miss Molly especially are some of the finest blues playing I've ever heard. Perfect record.
An interesting mixture of rock, blues, and country, which gives you energy and happiness. There really wasn't any bad song throughout the album. This definitely goes into my playlist.
Album absolutely slaps. I could listen to all 7 basslines all day. Favorite track: Keep on Chooglin'
have heard most of this album over the years. I didnt realise rolling on the river was sampled from here
This is a real Classic. Great Swampy sound all the way through and a couple of bangers. It's good to put on and let run.
Get me a beer and a swamp boat with one of them big fuck off propellers on the back STAT
I think Green River is still my favorite, but this album is great in its own right and opens with possibly my favorite CCR tune. There really weren't any missteps I could hear, and I gave it two listens in a row because I enjoyed it so much.
Ooh this was a doozy. I liked Bayou Country better than Cosmos Factory but that's due to a consistent blues rock style and the long jams which were more prominent here. CCR are pretty good with short ones but they know how to make a song breathe, especially Graveyard Train and Keep on Chooglin'. I've heard Proud Mary various times but I never knew CCR wrote it or knew the song title so that was a welcomed surprise. Also a fantastic song. The title track and Bootleg were enjoyable tracks as well. And with Good Golly Miss Molly and Penthouse Pauper being decent, this album is definitely up there with the best I've reviewed so far. Makes me want to listen to Cosmos Factory again and see if I can change that review.
Fogerty and crew craft a fantastic album. One where each song flows well into the next. All while sounding like the band, and like unique experiences all their own.
Killer American icon band and American classic. Steeped in blues rock and soul and yet still edgy at times and rounded off with the super tight crunchy vocals of John Fogerty - this band is one of my favorites of all time. "Born on the Bayou" and "Proud Mary" are true legendary tracks in rock music. This band and album are just tied into the heart of American sounds and culture and I love it. This is such an enjoyable album to put on no matter what you are doing. Active or passive listening- it doesn't matter! "Good Golly Miss Molly" --> sweet fretless bass. Hard to hear at first! Yea this is an easy 5/5 for me.
CCR are awesome. This album has some loose and bluesy jams, and some ripping rock n roll. Great example of everything that makes them great. Sweet album cover too.