Creedence Clearwater Revival
Pendulum (1970)

PENDULUM (remastered version on CD 1990).

Tracklist:
1. Pagan Baby / 2. Sailor's Lament / 3. Chameleon / 4. Have You Ever Seen The Rain? / 5. (Wish I Could) Hideaway / 6. Born To Move / 7. Hey Tonight / 8. It's Just A Thought / 9. Molina / 10. Rude Awakening #2.

A premise is necessary: very often the words "band" and "group" are used interchangeably. If there is a difference between the two terms, it is in what they imply: a band is necessarily organized around a charismatic leader (the boss) and ceases to be such with their disappearance. A group, however, can be born around this figure but then "bureaucratizes" and manages to survive even in their absence.

The Creedence Clearwater Revival are a band, in the true sense of the word: the undisputed leader is John C. Fogerty. He is the one who composes. He is the one who arranges. He is the lead singer. He is the lead guitarist. He is the one who decides. He is, in short, the one in charge, for better or worse.
On PENDULUM (December 1970), critics and fans are sharply divided between detractors and supporters (more the former, especially among critics, than the latter): this review shows, rather unequivocally, where I stand. There is no doubt, indeed, that the CCR sound is the one that oozes from the grooves of "Green River", "Willy & The Poorboys" and "Cosmo's Factory", but for the writer, it is not unpleasant to see an artist (I am obviously referring to John Fogerty) not fossilize and seek new paths.

The very provincial look with jeans, checkered shirts, and cowboy boots, on the other hand, already contributed by itself to generating a historic misunderstanding: the CCR draw heavily on the folk and blues of the southern United States (particularly the "cajun" of Louisiana and surroundings) but they are not a southern band in the full sense, they are not conservative in intent despite their name (which would suggest only a revival of blues tradition), indeed they were formed and exploded in Berkeley near San Francisco, in that California where psychedelia, acid rock, and hippy style are tendencies that emerge strongly in the second half of the '60s.

The Creedence undoubtedly started as a cover band and throughout their career, they continued to propose beautiful covers, starting with "I put a spell on you" (by Jay Hawkins and first big hit) and "Suzie Q" (by Hawkins/Lewis/Broadwater) continuing with "Good Golly Miss Molly" (by Blackwell/Marascalco), "The Night Time Is The Right Time" (by Cadena/Hermann and a great success of Ray Charles), and the famous "I Heard It To The Grapevine" (by Strong/Whitfield and a great success of Marvin Gaye), but when John Cameron Fogerty conquered full leadership, the Creedence became masters copied and overcopied in turn: "Proud Mary" is the first and most striking example of a rather long list.
The formula of success is the groove of the arrangements, on very catchy chord progressions and melodic lines (when simplicity is an art), with instruments that almost never dare: it is the voice of John Fogerty, in simple words, that amazes together with the authentic rhythmic lesson that will have many students (famous and not).

Three fundamental points:
1. Background: Rockabilly, Rhytm'n'blues, Folk, and Country;
2. Singing: (I stress it) absolutely above the lines;
3. Rhythm/Sound: basic grammar of rock (in this, they were revolutionary).

In this penultimate work of their short and hyperactive career, the CCR add to what will go down in rock history as the "bayou sound", keyboards and horns, even reaching the progressive in the closer "Rude Awakening #2" which contrasts the very heavy swamp-boogie opening: the mythical "Pagan Baby".
That acoustic folk that made them famous (in typical "talking ballads" like "Lodi", "Bad Moon Rising", and so on), is here resumed in the splendid ballad "Have You Ever Seen The Rain": another song that will be proposed later by various artists (a version that achieved resounding success in the '80s was that of Bonnie Tyler, not to mention more famous artists like Springsteen, Ramones, R.E.M., and so on).

Other ballads, however in an unprecedented (and rather debated) soul key, are "It's Just A Thought" and the beautiful "Hideaway" where the hammond plays its very dignified part. The rock'n'roll in "Molina", the boogie in "Hey Tonight" and the ethno-reggae in "Sailor’s Lament" ease the listening quite a bit, maintaining high standards, as does the very pleasant funk in "Born To Move": the solo in the background of trumpets and organ is, also, a small delight. The rhythm section composed of Stu Cook on bass and Doug Clifford on drums (capable instrumentalists who accept the inevitable subordinate role in front of the overpowering talented leader), follows John Fogerty in this evolution of Creedence's sound, without ever showing uncertainty even in the fresh rhythm’n’blues titled "Chameleon", as well as, in the instrumental parts of the already mentioned "Born to move" and "Pagan Baby".
The one who strongly opposes this decisive turn is elder brother and rhythm guitarist Tom Fogerty (who had set up the line-up and raised his little brother since the days of "Tom Fogerty & The Blue Velvets") who, shortly after the album in question is released, will leave the band for a rather colorless solo career. In his absence, "Mardi Grass" will be published: the last act of the band in which, shaken by events, the twenty-five-year-old John Fogerty will leave space for Cook and Clifford in composition, with results, to be honest, not very appreciable.

For the sake of completeness, I add that in 1990, Tom Fogerty dies (some say from tuberculosis, some from AIDS due to an unfortunate transfusion) and three years later the CCR enters the "Hall Of Fame" (1993), while two years later (1995) Cook and Clifford will join Williamson and form the Creedence Clearwater Revived which will tour with little success playing the repertoire’s pieces even when the original members themselves (Clifford and Cook) will abandon the failing project. John Fogerty, who to continue without the Creedence had accepted to give up his royalties with Fantasy Records, will alternate ups and downs in a career that continues to this day.

As for me, I consider "Pendulum" a splendid album (although not a masterpiece), suitable for all seasons: among different styles, one can find a formal composure that is typical of great artists and a general interpretation by John Fogerty simply masterful. In it, Fogerty and his associates are the maximum forerunners of the roots-rock in vogue these days. Assuming that the cry of "Pagan Baby" will accompany me for life, I objectively recommend this excellently remastered CD album (1990) to those without musical barriers.

Goodbye and see you next time.

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