A song for everyone The story of Creedence Clearwater Revival

In 1968, guitarists (and brothers) John and Tom Fogerty, bassist Stu Cook and drummer Doug Clifford, known collectively as Creedence Clearwater Revival, hit the charts and began an amazing run with seven consecutive gold albums and nine top-10 singles. They performed before muddy masses at Woodstock and rock royalty in London's Albert Hall. Despite the outwardly visible success, a lack of shared direction led to the departure of Tom and the internal collapse of CCR in 1972. The last 50 years have been fraught with lawsuits, grudges, bitterness, and resentment. The tale has been widely told, perhaps most effectively in Hank Borowitz's Bad Moon Rising, and John Fogerty told his side in Fortunate Son. Lingan adds to the canon with new interviews from Cook and Clifford and emphasizes the contributions of the rhythm section, although there isn't a great deal of revelation. He is, however, most effective at placing the compositions and performances in their cultural context. VERDICT An updated bio of one of the most successful bands of the late 1960s. CCR's unique swamp rock vibe and the timeless compositions have assured that classic rock staple CCR will remain popular for some time to come.--Bill Baars

An affectionate history of one of the most successful bands in American rock history. Lingan begins in 1958, with future band members Stu Cook and Doug Clifford at Portola Junior High School in the Bay Area suburb where they grew up. They discovered a mutual interest in rock music, especially Southern Black artists like Fats Domino, Bo Diddley, and Chuck Berry, "who took the rhythms of Black music and wrote narratives that appealed to everyone." In due time, the two began trying to play the music they were hearing. When Clifford heard another young boy playing piano in the same idiom, he invited him to join their band. That boy was John Fogerty, who became the group's leader. Fogerty was already finding his way on an electric guitar, a joint purchase with his older brother Tom, who would eventually join the band as rhythm guitarist behind John's lead work. The band went through several preliminary configurations, under various names, before landing a recording contract with Fantasy Records--a label previously identified with West Coast jazz--where they turned out an impressive string of hits and several well-received albums. Lingan provides ample background about his subject, covering the members' personal lives as well as the recording sessions, tours, and eventual breakup. During it all, John Fogerty did more than anyone to shape the band's direction, with his guitar work, vocals, and distinctive songwriting. Given his central role in the band from start to finish, it is unfortunate that Lingan was apparently unable to get his version of the band's history on record. The book would have been stronger with his input. Still, the author gives anyone interested in Creedence a solid overview of the band's career and a good excuse to pull out the old records for one more listen. Recommended to anyone with fond memories of the band and of the era of which it was a central part. Copyright (c) Kirkus Reviews, used with permission.