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their rebellion against it was more about subverting it from within, using<br />
the same tools as Elvis, Carl Perkins, the Stax Records house band, and<br />
their other heroes. This might have made them “unhip” to the rock-isart<br />
snobs (myself included, I blush to say), but within the San Francisco<br />
fraternity of bands, they were envied for their success and admired for<br />
their instrumental prowess.<br />
Creedence never saw themselves as artists so much as workers doing<br />
a job they enjoyed, a totally different attitude. All of which meant that<br />
Fogerty and his bandmates just kept cranking out the songs. And, because<br />
Fogerty was a naturally gifted writer with a deep sense of rootedness<br />
in his chosen field, most of his songs were great, and the rest<br />
were at least good.<br />
So, with hits like “Born on the Bayou,” “Proud Mary,” “Green River,”<br />
and “Bad Moon Rising” behind them in the previous 18 months, by<br />
the time CCR got to Willy they were on a roll, and it shows.
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