Released in 1970, Cosmo’s Factory Creedence Clearwater
Revivals fifth studio album at first glance appears as somewhat of a greatest
hits collection, with many of the bands most well known songs appearing on this
album. But as an album it really is more than just a collection of hits and to
me represents a journey through the music of America whether it be rock and
roll, country, or roots rock. The array of styles on display on this album
shows off the uniqueness of CCR and how their music is an eclectic blend of
American music styles, something that in itself is significant considering that
at the time many American acts were more influenced by the drugs they were
taking than paying homage to the music of their homeland.
The songs on Cosmo’s Factory stick primarily to the
heavily charged roots rock feel the band were famous for and are based largely around
the traditional formula of guitar, bass, and drums. This means the ragged
almost grungy-like lead guitar of John Fogerty, as well as the gigantic sound
produced by the rhythm section of Doug Clifford on drums and Stu Cook on bass, two
very underrated players I must say. Vocally, Fogerty is on fire throughout the
album mixing up his delivery between that famous raucous Southern gravel of his
on songs such as “Ramble Tamble”, and a slower but still hard edged vocal on
songs such as the classic “Long as I Can See the Light”. It was this ability he
had to move between faster and slower numbers but yet still retain that
Southern feel to his voice that made him so distinct and recognisable as a
singer, and ensured he became one of the most popular vocalists of the late-60s
period.
Another feature that came
to the fore on this album was Fogerty’s strength as a songwriter; something
that I guess has been often overlooked. Just some of the subjects he touches on
include a parade passing by on “Looking Out My Back Door” a supposed drug song
that was actually written for his son, and gun proliferation in the US on “Run Through
The Jungle” which in itself has been mistaken as an anti-Vietnam war anthem. In
my opinion Fogerty’s calibre as a songwriter should not be ignored and is certainly
worth a mention especially when you consider he wrote many of the anthemic
songs of the 60s.
One minor criticism I
have of this album is of the cover songs, which seem weaker in quality compared
to the other very good original tracks. One of these covers includes the eleven
minute meandering version of Marvin Gaye’s “I Heard It Through the Grapevine”. Why
the band did not put the single edit version of this song on here instead is
beyond me as I feel they do a good job on this song. However eleven minutes is
too long and the extended jamming that goes on, on the studio album version
appears to me like a band going through the motions remembering also that this
is a time when long endless jamming and solos began to seep into rock music
sometimes to the point of absolute boredom for the listener. But this is only a
minor irritant that is made up for by the outstanding original tracks which
Fogerty serves up.
Cosmo’s Factory as an album is
probably the archetypal, quintessential CCR album and to me best represents
their unique take on traditional American music styles. It has also been viewed
as arguably their best album critically and certainly their most successful commercially,
topping the charts in six different countries. In conclusion then, if you are after
something of CCRs other than a greatest hits compilation then this is the album
for you. The well known songs are still there, but there are also a couple of
lesser tracks which are just as good quality-wise to some of the hits in turn
equalling a great early-seventies album.
A-
- Sam
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