Clearwater Creedence Revival tour dates 2024

Clearwater Creedence Revival is currently touring across 1 country and has 16 upcoming concerts.

Their next tour date is at Bath Forum in Bath, after that they'll be at Exeter Corn Exchange in Exeter.

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Clearwater Creedence Revival live.

Upcoming concerts (16) See nearest concert

Exeter Corn Exchange

Glassbox Theatre

Scenic Stage, Dreamland

Ballroom, Dreamland

Perth Concert Hall

Aberdeen Music Hall

Indigo at The O2

The Devils Arse at Peak Cavern

Holmfirth Picturedrome

BIRDWELL VENUE

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Scarborough Spa

Leeds Beckett University Student Union

Wylam Brewery

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The Rolling Stones, With A 1971 Tour, Say Goodbye To Britain

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Creedence Clearwater Revival Photo: Michael Ochs Archives/Getty Images

Almost eight months, to the day, after Creedence Clearwater Revival played the Woodstock Music & Arts Fair, they were in Rotterdam, Holland, to play the opening night of a two-week tour of Europe – it was April 1970.

In America, they had already scored with five Top 3 singles on the Hot 100, with ‘Proud Mary’, ‘Bad Moon Rising’, ‘Green River’ and ‘Travelin’ Band’, all peaking at No.2, while, ‘Down On the Corner’ got to No.3. As CCR crossed the Atlantic to start their tour, their new single, ‘Up Around The Bend’ was being pressed ready for release; the day after their European tour ended it took the Billboard charts by storm. It was the highest new entry of the week at No.48, although it eventually could only make No.4 on the Hot 100.

Creedence Clearwater Revival were officially the most popular band in America, displacing The Beatles by selling more records during 1969 than any other artist. But how would Europe take to them.

They knew that Europe, as a whole, liked their music. All five of their US hits singles had been popular right across the Continent, with ‘Bad Moon Rising’ topping the UK charts; even in France where very few American groups cracked the bestseller list, CCR had top 20 hits.

Interviewed by Britain’s New Musical Express John Fogerty was asked why it was such a quick tour with little time off to see anything, to which he replied: “We planned it purposely that way, so we can just get a feel of what’s going on, which is what we had to do in this country. We really know absolutely nothing about what’s going on there. We don’t know where to play or what’s happening musically. It’s mostly like a quick tour, kind of an education for us. We’re playing only the safe places; I suppose you’d say. The accepted ones. Other than that, I don’t want to give you that old press release hooey about it’s so wonderful to be playing for our fans! Of course, that’s true, but people always make that an end in itself. Obviously we want to see the people who have been buying our records and that kind of thing. Also, we’ve never been there and we want to see what it’s like. It’s kind of half career and half wanting to go, because it’s something we’ve never seen before. We’re all kind of naturally curious.”

The night after playing their first European show in Rotterdam they played the Grughalle in Essen on 12 April, followed by two back-to-back nights at London’s Royal Albert Hall, with Booker T and the MGs as the support band, starting on the 14th. Their set was typical of most night’s on the European trip, star opening with ‘Born on the Bayou’ and following it with: ‘Green River’, ‘Tombstone Shadow’, ‘Travelin Band’, ‘Fortunate Son’, ‘Commotion’, a cover of Lead Belly’s ‘Midnight Special’, ‘Bad Moon Rising’, ‘Proud Mary’, ‘Night Time is the Right Time’, ‘Good Golly Miss Molly’ and ‘Keep on Chooglin’. Throughout the tour John Fogerty played his Gibson ES-175 Les Paul Custom – the one he dubbed “Black Beauty” – and on some numbers he switched to his Rickenbacker-325. Fans have lauded their shows in London as among the best they ever played.

Two nights later it was the Tennishalle (The Royal Tennis Hall), Stockholm, where according to one eyewitness, “The concert was absolutely heated: the audience jumped on the chairs, sang along and screamed.”

From Sweden it was off to the KB-Hallen, Copenhagen, Denmark, three nights later, followed by the Sportpalast in Berlin on the 22nd with the last gig of the tour taking place two nights later at the famous, Olympia Theatre in Paris.

While John Fogerty was in Europe he told one reporter that, “Right now I’m where I’ve wanted to be since I was seven years old. But we’ve still just scratched the surface. There is so much untapped sound and so many songs waiting to be written. We’ve studied hard what went before. Only the future can tell us how well we learnt.”

What John, and the rest of the group, along with their many fans, could not know was that when they returned to Europe, nearly 18 months later, Creedence Clearwater Revival would be a three-piece band – John’s brother, Tom had quit the band in late 1970.

Despite some tension within the band, ‘Sweet Hitch-Hiker’ was a top 10 hit on the Hot 100 in the summer of 1971. Come 1 September 1971 and they were back in Europe for a second tour, this one beginning in Manchester’s Free Trade Hall, where they “Blew an outrageously precise set of loud bitchy rock ‘n’ roll,” according to Britain’s Melody Maker. Their set was similar to the one they played on their previous tour, with ‘Keep On Chooglin’ as its climax. If there was any complaint from the press it was that they were only on stage for an hour.

If their first tour had allowed them little time off, this one gave the band more time between gigs and their second date was not until 10 September. It was in Amsterdam’s, Concertgebouw, where they did two shows, followed by two more at the Kongresshalle, Frankfurt, Germany, three nights later. According to one concertgoer, “The concert started with ‘Born on the Bayou’ and contained all their great hits including ‘Sweet Hitch-Hiker’ which was the Hit-single at that time. Also, Stu performed ‘Door to Door’. Like I think every CCR concert it all ended with ‘Keep on Chooglin’.”

Then it was the Deutschlandhalle, Berlin on the 15th, the Ernst Merck Halle in Hamburg, two nights later, where again the Melody Maker reported on their show, saying, “It was ten times better than Manchester.”

From Germany it was across to Denmark for a return to the KB-Hallen in Copenhagen on 19 September, then another return engagement, this time at the Tennishallen in Stockholm on the 21st. On 24 September they played at the Sportpaleis in Antwerp, Belgium, and then it was back to the UK for two back-to-back nights at London’s Royal Albert Hall on 27 and 28 September.

In 2013, looking back on his visit to London, John said, “To go to the Royal Albert Hall and do very well, and to hear people say such nice things, it was incredible. We were accepted by the very people we admired. I think I remember reading something John Lennon said: ‘I love Creedence’.”

Union Jack flag

Maureen Pastine

September 28, 2015 at 7:42 pm

Love the Credence Clearwater Revival!

[email protected]

Thomas Ruks

September 28, 2015 at 8:16 pm

THW best band forever, gerissen of my Life

Hugo Adrian Paniagua

September 28, 2015 at 8:28 pm

Exelente banda reconocida , lastimada lo sucedido y su separacion.Dejaron una huella en el mundo musical .

linda hudspeth

September 28, 2015 at 9:52 pm

I don’t know about loving Creedence,but every body I know including me we all iove John Fogerty

September 28, 2015 at 9:58 pm

CCR…….BEST BAND OF ALL TIME.

September 28, 2015 at 10:00 pm

The only person out of the band Creedence was the sounds of John Fogerty. When John stops singing he will be greatly missed.

mehru holmes

April 11, 2016 at 7:37 pm

one of the best drummers who kept the rhythm goin. ! outstanding band

Maxine Troutman

April 12, 2016 at 4:04 pm

Creedence Clearwater Revival was then and still is the best band I have ever heard. I love John Fogerty! No one will ever have such a unique, charismatic and awesome sound as John. He’s a super guitarist, and what an incredible voice!

September 28, 2017 at 8:33 pm

was er bij in Amsterdam ,heb nog steeds 1 drumsticks ervan in mijn bezit. Best band in de 70e jaren

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creedence clearwater revival european tour

LIVE DATES                                              Creedence Clearwater Revived

European Tour 2023

GERMANY JUNE 2023

16th June OSTERHOLTZ, Germany

28th July CREUZBURGH, Germany

29th July NEURUPPIN, Germany

2nd September  MUNICH, Germany

28th October, BERLIN, Germany

29th October, Germany (tbc)

22nd June MERANO (BZ). Italy Sudtirol

9th July GHILARZA (OR), Sardinia Italy 14th July VENEZIA MARGHERA, Italy

16th July TORRI DEL BENACO (VR) Lake Garda, Italy

26th July CAVA DELLE MORE - MONSELICE (PD)

27th July GIAIS DI AVIANO (UD), Italy

AUGUST 2023

   6h August CUTROFIANO (LE), Italy

   8th August FORUM EVENTI - S.PANCRAZIO (BR), Italy

11th August PRAD - PRATO ALLO STELVIO (BZ), Italy

19th August SIROLO (AN)  Italy

20th August CUSTOZA (VR) Italy

NOVEMBER 2023

10th November  TARANTO, Italy (tbc)

21th July LISKEARD United Kingdom

22nd July ISLE OF WIGHT United Kingdom

23rd July TAMWORTH United Kingdom

CCREVIVED CD 4 pp esterno_edited.jpg

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creedence clearwater revival european tour

Creedence Clearwater Revival at the Royal Albert Hall

1970 concert celebrated in audio and video.

By Paul Sinclair

creedence clearwater revival european tour

Legendary 1970 live performance unearthed, restored and newly mixed. Limited edition box set includes new documentary and Dolby Atmos Mix.

Creedence Clearwater Revival’s legendary performance at London’s Royal Albert Hall in 1970 is finally officially released as CCR at the Royal Albert Hall in September. Featuring the fabled performance in its entirety, the recording includes such enduring hits as ‘Fortunate Son’, ‘Proud Mary’ and ‘Bad Moon Rising’.

The audio for this release has been restored and mixed by Giles Martin and engineer Sam Okell. The album will be released alongside the documentary concert film Travelin’ Band: Creedence Clearwater Revival at the Royal Albert Hall , narrated by Jeff Bridges and directed by Bob Smeaton (he directed The Beatles Anthology , you may remember). The film takes viewers from the band’s earliest years together in El Cerrito, CA through their meteoric rise to fame. Featuring a wealth of unseen footage, Travelin’ Band culminates with the band’s show at the Royal Albert Hall—marking the only concert footage of the original CCR lineup to be released in its entirety.

creedence clearwater revival european tour

The Royal Albert Hall shows were on 14 & 15 April 1970 – just days after the Beatles announced their breakup – and were part of the four-piece’s first European tour – an eight-show run that included stops in Holland, Germany, France, and Denmark. The group were at the height of their powers, having enjoyed five top 10 singles in America in the previous year along with a trio of top 10 albums ( Bayou Country , Green River , Willy and the Poor Boys ). They’d played to over a million people across the US, including at the Woodstock Festival and a triumphant hometown show at Oakland Coliseum early in 1970.

Confusingly, a decade later in 1980, Fantasy Records released a live album by the band, titled The Royal Albert Hall Concert . However it was quickly discovered that the audio was, in fact, from the aforementioned Oakland Coliseum show. The label did rush to sticker the album to correct the error – and properly renamed the January 1970 performance as The Concert for later production runs – but it was a messy episode. Actual footage and audio from the Royal Albert Hall show has never been issued, until now.

Creedence Clearwater Revival at the Royal Albert Hall will be released on CD and vinyl (and even a limited cassette) in September, however SDE readers should be aware that there is a limited edition box set version which has quite a lot going for it. It includes the 12-track live album, in full, across two vinyl records, pressed at 45RPM (the standard single vinyl is 33RPM).It also includes a bonus CD featuring music from the film, including formative recordings from the band’s earliest incarnations and probably most interestingly it is the only format that includes a the Travelin’ Band documentary and a Dolby Atmos Mix of the live album (along with a hi-res stereo version). These reside on a blu-ray disc.

Limited to 5,000 copies worldwide, each individually numbered set is housed in a 12” x 12” box, with embossed gold foil detail, and includes a reproduction of the original 1970 tour program, a 17” x 24” poster, and a 16-page booklet, featuring an excerpt from Bridges’ voice-over script, which offers background on the band’s path to the London show.

The box set is exclusive to Craft Recordings’ website s in the UK and in the USA

Creedence Clearwater Revival at the Royal Albert Hall is released on CD, vinyl and cassette on 16 September 2022, via Craft Recordings. However the box set doesn’t ship until 18 November. The documentary film will ‘rollout’ internationally on 16 September although there’s no details at present as to how that will happen.

  • Pre-order the limited box set in the UK
  • Pre-order the limited box set in the USA

Compare prices and pre-order

creedence clearwater revival european tour

Creedence Clearwater Revival

At the royal albert hall - vinyl edition, at the royal albert hall - cd edition.

creedence clearwater revival european tour

at the royal albert hall - cassette tape

Tracklisting.

creedence clearwater revival european tour

At The Royal Albert Hall Creedence Clearwater Revival /

  • Born on the Bayou
  • Green River
  • Tombstone Shadow
  • Travelin’ Band
  • Fortunate Son
  • Midnight Special
  • Bad Moon Rising
  • The Night Time Is the Right Time
  • Good Golly Miss Molly
  • Keep on Chooglin’
  • Tommy Fogerty and the Blue Velvets – Come On Baby
  • The Golliwogs – Brown-Eyed Girl
  • The Golliwogs – Porterville
  • I Put A Spell On You
  • Born On The Bayou
  • The Night Time Is The Right Time
  • Down On The Corner
  • Who’ll Stop The Rain
  • Travelin’ Band
  • Night Time Is The Right Time

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Stream It Or Skip It: ‘Travelin’ Band: Creedence Clearwater Revival At The Royal Albert Hall’, Where CCR Choogles Their Way Through The Summer Of Love And Beyond

Where to stream:.

  • Travelin’ Band: Creedence Clearwater Revival At The Royal Albert Hall
  • music documentaries

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Jenifer lewis brutally ribs jlo for asking for a cameo in ‘the greatest love story never told’ doc: “b*tch, i’m the star”, stream it or skip it: ‘james brown: say it loud’ on a&e, a new docuseries about the life, career, and enduring legacy of the godfather of soul , stream it or skip it: ‘kings from queens: the run dmc story’ on peacock, a ‘30 for 30’-style tell-all docuseries about the hip-hop pioneers .

The efficient, economical Netflix music doc Travelin’ Band: Creedence Clearwater Revival at the Royal Albert Hall focuses mostly on the band’s two-year run of widespread success, a clutch of hit albums and singles, and a string of high profile live performances. As Travelin’ Band narrator Jeff Bridges tells us, in 1969 and ‘70, Creedence challenged the Beatles for the title of biggest band in the world. Live and archival footage of CCR, a lot of it unseen, makes up the bulk of the doc, which was directed by Beatles Anthology helmer Bob Smeaton.

TRAVELIN’ BAND: CREEDENCE CLEARWATER REVIVAL AT THE ROYAL ALBERT HALL : STREAM IT OR SKIP IT?

The Gist: “John, Tom, Stu and Doug may not have had the familiar ring to it of John, Paul, George and Ringo,” Bridges says in Travelin’ Band , but by 1970, the guitar playing Fogerty brothers, along with the rhythm section of bassist Cook and drummer Clifford had turned 13 years of hard work into a level of success that rivaled the Fab Four. In April of that year, the band arrived in England to begin their first European tour, and that same month The Beatles broke up. Archival footage captures the members of CCR taking in the sights of Rotterdam, Copenhagen, Berlin, and Paris as they play hits like “Commotion,” “Midnight Special,” and “Green River” to packed arenas. Asked about his impression of Europe and the tour, Stu Cook takes the long view. “I think this tour proves that rock ‘n’ roll music, after 15 years, somebody’s taking it seriously.” The Beatles were gone. But there was still a band big enough to seize the cultural zeitgeist.

CCR, of course, ultimately didn’t do that. They released three hit albums in 1969 – Bayou Country , Green River , and Willy and the Poor Boys – and followed that with another hit, 1970’s Cosmo’s Factory . But by 1972, they were done, driven apart by squabbles over creative control and financial interest. And since the protracted story of John Fogerty versus his former bandmates is twisty and sour, it’s refreshing that Travelin’ Band doesn’t even mention it. Footage from the European tour leads back to the band’s formative years in El Cerrito, California, where Fogerty, Cook, and Clifford met and began playing music in high school, and were joined by John’s older brother Tom. Their early promise was stalled by the escalation of the Vietnam War, and enlistments in the army and Coast Guard, but in 1968 covers of “Susie Q” (Dale Hawkins) and “I Put a Spell on You” (Screaming Jay Hawkins) made a splash, and in 1969 two John Fogerty originals, “Proud Mary” and its flipside “Born on the Bayou,” became Billboard charting hits.

The songs Fogerty was writing were steeped in the sounds and imagery of the American South, a place he’d never visited. “It was all in my head, really, like that was where I wanted to go,” Forgerty says in Travelin’ Band . “And all the things I’d heard before, what I dug, were from there.” “Bad Moon Rising” was the band’s next chart hit and their first UK no.1, and in the summer of 1969 CCR played all the major music festivals across the US as well as Woodstock.

Beyond the biography, it’s the second half of Travelin’ Band that’s really where it’s at, with an extended look-in on their April 1970 performance at Royal Albert Hall. “Travelin’ Band’ goes into “Born on the Bayou,” “Green River” with its extended guitar solo bleeds into the hoodoo of “Tombstone Shadow,” Fogerty switches to his black Les Paul for a rabid run through “Fortunate Son” and “Commotion,” and the absolutely packed set list just choogles on from there.

What Movies Will It Remind You Of? Netflix has a couple of like minded music docs that will fill in some of the narrative around CCR’s rock ‘n’ roll moment of 1969 and ‘70. The Other Side: The Long Strange Trip of Bob Weir focuses on fellow Bay Area musician, The Grateful Dead’s Bob Weir, while Like a Rolling Stone: The Life and Times of Ben Fong-Torres explores the life and work of the legendary music journalist.

Memorable Dialogue: In a fascinating piece of interview footage, John Fogerty elucidates the exact, enduring allure of CCR, and how his songs can continue to define Hollywood shorthand for the counterculture, sell products like jeans and beer, and get played at Trump rallies. “I want people to know when I’m really saying something seriously and when I’m just being an entertainer, you know? But it’s also important that I don’t appeal to the basic motivations and I don’t start, you know, ‘Hey, all you hippies, join together and let’s smoke dope,’ you know? I mean, people are gonna dig that. A certain element of society. But I don’t want them digging it for that. I want them to look a little further than just, ‘Hey, OK, we’re all together, brother,’ you know, and that crap. ‘Who’ll Stop the Rain,’ and some of the others, too, but especially that one, I tried to stay away from ‘Hey, he’s a left-wing radical crazy or he’s a super Bircher,’ you know, because both sides can take it, you know, and use it as their own rallying cry. Same as ‘Fortunate Son,’ really.”

Sex and Skin: None.

Performance Worth Watching: We’ll go with CCR bassist Stu Cook here, who appears in the B-roll Euro tour footage as an eager visitor to Europe, complete with analog SLR’s strung over his shoulder. Later, at the Royal Albert Hall gig, Hill has definitely co-opted the Beatles look of the moment, with a multi-colored silk blouse and rimless John Lennon-style eyeglass frames.

Our Take: Throughout Travelin’ Band , as he choogles his way across America and through the Tennis Hallens and Sportpalases of Europe’s finest capitals, John Fogerty’s impressive array of plaid flannel work shirts are his badge of utilitarianism, and akin to the homespun every-person grooves of his songs. The doc takes pains to present Creedence Clearwater Revival as workers – craftsmen who were dedicated to building a durable product. And while rock star dreams were certainly part of the equation, neither Fogerty nor his bandmates are out here appropriating flouncy stage wear or encouraging golden god hero worship. They just brought the work to the people, and it was primal. The Royal Albert Hall concert proves this out. The stage is small. The audience is seated right there before them. And the set doesn’t become some rock ‘n’ roll bacchanal full of mods, rockers, beats, and hippies flinging themselves at each other and communing w/ their lords on stage. No. It’s just a performance, defined as much by the silence between songs as the baked-in grooves, slashing guitars, and distinctly Fogerty hollers within them. And when it’s over, despite a 15-minute standing ovation, the members of CCR just wind their way into a backstage green room, tools of their trade still in hand.

Travelin' Band: #CreedenceClearwaterRevival at the Royal Albert Hall is a terrific document of a band at the height of its powers, putting in the work to be their best version of what a rock star can be. Read @glennganges ' review on DECIDER: https://t.co/Pk0NlcRl1a pic.twitter.com/sg8Of34dfp — Decider (@decider) September 18, 2022

Our Call: STREAM IT. Travelin’ Band: Creedence Clearwater Revival at the Royal Albert Hall is a terrific document of a band at the height of its powers, putting in the work to be their best version of what a rock star can be.

Johnny Loftus is an independent writer and editor living at large in Chicagoland. His work has appeared in The Village Voice, All Music Guide, Pitchfork Media, and Nicki Swift. Follow him on Twitter:  @glennganges

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creedence clearwater revival european tour

Creedence Clearwater Revival and the long road to the Royal Albert Hall

For a time in the late 60s, Creedence Clearwater Revival were the hottest band in America, if not the world. John Fogerty, Stu Cook and Doug Clifford recall their rocket ride from outcasts to “outselling The Beatles"

Creedence Clearwatrer Revival group shot

Creedence Clearwater Revival were about to enter a storm. Seventy-two hours after touching down in London in April 1970, ahead of their first European tour, their press conference was overshadowed by shock news of The Beatles’ split. Reporters, TV crews and distressed fans were gathering in numbers outside Beatles label Apple’s offices on Savile Row; newspapers scurried to prepare competing headlines. 

The next day’s NME carried an oddly prophetic interview with CCR leader John Fogerty, conducted en route to customs inspection at Heathrow airport. He explained that his band were now experiencing what The Beatles had gone through a thousand-fold, their records selling in huge quantities worldwide. 

“Of course,” he added, “we can never ever hope to emulate the impact made by The Beatles. Nobody can.” 

His modesty was understandable. But it transpired that Fogerty was somewhat underplaying the CCR effect. In a little over a year, they had scored half a dozen Top 10 singles and three platinum-selling albums in their native US – a run that was about to eclipse the Fabs in terms of sales. CCR were fast becoming the biggest band on the planet. 

On the night of April 14, 1970, they set out to prove it. Four days on from the Beatles news, CCR played the first of two sell-out shows at London’s Royal Albert Hall. It was an unmitigated triumph, the band powering through a set with explosive force, twisting the basic tenets of rock’n’roll into their own distinct brand of Californian voodoo. 

“Right around that time we really started to come into our own,” Fogerty reflects today. “You start to hear that confidence and swagger in the way we perform. That performance was pretty doggone good, pretty solid and strong and full of energy. I was a kid from El Cerrito and, as of two years before that, had never been anywhere. Suddenly I’m touring the States for a year and then experiencing all the musical touchstones of Europe.” 

“It was an honour to be there, knowing that we get to play in The Beatles’ house, the Royal Albert Hall,” says voluble CCR drummer Doug Clifford. “I’m an athlete, and always have been, so I’m competitive about when I play to win. I wanted us to do the best possible job. We all felt that way, I’m sure. And I think we pulled it off. I’m pretty sure I saw Eric Clapton [at the RAH], and I think I saw Paul McCartney . Just knowing where we were and what we were doing was a thrill.” 

The gig finished with CCR’s customary longform closer Keep On Chooglin’, after which the band received a 15-minute standing ovation.

More than half a century later, the just-released At The Royal Albert Hall captures the show in all its verve and glory. It’s accompanied by a documentary, Travellin’ Band: Creedence Clearwater Revival At The Royal Albert Hall , which features the entire show. (CCR’s The Royal Albert Hall Concert , released in 1980, was reportedly from a concert at Oakland Alameda County Coliseum.) Narrated by actor Jeff Bridges and directed by Bob Smeaton, who was responsible for The Beatles Anthology TV series, it represents CCR at their most formidable. 

“In terms of the performance, what I’d forgotten was the energy and the passion,” marvels bassist Stu Cook. “I think we went there with the intent to take no prisoners. When I saw the performance, I was kind of surprised by the intensity of it. Woodstock was great, but it was incredibly chaotic and late and stressful. I think that first time we played the Royal Albert Hall was probably the pinnacle for me. If I could relive a night, that would be it."

Despite suggestions to the contrary, CCR were no overnight sensations. Their success was the product of diligence, tenacity and sheer staying power. Initially forged in the suburbs of Northern California in 1959 as an instrumental trio, The Blue Velvets, things first started to move with the arrival of Fogerty’s elder brother Tom on rhythm guitar and lead vocals. 

Billed as Tommy Fogerty & The Blue Velvets, the band released three unremarkable singles on a local Oakland label between 1961 and ’62, grounded in the music they’d grown up with: 12-bar blues, rockabilly and doo-wop. But the British Invasion, spearheaded by The Beatles, brought a change in direction. 

“These great British groups took over where America left off,” Clifford says. “Rock’n’roll was an American phenomenon, but it had got kind of boring. And the Brits said: ‘Well, we think it can be saved and we like it. We’re going to do it.’ And they did.” 

It brought a change of label too. In May 1964, three months after The Beatles’ game-changing first appearance on US TV on The Ed Sullivan Show , The Blue Velvets auditioned for the San Francisco-based Fantasy Records, and were duly snapped up. Label co-owner Max Weiss, seeing an opportunity, encouraged the quartet to embrace the UK beat boom on early singles like Don’t Tell Me No Lies and You Came Walking . 

Weiss insisted on releasing these under the name The Golliwogs, in an appallingly misguided attempt to make the band sound British. They made no impact. A further handful of singles suffered a similar fate. 1966 saw the emergence of John Fogerty, now lead singer, as the band’s dominant force on Fight Fire and the howling psych-rock of Walking On The Water . Perhaps thankfully, this run of failure was interrupted by a spell of National Service for Clifford and the younger Fogerty.

On his return in 1967, Fogerty delivered his strongest song to date. Porterville was a pre-echo of the classic CCR sound, conceived on the parade field in the Army Reserve unit. 

“During all that marching I would get delirious, and my mind would start playing little stories,” he told Creedence biographer Hank Bordowitz. “They all seemed to be sort of swampy and southern, in the woods and with snakes; Br’er Rabbit, Mark Twain, a great old movie with Dana Andrews and Walter Brennan called Swamp Water. So I ended up writing Porterville while I’m stomping around in the sun.” 

Released as the final Golliwogs single, in November ’67, Porterville had Fogerty handling production as well (bizarrely credited as ‘T. Spicebush Swallowtail’). Afterwards, the band rang the changes once more. Coinciding with Fogerty’s decision to sack “sappy love songs” in favour of narratives, the foursome took on a fresh moniker. 

Credence Newball, a good friend of Tom Fogerty’s, provided the initial impetus. A TV ad for a brewing company (who prided themselves on “clear water”) gave them added splash, while ‘Revival’ was an indicator of their commitment to the cause, a renewed statement of intent. Porterville was reissued as Creedence Clearwater Revival’s debut 45 the following January.

Perversely, however, it was a cover that reversed the band’s fortunes. A swamp-rock version of Dale Hawkins’s Suzie Q was sent to progressive Bay Area radio station KMPX. The track was the kind of open-ended attack – eight-and-a-half minutes spread across both sides of a single – that chimed with the fluid psychedelia of the times. But it was actually a product of rigorous discipline and endless rehearsals; CCR were no jam band. Instead, and unlike many of their San Francisco contemporaries, some of whom mocked them for their straight-up aesthetic, they were a totem of rootsy economy. 

“Our peers laughed at us, called us the boy scouts of rock’n’roll,” Clifford told West Virginia’s Herald Mail in 2015. “They said we’d never make a thing out of the music that we were playing, said we were not cool, not hip like they were. And it was kind of funny.” 

Suzie Q stalled just outside the Billboard Top 10 in the autumn of ’68. By then Fantasy had seen enough to warrant an album. CCR’s self-titled debut did well enough that year, peaking at No.52 in the US, although its other standout song (besides Porterville ) was a further cover: a dynamic revival of Screamin’ Jay Hawkins’s old creep-show classic I Put A Spell On You .

CCR may have finally found some traction, but they were still a band in search of an identity. It was a challenge that John Fogerty resolved to meet head on. 

“I had kind of taken stock at the end of 1968, and looked around at my situation,” he remembers. “We had a hit with Suzie Q , but also, at least to my way of thinking, I realised it was kind of a novelty hit. It didn’t necessarily announce a whole big career in an important cultural turn. I didn’t have a manager, didn’t have a publicist and we were on a very tiny jazz label. I said: ‘Man, I’m going to just have to do it with music.’ And I gave myself that directive and Istuck to it. I figured I had to do it, otherwise it wasn’t going to happen.”

It didn’t look like much from the outside, but the vacant garage warehouse at 1230 5th Street in industrial Berkeley, just a few blocks over from the interstate, was Creedence’s hothouse. Thanks to John Fogerty’s demanding work ethic, the band rehearsed there almost daily. It was enough for Doug Clifford to refer to it as The Factory. 

In the preamble to the Royal Albert Hall show, Bob Smeaton’s film offers a rare glimpse of life inside the rehearsal space. 

“We had a smaller factory in Doug’s backyard at first,” Stu Cook explains. “It was just a little tool shed, and we managed to stuff us and our small amplifiers and a drum set in there once the lawn mower and brooms and rakes were all taken out. And that’s where we went every day from ten until two or three in the afternoon. 

“When we got enough money where we could actually lease a proper rehearsal space, then it became the real factory,” he continues. “It was basically just a large warehouse-type building with a couple of floors, and all the way in the back is where we carpeted and put up the blue velvet drapes, turned that red carpet down and turned it into The Factory.” 

“It was a great place to be,” Clifford adds. “We had our music area, but at the same time we had a basketball hoop at one end of the space and ping-pong tables and foosball tables. It was kind of our home away from home. We were working in there, all trying to achieve the same goals, all of us in our different roles. It was a very productive place to be.” 

The Factory was where CCR became a proper band, refining their technique and locking in as an extraordinarily tight unit. They reached deep into the history of rock’n’roll – hard-charging blues, R&B, swampy soul, a little country – to fashion what Fogerty once called “a corruption of what has happened before”, made fierce by a burning intensity.

As the quartet progressed, so did Fogerty’s songwriting. He may have been a Californian kid, but his chosen milieu was the Deep South and its attendant mythology. The region’s psycho-geography, and rich storytelling traditions, lent  themselves to his new songs. Proud Mary , released in early 1969, was the first manifestation, written two days after Fogerty was discharged from the National Guard. It told the tale of a jaded city boy who leaves it all behind to hitch a ride ‘on a riverboat queen’, the Mississippi paddle steamer of the title. 

“One of my favourites that Leiber and Stoller wrote was a Coasters song called Idol With The Golden Head , because it was so colourful and kind of a complete story about an event,” Fogerty explains of his immersion in narrative-driven pieces. 

“Another person very much like that is Chuck Berry . All his songs seem to tell a story with pictures. Bo Diddley had a song called I’m Bad and he talked about knocking some guy’s legs out of place. Or Who Do You Love ?, where you had a ‘ chimney made out of a human skull ’ and a ‘ cobra snake for a necktie ’. Pretty graphic and scary imagery for a middleclass white boy. And very exotic too. Those were things that showed you the possibility of just using your imagination.” 

Driven by its freedomriding gospel motif ‘ Rollin’, rollin’, rollin on the river ’, Proud Mary spoke to something timeless within the American psyche. The single became CCR’s first million seller, stalling just shy of the No.1 spot in the States and going Top 10 internationally.

Another single, Bad Moon Rising , another instant classic, followed in April. It lifted Scotty Moore’s guitar lick from Elvis Presley ’s I’m Left, You’re Right, She’s Gone , and Fogerty sang of a looming apocalypse, stuffing the song with ruinous images of hurricanes, floods and earthquakes. Its ringing rhythm and upbeat melody provided a delicious contrast. 

Like its predecessor, Bad Moon Rising peaked at No.2 on the Billboard chart, although it topped charts elsewhere, most significantly in the UK. Eventually it also followed Proud Mary into the lexicon of popular music, inspiring covers by Jerry Lee Lewis, Bruce Springsteen , Bo Diddley, Nirvana and many more down the years. 

Creedence Clearwater Revival ascended steeply. Bayou Country , the first of an incredible three studio albums in 1969, was a major hit at the turn of the year. It drew much of its symbolism from a fetishisation of the American South. As did its follow-up, Green River , released in the first week in August. The band appeared on the sleeve posed in a dappled glade, like backwoodsmen reluctantly coaxed into the open. 

The immaculate title track, another huge hit single, played directly into the same idea, introducing characters such as Old Cody Junior against a backdrop of catfish, bullfrogs, and barefoot girls dancing under the moon. But Fogerty was pulling obliquely from his own childhood, transposing family visits to a Sacramento Valley creek on to an imagined bayou. Green River was the name of a favourite lime syrup. Fogerty never seemed to rest. Songs poured out of him at an astonishing rate, the product of extreme focus and self-will. 

“I was really busy, but I liked that,” he recalls. “I was almost addicted to that. It might be some form of a drug produced naturally, like endorphins when you’re jogging. The best part for me was sitting down and trying to write a song and maybe not coming up with anything right then, but at some point, pretty quickly, coming up with a song that wasn’t there before. And it was all such a sort of mysterious process.”

As Creedence’s star continued to rise, demand grew. In between recording sessions, rehearsals and American dates, they swiftly became staples on the burgeoning festival circuit. They played to 200,000 people at the Newport ’69 Pop Festival in June, on a bill that also included the Jimi Hendrix Experience, Eric Burdon and Jethro Tull , among others. Within weeks they’d appeared at major festivals in Atlanta, Denver and Atlantic City. 

“It was a rocket ride, definitely,” says Cook. “Once the start button had been pressed, we might have thought we had some control over it. I guess we had a modicum of control day to day, but the larger arc of our career was pretty much out of our hands.” 

CCR were also one of the first acts to sign up for the Woodstock festival. As the hottest band in America, Cook believes they were used as bait to lure others. Their planned Saturday night headline slot didn’t quit take place, as it turned out, due to bad weather and technical difficulties throughout the day. With the schedule already running late, CCR instead took to the stage after midnight, following the Grateful Dead . 

“I think we did connect with the crowd,” Cook suggests. “It was hard to tell. The audience had just suffered through the worst day of probably most of their lives with the rain, mud and lack of food, just the whole thing, the overcrowding. But they were apparently making the best of it, so it was up to us to do that as well.” 

John Fogerty, however, felt that CCR underperformed, leading to his insistence that the band were omitted from both the Woodstock album and Michael Wadleigh’s subsequent film.

In the meantime, Creedence’s hot streak continued. Fogerty had two new hit gems that appeared on a double A-sided single in October: Down On The Corner and Fortunate Son . The two couldn’t have been more different. The former was a funky feelgood tune, freighted with autobiography, about a struggling four-piece (Willy And The Poor Boys) jamming on street corners. 

Fortunate Son was a raging commentary on elitism, reflecting the widening schisms in American society due to the ongoing Vietnam War. Fogerty was incensed that sons of the affluent political class were allowed to dodge the draft, while ordinary men were shipped off to South East Asia in their thousands. It remains one of his greatest songs. 

Both tracks appeared on the Willy And The Poor Boys album a month later. It was another huge success, selling half a million copies within six weeks. Rolling Stone hailed CCR as the Best American Band. It was reward for an almost impossibly productive year. 

“John’s theory was that if we’re ever off the charts, we’ll be forgotten,” says Clifford. “The industry tells you don’t put a single out unless you’re releasing an album with it. But we did that several times, to have something on the charts at all times, and that’s how we did it. And it didn’t seem to hurt our album sales at all. Not only did we do three albums in sixty-nine, but we also toured behind all three and some other things too, like Woodstock. We were at warp speed, but we were always straight and sober when we worked. We couldn’t have done it otherwise.” 

The advent of a new decade seemed primed for Creedence. They started with a habitual flurry, releasing another double whammy 45 in January 1970. Travelin’ Band was Fogerty’s exuberant homage to the rock’n’rollers who’d first inspired him: Elvis, Little Richard, Chuck Berry. The flipside, Who’ll Stop The Rain , was more contemplative, a politically pointed song about failed promises and dashed ideals. It was another platinum seller across the globe, and CCR toasted its success with a hometown show at Oakland Coliseum at the end of the month. 

By April, with the Willy And The Poor Boys album peaking in the UK Top 10 and two fresh classic singles in the shops – Up Around The Bend and Run Through The Jungle – the band set out to conquer Europe. The eight-date trip involved sold-out gigs in France, Germany, Holland, Denmark and Sweden, with the show at London’s Royal Albert Hall undoubtedly the most prestigious. 

“For me, performing live was the best part,” states Fogerty. “ Born On The Bayou was pretty good to play; I loved Keep On Chooglin’ too. I also always loved Suzie Q . Those were songs where I got to stretch out a little. It just seemed like everything was working out well.”

The only thing that could stop Creedence, it seemed, was themselves. Director Bob Smeaton points out that: “When those guys walked off the stage at the Royal Albert Hall they were a band of brothers. Tight as friends and tight as a band.” 

But within the group, cracks had already started to form. John Fogerty’s iron grip on the band had been evident in his decision to veto their inclusion in the Woodstock album and film. Now, with a full house at the Albert Hall screaming for more, there was another autocratic call. 

“We got a fifteen-minute standing ovation from the British crowd and we didn’t go out and do an encore,” Doug Clifford rues. “That was one of the things that I thought was John’s type of leadership, where you punish instead of helping to change the situation or make something better. It was disingenuous. John does encores now, but that was something he took away from the band.” 

Creedence Clearwater Revival would reach their commercial peak in the summer of 1970 with their fifth album, Cosmo’s Factory , named after the band’s rehearsal space. It was compounded by another one, Pendulum , in December, by which time there was real dissension within the band. While Stu Cook, Doug Clifford and Tom Fogerty wanted more of a say in the studio, John, the younger Fogerty, stood firm. By early 1971, Tom had quit. A year later, Creedence were done completely. 

The story of CCR’s fall-out and collapse is a whole other tale . Ultimately, they’re a band best celebrated rather than mourned. As the At The Royal Albert Hall album proves, theirs was one of the defining sounds of the counter-cultural era, even if they actually occupied a place somewhere closer to the popular culture. 

“We were number one in the world in record sales in 1969 and 1970,” says Clifford, still immensely proud of the band’s many achievements. “We were the first band to outsell The Beatles and to take their place. In fairness to The Beatles, their career was starting to fade and go the other way and ours was going up like a rocket ship. But we wanted to be number one. That meant a lot to us.”

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Rob Hughes

Freelance writer for Classic Rock since 2008, and sister title Prog since its inception in 2009. Regular contributor to Uncut magazine for over 20 years. Other clients include Word magazine, Record Collector, The Guardian, Sunday Times, The Telegraph and When Saturday Comes . Alongside Marc Riley, co-presenter of long-running A-Z Of David Bowie podcast. Also appears twice a week on Riley’s BBC6 radio show, rifling through old copies of the NME and Melody Maker in the Parallel Universe slot. Designed Aston Villa’s kit during a previous life as a sportswear designer. Geezer Butler told him he loved the all-black away strip.

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creedence clearwater revival european tour

Clearwater Creedence Revival

"bayou country" 40th anniversary tour.

  • Date 6 Apr 2024
  • Event Starts 07:30 PM
  • Venue indigo at The O2
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Clearwater Creedence Revival are returning to indigo at The O2 on 6 April 2024 with their "Bayou Country" 40th Anniversary Tour.

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creedence clearwater revival european tour

creedence clearwater revival european tour

New CREEDENCE CLEARWATER REVIVAL Documentary To Include Previously Unreleased Footage

Craft Recordings , Concord Originals and Marathan Films have announced the production of the documentary concert feature film "Travelin' Band: Creedence Clearwater Revival At The Royal Albert Hall" , directed by two-time Grammy Award winner Bob Smeaton ("The Beatles Anthology" and "Jimi Hendrix Band Of Gypsies") and narrated by Academy Award -winning actor Jeff Bridges , who, like his iconic character " The Dude " in "The Big Lebowski" , is a fan of the band. The film features the only full concert footage of the original CREEDENCE CLEARWATER REVIVAL to ever be released.

The film is a Craft Recordings , Concord Originals and Marathan Films production and is produced by Sig Sigworth ("R.E.M. By MTV"), Jonathan Clyde ("The Beatles: Get Back"), Martin R. Smith ("The Beatles: Sgt Pepper's Musical Revolution") and John Beug ("Running Down A Dream Tom Petty"). Concord 's Scott Pascucci ("Martin Scorsese's: Living In The Material World"), Bob Valentine and Concord Original 's Sophia Dilley ("Billie") executive produce. Wesley Adams , Charles Hopkins and Taylor Umphenour are serving as co-producers.

"Travelin' Band: Creedence Clearwater Revival At The Royal Albert Hall" takes the viewer on a journey from the bands humble, yet formative years in El Cerrito, California to their meteoric rise in 1969, from headlining Woodstock to selling out the Oakland Coliseum before traveling through Europe and taking the stage at the Royal Albert Hall. Featuring a wealth of unseen footage (including the concert itself),this film documents the story of CREEDENCE CLEARWATER REVIVAL up to the moment they leave the Royal Albert Hall stage as the biggest band in the world. The audio for the concert was mixed and restored from the original multitrack tapes by Grammy winners Giles Martin and Sam Okell ("The Beatles: Get Back", "Rocket Man").

Director Bob Smeaton recalls: "As a kid growing up in the U.K. during the late sixties, early seventies, CREEDENCE were a band that I was only really aware of through their hit singles. Therefore making this film was an education for me, I was able to see and hear why they are worthy of their status as one of the greatest bands of all time. I knew they were good, I never knew they were that good."

"Unveiling the power of CREEDENCE at a high-point in their career with this long-lost footage is extraordinary in its own right," said Sigworth . "To have Jeff Bridges narrate us through that discovery is when pop culture collides into something bigger."

Jeff Bridges said: "What a band! Love listening' to 'em, love playin' Fogerty 's tunes. They're certainly favorites of mine. CREEDENCE , yeah, man."

As 1969 was drawing to a close, CREEDENCE CLEARWATER REVIVAL were challenging THE BEATLES for the title of the top-selling act in the world and John Fogerty was becoming one of America's most politically significant songwriters.

In April of 1970, CREEDENCE began their first-ever European tour, where the band's British debut would take place at the most prestigious music venue in the U.K.: London's Royal Albert Hall. Only days after the breakup of THE BEATLES , the concert would be one of the defining shows of their career. The concert was filmed, but never fully released until now.

Years of research, discovery and restoration have gone into the project including finding the original concert footage in a London vault which has been fully restored after 50 years of storage. The film also includes previously unreleased 16mm footage of the legendary performance, fly-on-the-wall band interactions and interviews unearthed from the Fantasy Records vault, plus what is believed to be the earliest known footage of CREEDENCE performing live.

CAA Media Finance represents the film's distribution rights.

CREEDENCE CLEARWATER REVIVAL : During their short time together as a band (1968 – 1972), CREEDENCE enjoyed an unparalleled period of creativity – releasing seven studio albums (two of which went to Number One),playing over 150 tour dates around the world, including a headlining spot at Woodstock and scoring 14 Top Ten singles. A mainstay band till today, CREEDENCE accrued 4 billion streams in 2021. Over the past 50-plus years, CREEDENCE 's canon has become a part of the Great American Songbook. Songs like "Bad Moon Rising" , "Down On The Corner" , "Fortunate Son" , "Have You Ever Seen The Rain" , "Proud Mary" , "Born On The Bayou" , "Travelin' Band" and "Up Around The Bend" have been ingrained into pop culture — not just as rock staples, but as timeless standards. With so many memorable compositions that continue to grace the radio waves, television and film screens, and lyrics that still resonate today, CREEDENCE CLEARWATER REVIVAL is, truly, America's Greatest Rock Band.

creedence clearwater revival european tour

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Creedence Clearwater Revival At The Royal Albert Hall (Autographed by John Fogerty)

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Wrote a song for everyone, learn about the moments that defined john fogerty's career & led to one of america's most prolific songbooks..

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CLEARWATER CREEDENCE REVIVAL

  • CLEARWATER CREEDENCE REVIVAL

Creedence Clearwater Revival tour the UK in 2022, powerfully reprising classic hits such as Proud Mary, Bad Moon Rising and more.

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Clearwater Creedence Revival Fan Report: Ratings and Reviews

2 reviews (ø 4.5), very entertaining.

Superbly entertaining

Great evenings entertainment.

This is a new venue to me and its a fantastic large church like building with excellent acoustics. Support was a guy on acoustic guitar who did a great job, then on to the main event. I have seen CCR several times in the past, and as with last night, they never fail to impress with faithful reproductions of CCR music. Last number of the night was my fav, fortunate son, so very happy then I set off on my 20mile trip back home.

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John Fogerty Explains the 52-Year Wait for Creedence Clearwater Revival’s ‘Royal Albert Hall’ Show

The iconic rocker also shares his thoughts on what Biden's doing right and what he wishes to see more of from the sitting president.

By Gary Graff

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Creedence Clearwater Revival

Back in the fall of 1980, Creedence Clearwater Revival fans (and rock faithful in general) celebrated the release of The Royal Albert Hall Concert , the document of an historic April 14, 1970 concert and the first official live album by the band’s original quartet lineup.

Great news , except…it wasn’t.

The disc in question turned out to be from a New Year’s Eve concert that same year in Oakland, Calif. The album was retitled The Concert , and the Royal Albert Hall show remained the province of bootleggers. Until now.

Trending on Billboard

The film, narrated by Jeff Bridges, also includes about a half-hour of interviews and footage from CCR’s entire European tour. The band members — brothers John and Tom Fogerty, Stu Cook and Doug Clifford — appear fresh-faced and wide-eyed as they tour the sites and hang out in hotel rooms and backstage. There’s little of the rancor that would subsequently mark the band’s breakup and legacy — though Cook acknowledges things are not always rosy — and the footage simply documents four guys having the time of their lives and not entirely sure how they got there.

To mark the occasion of the real Royal Albert Hall release, Billboard spoke with John Fogerty about the show, as well as some more contemporary matters.

Is it nostalgia, or what is the emotion you’re feeling as this rolls out?

And this time it’s the real Royal Albert Hall concert, right?

(Laughs) Well, you’re digging into the trash can of my relations with Fantasy and Saul Zaentz, of course. But, yes, what happened was when I was finally able to leave Fantasy, they warranted that they only had one more piece of Creedence material in their vaults, and that was the Royal Albert Hall tape. So at the end of 1980 they released an album called Creedence Clearwater Revival at the Royal Albert Hall . I remember getting a copy — of course in those days it was vinyl — and dropping a needle on the record and the first thing I heard was Tom Donahue’s voice, the famous disc jockey in San Francisco. He was only at one of our shows, and that was in Oakland, so I quickly understood a slip-up had happened. I also thought it wasn’t just a mistake; it was a devious move. They had gotten a master copy of this Oakland Coliseum tape, and I think they were trying to pull the wool over people’s eyes and use that contractual commitment to try to get away with it. But everybody understood right away it wasn’t done at Albert Hall, it was done in Oakland. So after that they just called it The Concert.

How important was this show to Creedence at the time?

I’m sure we all felt like it was a high-water mark because Albert Hall is so legendary in terms of rock n’ roll. First and foremost the Beatles played there, I think a few times. I imagine other British bands that rose to the top, too. I think the (Rolling) Stones and maybe the Kinks by then had played Albert Hall. It was seen as the thing to do in rock n’ roll, especially when you went to England.

I’m sure that I felt we were in our ascendency. I believe we were in England preparing to play at Albert Hall the first time right when the Beatles broke up, when the news was on everybody’s minds — I think it was within days, actually. The idea that the Beatles had broken up therefore led to quickly thinking, “Well, they’re not a band anymore, so who’s the No. 1 band? Gee, maybe it’s us!” Some people would say that about us from time to time, but there couldn’t have been any official polling or anything. There were other bands that were around, like the Rolling Stones, that certainly could have been in contention.

Did that scenario put a little extra charge or jet fuel into Creedence for that show, then?

That’s a good question; I hadn’t really thought of it that way. I think for a period of about a year, and perhaps the Albert Hall was right in the middle of that one year — as a band Creedence could really strut its stuff. By then I’d written quite a few radio songs, so we had a pretty unbeatable repertoire live and were able to perform the songs really well. There was a certain amount of swagger to the whole presentation. There was a great feeling right during that time, having emerged from the shadows and standing directly center stage there in the spotlight, and at a time before all the tensions within the band started to make things more complicated.

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Y’know, it was all kind of a blur. I remember rehearsing in the afternoon and I remember being on stage, and then it’s just sort of…I haven’t really thought about it a lot over time. It’s all sort of one singular thought rather than a memory with lots of parts, the way maybe last week’s concert would be. I hadn’t seen the film over the years, either. I remember we played well and it was a great reception. It was a pretty legendary performance in a legendary place. But I tend to remember it as a singular snapshot.

Part of the legend, of course, is the 15-minute standing ovation after you finished, but Creedence never played encores. Did you even consider it, just that once, given that people were going crazy?

The way that came about was there had been a series of shows several months before this one where we would go off and then come back on to do an encore, and people would come on stage — I mean lots of people. It seemed to be an entitlement or some sort of signal that all the rules are now off, you can do whatever you want, so people would rush the stage and get on the stage. Several times we watched Doug’s drums being torn apart. It became mayhem, in other words. By then, by the end of ’69, we had started hearing, “Well, the Beatles didn’t do encores,” and “the Stones are now not doing encores” and there were several other bands. So in Creedence I made the decision…so we were well into the mode of not doing an encore.

But I have to say that as (the ovation) went on, somebody came back and told us after about 10 minutes, “Well, they’ve been playing ‘God Save the Queen’ but everybody’s making so much noise they can’t hear it.” I just thought, “Well, we better not change things,” ’cause it had gotten so dangerous. For better or for worse, that’s where it is.

No, not that I remember. I had heard that a couple of Beatles were in attendance, but since I didn’t get to meet them I never really got to verify that. I’m sure if I’d have met Paul McCartney or John Lennon or George (Harrison), then, oh my goodness, I would’ve been just a fanboy. All these new things that were happening to me and my band, it was quite recent history and we had come from almost nothing and we’re now being celebrated all over the world. In no way was I used to that at all.

A comment is made in the documentary that you were “considered one of America’s most politically significant songwriters” at that time. Was that an aspiration?

Well, I took that stuff very seriously. I consider myself very American. I was and am very aware of being an American citizen, with a lot of interest in American history. At different points I thought I might become a history teacher. So it was important to me. I’ve stayed on that radio station all through my life. When things seemed unfair and they shook my sense of balance and fairness and equality, I thought in terms of, “We need to fix this. We need to make America better.” And, of course, in America at that time civil rights was a very high priority among people, young people especially. I think it still is in certain portions of our society.

Back then you were writing in a social-political-cultural maelstrom, and we find ourselves in the same maelstrom today. Do you see parallels?

I would say, of course, the answer is yes. There is a very similar situation now. One of the differences, to me at last, is back in the sixties I always felt the young people — meaning the people that were my age at the time — all felt about the same, kind of left-leaning, liberal, wanted to improve America’s civil rights and social rights and stand more for the things that were in our Constitution. It seemed like the young people identified with that and the conflict was basically between young people and old people. Nowadays it’s not that simple and you’ll find even young people in certain political instances or ideologies saying things that certainly I don’t agree with, and you’ll find young people AND old people on the other side.

Yes. We seem to have a left side and a right side and a lot of people that think they are centrists, I suppose. From my point of view a lot of things that come from the conservative side of things seem to not hold up. The one that’s the most surprising in this day and age is all the people who think the 2020 election actually came out a different way than most of us believe. I just find that…not only hard to go along with, but it’s also disturbing that so many people can. They’re almost like flat-earth people; they want to believe that the planet looks like a saucer, and if you go out to the edge you’ll fall off. That bothers me, ’cause it’s not really good for our country to have so many people saying stuff that’s not believable.

What are your thoughts about President Biden so far?

Of course I voted for him. I wish there was a better version of him at times. I wish he was more dynamic. I wish he was able to express himself better, that kind of thing. You just wish it was more forceful, but politically I’m still right where he is. And he’s gotten a lot better the last few months; that’s probably driven by the fact there’s what they call midterm elections coming up. It seems like he’s paying more attention to that side more recently. But I am heartened by the latest big deal he got past. Things were going so poorly with our 50-50 Senate, I was surprised anything was gonna get done. It just looked like each side was dug in and not moving at all.

You’re old enough to remember a different kind of discourse in the political world, when the tone was more civil and you never questioned the motives or agenda of “the opposition.”

I thoroughly agree with that. There were people in the sixties and seventies who expressed the conservative side, I’m thinking like George F. Will or William F. Buckley, some other folks you would see pretty often on TV, but you knew they were gentlemen. You knew they perhaps had a different mindset but expressed it pretty eloquently. We didn’t throw chairs at each other while we were trying to figure things out. That’s the part that’s pretty disturbing now; I do not think people listen. I think they just try to say what they’re saying louder than the other guy.

On and off. I wrote a song a year ago called “Weeping in the Promised Land,” and it’s kind of divided (the audience) down political identifications, which I didn’t want to do but it’s hard to get away from that. Twenty years ago I had a song called “Deja Vu (All Over Again)”; in many places I actually was booed while I was playing it on acoustic guitar. But I’m really glad that happened; before, when I thought I was just an entertainer standing up in front of an audience, many of whom were booing, my first reaction would be, “Wow, they don’t like me very much, do they?” Then I realized it was the song, or what the song was saying, and I’d play something else and they’d be back to cheering. (laughs)

Where are you at with new songs and recording plans?

Well, it’s in mind. I finally have my studio running as I want it. The fellas I’m playing with now I really enjoy very much, which also includes my two sons who are playing in the band (Tyler and Shane). It’s just a sense that this is a sort of cohesive unit, much more so for the kind of music that I like to record. There’s certainly a lot of ideas and a few completed songs. Mostly ideas. It’s the kind of swampy music that I love to do. That’s what I’m feeling.

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Creedence Clearwater Revisited Talk Farewell Tour and Ignoring Their Critics

By David Browne

David Browne

In the past few years, a growing number of classic-rock acts have announced farewell tours. The latest twist arrived last week, when Creedence Clearwater Revisited rolled out plans for their final live run, set to wrap up later this year. “We’re calling it ‘The Final Revival,’” says drummer Doug Clifford, who will turn 74 in two weeks. “We’ve got grandchildren and they’re growing like crazy before your eyes. It’s time to change things a bit and make the family the priority.”

Adds bassist Stu Cook, 73, “Frankly, the road is a drag. We love the band, but we’ve had enough of hanging around a hotel room waiting to do our thing. There are far more years behind us than left in front of us.”

The twist, of course, is that Revisited isn’t the original Creedence Clearwater Revival , the hard-driving band powered by the voice, songs and guitar of John Fogerty . Featuring only Cook and Clifford — but not Fogerty nor Fogerty’s late brother, rhythm guitarist Tom — Revisited remains what Cook calls, with a knowing chuckle, “somewhere between a cover band, a tribute band and the real deal.”

These days, it’s become the new normal for heritage bands to tour with replacement (and usually younger) frontmen. Revisited weren’t the first such reconfiguration, but until now, they’ve been one of the most enduring. Launched in 1995, Revisited have now lasted more than five times longer than the original Creedence, which ran from 1968 to 1972. “When we started, we had no idea what was going to happen,” says Clifford. “Or if we were going to be accepted by the fans. We had a five-year plan and nothing else. There was some struggling in there, but we were immediately accepted. You win ’em over one show at a time.”

The thought of reviving the band as Creedence Clearwater Revisited probably began in 1993, when Creedence were inducted into the Rock and Roll Hall of Fame . Cook and Clifford assumed they would be joining Fogerty onstage to reprise a few of their songs, but Cook says they had “no idea” they wouldn’t be playing with him until that night. Instead, Fogerty’s backup band included Bruce Springsteen and Robbie Robertson.

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“They BS’d us for months that we were going to play or jam,” says Cook. “That mollified us until Doug went to see what drum set he was playing and a crew guy said, ‘Don’t you know you’re not playing?’ We called John and had a confrontation about the whole thing. That was the sneak-attack part part of it, a little bit like Pearl Harbor.” The two men walked out of the hall as soon as Fogerty and his guests began performing. For his part, Fogerty has said he had issues with his former bandmates by then, including the claim they “sold their voting rights in Creedence” to his nemesis, the late Fantasy Records head Saul Zaentz. “That really betrayed me,” he recently told an interviewer. Cook and Clifford says they “only proxied their voting rights for compilation albums, which did not give the record label a majority, leaving a majority to the balance of CCR to vote and decide.”

Not long after, Cook ended up visiting Clifford at the latter’s home in Tahoe, California, where the two jammed together for the first time in years. Cook insists it was that bond, more than revenge for the Hall of Fame induction, that spurred a Creedence resurrection. “You can only go so far with bass and drums, so we thought, ‘Why don’t we do something — and what would be better than what we already do?’” he says. “It was just an idea that we had to get the hell out of the house. It wasn’t, ‘We’re gonna show him.’ But I understand why people might assume we adopted a bit of that attitude.”

Adds Clifford, “The humiliation done that night was so wrong, and I’ve come to the conclusion that the seeds for this project were planted that night. But also, nobody was playing those songs, including John, when we started this project. People would say, ‘I never got the chance to see you guys.’”

For the first Revisited — the revamped name was suggested by a concert promoter friend of theirs — the band recruited former Cars guitarist Elliot Easton and a new lead singer also named John (Tristao). “John Fogerty is one of the most recognizable rock & roll voices,” says Cook, “and we told the guys when we were auditioning, ‘Don’t try to copy Fogerty. Just sing the songs as they should be sung.’ It’s a delicate balance.”

At a time when fans and promoters alike were wary of any rock reunions without all the principals, Revisited weren’t always greeted warmly. Months went by without work, and only bit by bit did the jobs (including tours of Asia and Europe) start coming. “We took a lot of hits,” says Cook. “People didn’t think we could do this or should do this. Creedence was an underdog, and Revisited was a double underdog. But we knew we could do it. Having the rhythm section makes us feel and sound quite a bit more like the original recordings than anybody else.”

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“We always introduce everyone in the band,” adds Clifford. “The idea was never to pull the wool over anyone’s eyes that it was John onstage. We took strides to make sure that was common knowledge.”

The first of many legal hassles arose soon after, when Fogerty challenged the use of the Revisited name in court in 1996. Fogerty — who himself began playing Creedence songs again onstage in 1997 after not doing so since their breakup — won an injunction, forcing Cook, Clifford and their bandmates to call themselves Cosmo’s Factory, after a Creedence album title. But a court of appeals overturned the decision and allowed Cook and Clifford to use the revamped Creedence name; in exchange for a cut of their touring and merchandising income, Fogerty withdrew his complaint. Cook and Clifford copyrighted the Revisited name and have used it ever since.

Revisited rolled along, even releasing a live album, Recollection , with their versions of the old Creedence songs. (The current lineup includes lead singer Dan McGuinness, lead guitarist Kurt Griffey and multi-instrumentalist Steve Gunner.) The group hit another legal snag in 2014, when Cook, Clifford and Tom Fogerty’s widow sued Fogerty for trademark infringement. By then, Fogerty was doing concerts performing Creedence albums, and advertising them as such, which irked his ex-bandmates. “He could always play the material — anybody can,” says Cook. “But we felt he was appropriating the brand. The billing he was using was getting cloudy.”

Fogerty in turn sued them for unpaid royalties dating back to 2011, which Cook admits was done intentionally. “We stopped paying him,” Cook admits. “We thought, ‘Why should we pay you when you’re taking these kind of un-allowed liberties?’ But we kept the money we owed him, so it wasn’t like it was missing. We were trying to get his attention. We’ve done it to remind him that we were part of it too. Even though he was able to exclude us from the Hall of Fame, he wasn’t able to erase our tracks from the records.”

Matters between Cook and Clifford on one side and Fogerty on the other remain frosty. Cook says he hasn’t spoken with Fogerty in years, and the camps still only communicate through lawyers. Yet he men have reached a certain détente. They’re now all part of Creedence Clearwater Revival LLC, jointly approving projects like the inclusion of the band’s complete Woodstock performance in a box set of the 1969 festival, or an upcoming, first-ever line of Creedence merch.

“It’s not what most people would call a reunion, but it’s still a milestone,” Cook says. “It’s a landmark in our relationship, given how it’s not been a thing of beauty the last 45 years. There’s still a lot of stuff to iron out, but things are functioning more like they should. There’s more trust. From my perspective, it bodes well that we can at least have all the water and mud and shit under the bridge. The media likes to stir things up. We had an ongoing war that would flare up and be gone. But we’re stuck with each other forever, whether we like it or not.”

With or without Fogerty’s blessings, Revisited will replay the vintage classics, from “Proud Mary” to “Fortunate Son,” at state fairs, casinos and other venues through the fall. “We feel we’ve been completely vindicated,” says Cook. “There’s always people who leave nasty posts on our Facebook page. But we don’t pay attention to that. There are still some purists out there, but they don’t know anything about the original band. They don’t have any credence, and that’s with three e e ‘s, not four.”

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    the four-piece's first European tour - an eight-show run that included stops in Holland, Germany, France, and Denmark. ... Creedence Clearwater Revival at the Royal Albert Hall will be released on CD and vinyl ... set is housed in a 12" x 12" box, with embossed gold foil detail, and includes a reproduction of the original 1970 tour ...

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    Creedence Clearwater Revival were about to enter a storm. Seventy-two hours after touching down in London in April 1970, ahead of their first European tour, their press conference was overshadowed by shock news of The Beatles' split. Reporters, TV crews and distressed fans were gathering in numbers outside Beatles label Apple's offices on ...

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    Creedence Clearwater Revival tour the UK in 2022, powerfully reprising classic hits such as Proud Mary, Bad Moon Rising and more. 22/02/2024 - 01/11/2024 | 16 events. (2) Tickets from £ 30.80*.

  14. Creedence Clearwater Revival

    Creedence Clearwater Revival, commonly abbreviated as CCR or simply Creedence, was an American rock band formed in El Cerrito, California. The band consisted of lead vocalist, ... In April 1970, CCR were set to begin their first European tour. To support the upcoming live dates, ...

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  16. Live in Europe (Creedence Clearwater Revival album)

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  18. Creedence Clearwater Revival's 1971 Concert History

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