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This day-by-day diary of Creedence Clearwater Revival's live, studio, broadcasting and private activities is the result of three decades of research and interview work by Bruno Ceriotti, but without the significant contributions by other kindred spirits this diary would not have been possible. So, I would like to thank all the people who, in one form or another, contributed to this timeline: John Fogerty, Doug Clifford, Stu Cook, Ross Hannan, Alec Palao, Susan Krieger, Greg Vick, Corry Arnold, Rob Frith, Ottmar Plewka, Robbie Stokes (RIP), Brett Champlin (RIP), Greg Artlip, Roberts Aerts, Merrill, Steve Brooks, Michael Kregness, Tim Strawn, Rich, Charles Kleinhans, Tom Campbell, Russ Tucker, Mike Gormley, Joyce Canright, Bruce Tahsler, Jack Eskridge, Joe Jupille, Jon Keliehor, K-KIS Newsletter, Billboard, The Spectator, The North Carolina Anvil, Miami News, Herald-Tribune, Thomas M. Kitts, Berkeley Barb, Hank Bordowitz, Ralph J. Gleason, Rock Tour Database, San Francisco Express Times, The San Francisco Examiner, Great Speckled Bird, NOLA Express, Rebirth, El Cerrito High School Yearbook, The San Bernardino County Sun, Chicago Tribune, The Napa Valley Register, Berkeley Tribe, The Fresno Bee The Republican, Oakland Tribune, Helix, The Philadelphia Inquirer, The Vancouver Sun, The Province, The Indianapolis News, The Indianapolis Star, Reno Gazette-Journal, Out Now, Arizona Republic, Santa Cruz Sentinel, Arizona Republic, Pittsburgh Post-Gazette, St. Louis Post-Dispatch, Kaleidoscope Chicago, The Pittsburgh Press, The Baltimore Sun, The Los Angeles Times, Minneapolis Star Tribune, Fifth Estate, Detroit Free Press, The Herald-News, New York Daily News, The Philadelphia Inquirer, The Akron Beacon Journal, Shreveport The Times, Ann Arbor Argus, The Shreveport Journal, Albuquerque Journal, The Bridgeport Post, The Salt Lake Tribune, The Dispatch, Des Moines Tribune, The Honolulu Advertiser, Honolulu Star-Bulletin, The Ithaca Journal, The Boston Globe, Mansfield News-Journal, The Miami News, The San Bernardino County Sun, El Paso Prospector, Lincoln Journal Star, The Windsor Star, The Sydney Morning Herald, The Cincinnati Enquirer, The Daily Oklahoman, Muncie The Star Press, Seattle Daily Times, The Des Moines Register, Kudzu, The East Village Other, The Sacramento Bee, San Mateo Times, The California Aggie, Los Angeles Free Press, Berkeley Daily Gazette, Palo Alto Times, The Independent, San Francisco Chronicle, Michael Lydon, Rolling Stone, Doris Worsham, The Hanford Sentinel, The Oak Leaf, The Daily Californian.
April 1959
The story of Creedence Clearwater Revival - arguably one of the greatest rock 'n' roll bands of all time - begins when a young aspiring singer, songwriter and guitar player named John Fogerty (b. John Cameron Fogerty, Monday, May 28, 1945, Berkeley, Alameda County, California) and a young aspiring drummer named Doug Clifford, aka 'Cosmo' (b. Douglas Ray Clifford, Tuesday, April 24, 1945, Palo Alto, Santa Clara County, California), met by chance one day up in Mrs. Starck's music appreciation class at Portola Junior High School, 7125 Donal Avenue, El Cerrito, Contra Costa County, California. "I used to sneak into the music room after school and bang on the piano," recalls John in a piece he wrote for K-KIS newsletter dated May 26, 1966. "One day Doug came up to me in the hall and invited me over to his house to catch flies. I'd seen him around school and in the music room, so I accepted. As we walked over to his place, Doug started talking about starting a band. He said he was a drummer. When we got there I found out that he didn't have any drums, so we spent the afternoon catching flies. Doug had a pet spider named Rosco, and I figured anyone with a pet like that couldn't be all bad. Soon I was able to make a down payment on a forty dollar guitar. Doug had just bought an old snare drum, so we started practicing. You couldn't believe the noise that comes out of a forty dollar guitar and a snare drum on a flower pot stand. When school let out for the summer we practiced almost every afternoon." "I’d go over to his house or he’d come over to mine, and we’d jam," he adds in 2015 in his autobiography Fortunate Son: My Life, My Music. "I liked his enthusiasm. Doug had energy and he was likable. It was casual and easy - we both liked rock and roll. Economically, we were kind of in the same place, and his mom and dad split up at around that time, so he went through the same thing I did. I could play songs like Roy Orbison’s 'Ooby Dooby' and the single’s other side, 'Go! Go! Go!,' and we worked up a repertoire. Sometimes I’d sing a little - [the traditional] 'The Battle of New Orleans' or maybe [The Olympics'] '[(Baby)] Hully Gully'." (Apparently another song he'd sing a little was Jody Reynolds' 'Endless Sleep').
The story of Creedence Clearwater Revival - arguably one of the greatest rock 'n' roll bands of all time - begins when a young aspiring singer, songwriter and guitar player named John Fogerty (b. John Cameron Fogerty, Monday, May 28, 1945, Berkeley, Alameda County, California) and a young aspiring drummer named Doug Clifford, aka 'Cosmo' (b. Douglas Ray Clifford, Tuesday, April 24, 1945, Palo Alto, Santa Clara County, California), met by chance one day up in Mrs. Starck's music appreciation class at Portola Junior High School, 7125 Donal Avenue, El Cerrito, Contra Costa County, California. "I used to sneak into the music room after school and bang on the piano," recalls John in a piece he wrote for K-KIS newsletter dated May 26, 1966. "One day Doug came up to me in the hall and invited me over to his house to catch flies. I'd seen him around school and in the music room, so I accepted. As we walked over to his place, Doug started talking about starting a band. He said he was a drummer. When we got there I found out that he didn't have any drums, so we spent the afternoon catching flies. Doug had a pet spider named Rosco, and I figured anyone with a pet like that couldn't be all bad. Soon I was able to make a down payment on a forty dollar guitar. Doug had just bought an old snare drum, so we started practicing. You couldn't believe the noise that comes out of a forty dollar guitar and a snare drum on a flower pot stand. When school let out for the summer we practiced almost every afternoon." "I’d go over to his house or he’d come over to mine, and we’d jam," he adds in 2015 in his autobiography Fortunate Son: My Life, My Music. "I liked his enthusiasm. Doug had energy and he was likable. It was casual and easy - we both liked rock and roll. Economically, we were kind of in the same place, and his mom and dad split up at around that time, so he went through the same thing I did. I could play songs like Roy Orbison’s 'Ooby Dooby' and the single’s other side, 'Go! Go! Go!,' and we worked up a repertoire. Sometimes I’d sing a little - [the traditional] 'The Battle of New Orleans' or maybe [The Olympics'] '[(Baby)] Hully Gully'." (Apparently another song he'd sing a little was Jody Reynolds' 'Endless Sleep').
UNNAMED REHEARSAL DUO (APRIL 1959 - SEPTEMBER 1959)
1) John Fogerty vocals, guitar
2) Doug Clifford (aka Cosmo) snare drum
1) John Fogerty vocals, guitar
2) Doug Clifford (aka Cosmo) snare drum
Sunday, September 6 or 13 or 20 or 27, 1959
After six months of practices, John and Doug started thinking about other kids they knew who played to fill out the sound. They finally settled on Doug's friend Stu Cook (b. Stuart Alden Cook, Wednesday, April 25, 1945, Oakland, Alameda County, California) for piano. Stu, another Portola Junior High School alumni, didn't know much about piano at the time, but he was willing to learn. So they decided to try him out one Sunday at Stu's house. "One day, Doug told me about a kid who played piano," confirms John in a piece he wrote for K-KIS newsletter dated May 26, 1966. "Better yet, he had a payroom where we could practice. Now we could stop bugging Doug's neighbors. That Sunday we met at Stu's house to see him play. It turned out that Stu was just as bad as Doug and I, so we liked him right away." "Stu was smart and liked the same kind of music as Doug and me," he adds in his autobiography. "So Doug and I decided to try him out. Doug, Stu, and I were all pretty clean-cut, mainstream. Stu was the only one who was wealthy by our standards. He lived in a house up in the El Cerrito hills. He had a rumpus room with a piano. And he had a dad at home. Stu’s dad was a lawyer with a great big firm that represented the Oakland Raiders, amongst others. Doug lived down near where I lived, down in the flats. It was all kind of middle-class territory." "I came up with the name the Blue Velvets for our band," also recalls John in his autobiography. "And I was the bandleader, although I say that kind of comically. When Doug and I were first talking, I remember thinking, Am I joining his band? Then, No - he’s joining my band! Along the way it became very clear. I was steering the direction. I had more music in me. And I wrote quite a few instrumentals. The Blue Velvets were an instrumental band - that was the whole premise. Every now and then I’d sing something like 'Hully Gully,' but mostly we did instrumental hits: Duane Eddy ['Rebel-Rouser' and 'Three-30-Blues'], Bill Doggett, Link Wray ['Raw-Hide' and 'Rumble'], the Ventures, Freddie King, Johnny and the Hurricanes. The Blue Velvets were just a trio - guitar, drums, piano - so it wasn’t a band with a lot of oomph, but back then there were a lot of little bands that weren’t really fully formed. Johnny and the Hurricanes had a bass player, but you rarely saw that at a local level."
After six months of practices, John and Doug started thinking about other kids they knew who played to fill out the sound. They finally settled on Doug's friend Stu Cook (b. Stuart Alden Cook, Wednesday, April 25, 1945, Oakland, Alameda County, California) for piano. Stu, another Portola Junior High School alumni, didn't know much about piano at the time, but he was willing to learn. So they decided to try him out one Sunday at Stu's house. "One day, Doug told me about a kid who played piano," confirms John in a piece he wrote for K-KIS newsletter dated May 26, 1966. "Better yet, he had a payroom where we could practice. Now we could stop bugging Doug's neighbors. That Sunday we met at Stu's house to see him play. It turned out that Stu was just as bad as Doug and I, so we liked him right away." "Stu was smart and liked the same kind of music as Doug and me," he adds in his autobiography. "So Doug and I decided to try him out. Doug, Stu, and I were all pretty clean-cut, mainstream. Stu was the only one who was wealthy by our standards. He lived in a house up in the El Cerrito hills. He had a rumpus room with a piano. And he had a dad at home. Stu’s dad was a lawyer with a great big firm that represented the Oakland Raiders, amongst others. Doug lived down near where I lived, down in the flats. It was all kind of middle-class territory." "I came up with the name the Blue Velvets for our band," also recalls John in his autobiography. "And I was the bandleader, although I say that kind of comically. When Doug and I were first talking, I remember thinking, Am I joining his band? Then, No - he’s joining my band! Along the way it became very clear. I was steering the direction. I had more music in me. And I wrote quite a few instrumentals. The Blue Velvets were an instrumental band - that was the whole premise. Every now and then I’d sing something like 'Hully Gully,' but mostly we did instrumental hits: Duane Eddy ['Rebel-Rouser' and 'Three-30-Blues'], Bill Doggett, Link Wray ['Raw-Hide' and 'Rumble'], the Ventures, Freddie King, Johnny and the Hurricanes. The Blue Velvets were just a trio - guitar, drums, piano - so it wasn’t a band with a lot of oomph, but back then there were a lot of little bands that weren’t really fully formed. Johnny and the Hurricanes had a bass player, but you rarely saw that at a local level."
THE BLUE VELVETS (SEPTEMBER 1959 - JUNE 1963)
1) John Fogerty guitar, stand-up bass
2) Doug Clifford drums
3) Stu Cook piano, accordion
1) John Fogerty guitar, stand-up bass
2) Doug Clifford drums
3) Stu Cook piano, accordion
December 1959: 'Sock Hop,' Gymnasium, Portola Junior High School, 7125 Donal Avenue, El Cerrito, Contra Costa County, California
"I believe the very first time the Blue Velvets played anywhere was at a sock hop at Portola Junior High at the end of 1959," recalls John Fogerty in his autobiography. "We might’ve done five instrumentals [apparently only three including 'Rumble' by Link Wray]. I know we played at least one song I’d written ['Johnny's Dream'] - a slow song, kind of an instrumental version of doo-wop, with those kinds of chords. Another of the songs we played at that first gig was a song I heard in the car on the way to the sock hop - 'Bulldog' by the Fireballs. I just heard it on the radio and then when I got to school and had a guitar in my hand, I said, 'Just follow me. It’s a twelve-bar blues.' I’m not made that way, to spring something unknown on people, let alone my own band, but that one time we did it - at our first gig! I was fairly practical. I wasn’t trying to show everybody I’m Duane Eddy. It was, 'What’s my function here? They’re hiring me to play for a dance. I better play danceable music.' That remained my directive over the years, even as I got on the big stages of the world. I went for music that made you shake your body."
Spring 1960 (?): Dick Vance Recording Studio, 3249 Grand Avenue, Oakland, Alameda County, California
The Blue Velvets headed into a recording studio for the first time and recorded a couple of songs, 'Yes I Love You' and 'Oh Yes I Know,' with John Fogerty's older brother Tom (b. Thomas Richard Fogerty, Sunday, November 9, 1941, Berkeley - d. Thursday, September 6, 1990, Scottsdale, Maricopa County, Arizona, of tuberculosis) on vocals. "We made a little demo record with Tom at a place called Dick Vance Recording Studio," confirms John Fogerty in his autobiography. "The room was so small we actually had to open the window so Doug could sit on the sill and play his drums. I think we cut two songs there, with Tom singing. All we got was a shellac copy. The guy [Dick Vance] just cut it right on the spot, and that's it - that's the only copy you have. I know for at least part of the song Tom had to manipulate the volume control on my Silvertone so it could sound like a vibrato. I just played and Tom turned the knob." Although John remember that only one copy of the acetate exist, Doug Clifford actually thought that the three other guys had an acetate too, just like he did at home. Doug also had some more unreleased acetates recorded by the band with Tom Fogerty such as 'Baby Doll' and 'Sandy Lou.' By then, Tom, who had previously sang with the Playboys, and Spider Webb and the Insects, also occasionally showing up at the Blue Velvets' gigs. "Tom would sit in with us, sing about five songs and split, and all the girls would go goo-goo," recalls Doug Clifford. "He could do the Valens stuff, his 'La Bamba' was as good as Ritchie's. And he used to sing the shit out of [Bobby Freeman's] 'Do You Wanna Dance'."
Summer 1960: Alameda County Fairgrounds, 4501 Pleasanton Avenue, Pleasanton, Alameda County, California
"As we kept playing, opportunities started to open up, and this guy, Bob - I cannot remember his last name - took the Blue Velvets under his wing," recalls John Fogerty in his autobiography. "He was with the El Cerrito boys club. We got to do shows all over the Bay Area - places like Pleasanton, San Leandro, and Oakland - representing the boys club. Because we were kids, Bob would drive us and bring our equipment. He was a really good guy, and he helped us. I've never been able to track him down, but I wish I could. So the Blue Velvets got great exposure and the opportunity to play a lot. It was good discipline. We worked up three, four songs and went far and wide."
Summer 1960: Sacramento County Fairgrounds, 1600 Exposition Boulevard, Sacramento, Sacramento County, California
The show was promoted by the El Cerrito Boys Club.
Summer 1960: unknown venue, Oakland, Alameda County, California
The show was promoted by the El Cerrito Boys Club.
Summer 1960: unknown venue, San Leandro, Alameda County, California
The show was promoted by the El Cerrito Boys Club.
Summer 1960 (?): Sound Recorders Inc., 421 Powell Street at Post Street, Union Square, downtown San Francisco, California
The Blue Velvets backed up (uncredited) an up-and-coming singer from Richmond, California, named James Powell on the recording of his single, 'Beverly Angel / Lidia.' "We were playing somewhere in Northern California when James Powell first approached me," recalls John Fogerty in his autobiography. "He liked my little band. He said, 'Well, I’m gonna make a record and I need a band to play on it.' I was only fourteen [actually fifteen]. Unlike some musicians, I was always driven. If something lands in your lap, you’re supposed to say, 'Yeah, man - I’ll do it!' Right? Nowadays every kid can make a record on his iPhone. So it’s not such a romantic notion anymore. This was, 'Mom, we’re gonna make a record!' This was out in the world, making a recording. Just to be able to say it! How cool is that? James was a black guy and a pretty doggone good singer. I think he was about twenty-five or so. He had a song he wanted to record called 'Beverly Angel,' a classic doo-wop. Really cool song. And he had others - every song was a girl’s name. We rehearsed. I don’t know how many times he came to either my house or Stu’s rumpus room. James knew a guy named Joe Jarros who had a little company called Christy Records. He was a small businessman, and on the side he had a tiny label - the innocent side of the old-time rock and roll record business. We were basically backing James, but to do that right, we needed a bass player on the record. Now, they had a string bass in Mrs. Starck’s music room. A couple of times she let me play it. Mrs. Starck had made chalk marks on it so I could see the finger placements and play whatever song she wanted. Hey, it’s like a guitar, only bigger. So I decided I’d play bass on James Powell’s session. I couldn’t use the school bass, but on my paper route there was an older fella who played bass in a country band. They had a weekly gig in Oakland, broadcast on local TV. I always loved when he was home because we would talk about music for a while, and he was always full of encouragement for me. A cool guy. So one day as I was delivering the paper, I told him we had this opportunity to make a record. He responded, 'The heck you say! Really?' He was enthusiastic, so I asked to borrow his stand-up bass. 'Sure, man. If I’m not home, just come tell my wife. The bass is in the garage.' James had rented a trailer. A string bass is huge. That’s why they invented the Fender Precision - so you didn’t have to go through this! I show up at the guy’s house, and he’s not there. His wife looks at James, she looks at me - I’m just some kid with a paper route. I’m not sure she understood the situation, but she let us take the bass. Lord, we drove across the Bay Bridge, with that big string bass in the open-air trailer, to Coast [sic] Recorders in San Francisco. Coast [sic] was a real recording studio. We walked in and I saw Monk Montgomery, the brother of Wes Montgomery. Monk was, like, the first jazz bass player to go electric. I thought, Wow, the big time! Walt Payne was the engineer. Years later he was the engineer on 'Susie Q' for Creedence. Doug, Stu, and I did the music with James singing, and then I overdubbed bass, which turned out fine. James also overdubbed harmony with himself - an advanced thing for its time. 'Beverly Angel' is not quite 'Earth Angel,' but it’s close. It sounds pretty good. It’s got a big echo and a real ending - it doesn’t just fade out. 'Beverly Angel' didn’t sell any copies that I know about, but that record eventually got played on the radio. Feature that: I made a record with my band at fourteen [fifteen] years old - a record that got played on the radio. Even weirder, it was an R & B record, a black record played on a black station - my favorite R & B station, KWBR! I was pretty proud. I mean, I didn’t assume, 'This means I’m headed to Carnegie Hall.' But get this: Stu took electronics with Mr. Thomas at El Cerrito High, and the project was to make a radio. Well, Stu made his radio, and the story goes that when he first fired it up, 'Beverly Angel' came wafting out. Can you imagine that? 'Hey, Mr. Thomas - it’s my record!'."
Fall 1960 (?)
James Powell's single, 'Beverly Angel / Lidia' (Christy CTY 45 137), was released only in the US by Joe Jaros' Christy Records, an indie label from Los Gatos, Santa Clara County, California. The disc was produced by James himself, who was also the author of both songs copyrighted by him (with his full name of James Cortez Powell) on Monday, April 4, 1960 ('Lidia' with the original title of 'Martha, My Darling'). The single was reissued in March 1961 (Christy CTY-61151).
1960/61: 'School Assembly,' Gymnasium, Encinal High School, 210 Central Avenue, Alameda, Alameda County, California
1960/61: 'Teen Dance', McClellan Air Force Base, North Highlands, Sacramento County, California
January 1961 (?): 'School Assembly,' Gymnasium, El Cerrito High School, 540 Ashbury Avenue, El Cerrito, Contra Costa County, California
The Spring semester at El Cerrito High School began with an assembly featuring the Blue Velvets.
Summer 1961
Tommy Fogerty got a solo record deal with Wayne J. Farlow's Orchestra Records, a newly born small Bay Area indie label. He put in place a verbal agreement that the Blue Velvets be his backing band. "[The Orchestra period] was great because it gave us a place to work on our craft at a time when there really weren't too many opportunites, especially for guys like us," reflects Doug Clifford. For Orchestra, the group now officialy became Tommy Fogerty and the Blue Velvets. Farlow had an interest in recording and apparently owned several studios around the Bay Area, including one out by the Oakland airport.
"I believe the very first time the Blue Velvets played anywhere was at a sock hop at Portola Junior High at the end of 1959," recalls John Fogerty in his autobiography. "We might’ve done five instrumentals [apparently only three including 'Rumble' by Link Wray]. I know we played at least one song I’d written ['Johnny's Dream'] - a slow song, kind of an instrumental version of doo-wop, with those kinds of chords. Another of the songs we played at that first gig was a song I heard in the car on the way to the sock hop - 'Bulldog' by the Fireballs. I just heard it on the radio and then when I got to school and had a guitar in my hand, I said, 'Just follow me. It’s a twelve-bar blues.' I’m not made that way, to spring something unknown on people, let alone my own band, but that one time we did it - at our first gig! I was fairly practical. I wasn’t trying to show everybody I’m Duane Eddy. It was, 'What’s my function here? They’re hiring me to play for a dance. I better play danceable music.' That remained my directive over the years, even as I got on the big stages of the world. I went for music that made you shake your body."
Spring 1960 (?): Dick Vance Recording Studio, 3249 Grand Avenue, Oakland, Alameda County, California
The Blue Velvets headed into a recording studio for the first time and recorded a couple of songs, 'Yes I Love You' and 'Oh Yes I Know,' with John Fogerty's older brother Tom (b. Thomas Richard Fogerty, Sunday, November 9, 1941, Berkeley - d. Thursday, September 6, 1990, Scottsdale, Maricopa County, Arizona, of tuberculosis) on vocals. "We made a little demo record with Tom at a place called Dick Vance Recording Studio," confirms John Fogerty in his autobiography. "The room was so small we actually had to open the window so Doug could sit on the sill and play his drums. I think we cut two songs there, with Tom singing. All we got was a shellac copy. The guy [Dick Vance] just cut it right on the spot, and that's it - that's the only copy you have. I know for at least part of the song Tom had to manipulate the volume control on my Silvertone so it could sound like a vibrato. I just played and Tom turned the knob." Although John remember that only one copy of the acetate exist, Doug Clifford actually thought that the three other guys had an acetate too, just like he did at home. Doug also had some more unreleased acetates recorded by the band with Tom Fogerty such as 'Baby Doll' and 'Sandy Lou.' By then, Tom, who had previously sang with the Playboys, and Spider Webb and the Insects, also occasionally showing up at the Blue Velvets' gigs. "Tom would sit in with us, sing about five songs and split, and all the girls would go goo-goo," recalls Doug Clifford. "He could do the Valens stuff, his 'La Bamba' was as good as Ritchie's. And he used to sing the shit out of [Bobby Freeman's] 'Do You Wanna Dance'."
Summer 1960: Alameda County Fairgrounds, 4501 Pleasanton Avenue, Pleasanton, Alameda County, California
"As we kept playing, opportunities started to open up, and this guy, Bob - I cannot remember his last name - took the Blue Velvets under his wing," recalls John Fogerty in his autobiography. "He was with the El Cerrito boys club. We got to do shows all over the Bay Area - places like Pleasanton, San Leandro, and Oakland - representing the boys club. Because we were kids, Bob would drive us and bring our equipment. He was a really good guy, and he helped us. I've never been able to track him down, but I wish I could. So the Blue Velvets got great exposure and the opportunity to play a lot. It was good discipline. We worked up three, four songs and went far and wide."
Summer 1960: Sacramento County Fairgrounds, 1600 Exposition Boulevard, Sacramento, Sacramento County, California
The show was promoted by the El Cerrito Boys Club.
Summer 1960: unknown venue, Oakland, Alameda County, California
The show was promoted by the El Cerrito Boys Club.
Summer 1960: unknown venue, San Leandro, Alameda County, California
The show was promoted by the El Cerrito Boys Club.
Summer 1960 (?): Sound Recorders Inc., 421 Powell Street at Post Street, Union Square, downtown San Francisco, California
The Blue Velvets backed up (uncredited) an up-and-coming singer from Richmond, California, named James Powell on the recording of his single, 'Beverly Angel / Lidia.' "We were playing somewhere in Northern California when James Powell first approached me," recalls John Fogerty in his autobiography. "He liked my little band. He said, 'Well, I’m gonna make a record and I need a band to play on it.' I was only fourteen [actually fifteen]. Unlike some musicians, I was always driven. If something lands in your lap, you’re supposed to say, 'Yeah, man - I’ll do it!' Right? Nowadays every kid can make a record on his iPhone. So it’s not such a romantic notion anymore. This was, 'Mom, we’re gonna make a record!' This was out in the world, making a recording. Just to be able to say it! How cool is that? James was a black guy and a pretty doggone good singer. I think he was about twenty-five or so. He had a song he wanted to record called 'Beverly Angel,' a classic doo-wop. Really cool song. And he had others - every song was a girl’s name. We rehearsed. I don’t know how many times he came to either my house or Stu’s rumpus room. James knew a guy named Joe Jarros who had a little company called Christy Records. He was a small businessman, and on the side he had a tiny label - the innocent side of the old-time rock and roll record business. We were basically backing James, but to do that right, we needed a bass player on the record. Now, they had a string bass in Mrs. Starck’s music room. A couple of times she let me play it. Mrs. Starck had made chalk marks on it so I could see the finger placements and play whatever song she wanted. Hey, it’s like a guitar, only bigger. So I decided I’d play bass on James Powell’s session. I couldn’t use the school bass, but on my paper route there was an older fella who played bass in a country band. They had a weekly gig in Oakland, broadcast on local TV. I always loved when he was home because we would talk about music for a while, and he was always full of encouragement for me. A cool guy. So one day as I was delivering the paper, I told him we had this opportunity to make a record. He responded, 'The heck you say! Really?' He was enthusiastic, so I asked to borrow his stand-up bass. 'Sure, man. If I’m not home, just come tell my wife. The bass is in the garage.' James had rented a trailer. A string bass is huge. That’s why they invented the Fender Precision - so you didn’t have to go through this! I show up at the guy’s house, and he’s not there. His wife looks at James, she looks at me - I’m just some kid with a paper route. I’m not sure she understood the situation, but she let us take the bass. Lord, we drove across the Bay Bridge, with that big string bass in the open-air trailer, to Coast [sic] Recorders in San Francisco. Coast [sic] was a real recording studio. We walked in and I saw Monk Montgomery, the brother of Wes Montgomery. Monk was, like, the first jazz bass player to go electric. I thought, Wow, the big time! Walt Payne was the engineer. Years later he was the engineer on 'Susie Q' for Creedence. Doug, Stu, and I did the music with James singing, and then I overdubbed bass, which turned out fine. James also overdubbed harmony with himself - an advanced thing for its time. 'Beverly Angel' is not quite 'Earth Angel,' but it’s close. It sounds pretty good. It’s got a big echo and a real ending - it doesn’t just fade out. 'Beverly Angel' didn’t sell any copies that I know about, but that record eventually got played on the radio. Feature that: I made a record with my band at fourteen [fifteen] years old - a record that got played on the radio. Even weirder, it was an R & B record, a black record played on a black station - my favorite R & B station, KWBR! I was pretty proud. I mean, I didn’t assume, 'This means I’m headed to Carnegie Hall.' But get this: Stu took electronics with Mr. Thomas at El Cerrito High, and the project was to make a radio. Well, Stu made his radio, and the story goes that when he first fired it up, 'Beverly Angel' came wafting out. Can you imagine that? 'Hey, Mr. Thomas - it’s my record!'."
Fall 1960 (?)
James Powell's single, 'Beverly Angel / Lidia' (Christy CTY 45 137), was released only in the US by Joe Jaros' Christy Records, an indie label from Los Gatos, Santa Clara County, California. The disc was produced by James himself, who was also the author of both songs copyrighted by him (with his full name of James Cortez Powell) on Monday, April 4, 1960 ('Lidia' with the original title of 'Martha, My Darling'). The single was reissued in March 1961 (Christy CTY-61151).
1960/61: 'School Assembly,' Gymnasium, Encinal High School, 210 Central Avenue, Alameda, Alameda County, California
1960/61: 'Teen Dance', McClellan Air Force Base, North Highlands, Sacramento County, California
January 1961 (?): 'School Assembly,' Gymnasium, El Cerrito High School, 540 Ashbury Avenue, El Cerrito, Contra Costa County, California
The Spring semester at El Cerrito High School began with an assembly featuring the Blue Velvets.
Summer 1961
Tommy Fogerty got a solo record deal with Wayne J. Farlow's Orchestra Records, a newly born small Bay Area indie label. He put in place a verbal agreement that the Blue Velvets be his backing band. "[The Orchestra period] was great because it gave us a place to work on our craft at a time when there really weren't too many opportunites, especially for guys like us," reflects Doug Clifford. For Orchestra, the group now officialy became Tommy Fogerty and the Blue Velvets. Farlow had an interest in recording and apparently owned several studios around the Bay Area, including one out by the Oakland airport.
TOMMY FOGERTY AND THE BLUE VELVETS (SUMMER 1961 - JUNE 1963)
1) John Fogerty piano, lead guitar
2) Doug Clifford drums
3) Stu Cook piano, rhythm guitar
4) Tommy Fogerty vocals, piano
1) John Fogerty piano, lead guitar
2) Doug Clifford drums
3) Stu Cook piano, rhythm guitar
4) Tommy Fogerty vocals, piano
October 1961
Tommy Fogerty and the Blue Velvets' debut single, 'Come On Baby / Oh My Love' (OA-6177), was released only in the US. The single pair a couple of Tommy's originals. "There is no bass per se on the Blue Velvets records," points out Stu Cook. "John would tune the guitar down and play on the lower strings." "We tried to gey Casey Kasem at KEWB to play the record," recalls Doug Clifford, "with a 'local guys' angle, and he was like, 'I don't know, you'll have to get play somewhere else first'."
January 1962
Tommy Fogerty and the Blue Velvets' second single, 'Have You Ever Been Lonely / Bonita' (OA-611010), was released only in the US. The single, which was added to the Oakland Top 40 station's play list, was a better produced record and marked the debut of 'Johnny' Fogerty as a writer. He was the author of both songs ('Bonita' was co-penned with Tom). The playing was confident but the record did not sell. "'Bonita' was cool,' recalls Doug Clifford. "It had kind of a snappy, almost Latin thing going on. We were hopelessly optimistic, so it was certainly disappointing when the singles weren't successful. Besides, Orchestra probably would have gone belly up if they'd had a hit."
Friday, May 25, 1962: ‘Junior Varieties,’ El Cerrito High School, 540 Ashbury Avenue, El Cerrito, Contra Costa County, California
The Junior class of El Cerrito High presented a ‘Junior Varieties’ show tonight at 8:00pm. Doug Clifford was the master of cerimonies and also appeared with the Blue Velvets as the background for a vocal male quartet called Shu and the Strings. Other acts that appeared on the show were Steve Hardison’s Combo, the Vonzells, the Mayer Brothers who did acrobatics, Maxine Long who did a feather dance, a soprano singer named Judy Dittenbir, a tenor singer named Harry Turner, Roberta Davis and Linda Wills who did a creative dance, Pete and Vincent Scalise who did a pantomime, Sherry Clark and Bruce Jones who did a skit, and finally the program closed with a dance by Jane Atkinson, Judy Carver, Kathy Day, Charlene Parris, Carolyn Eason, and Mary Hoffman.
Tommy Fogerty and the Blue Velvets' debut single, 'Come On Baby / Oh My Love' (OA-6177), was released only in the US. The single pair a couple of Tommy's originals. "There is no bass per se on the Blue Velvets records," points out Stu Cook. "John would tune the guitar down and play on the lower strings." "We tried to gey Casey Kasem at KEWB to play the record," recalls Doug Clifford, "with a 'local guys' angle, and he was like, 'I don't know, you'll have to get play somewhere else first'."
January 1962
Tommy Fogerty and the Blue Velvets' second single, 'Have You Ever Been Lonely / Bonita' (OA-611010), was released only in the US. The single, which was added to the Oakland Top 40 station's play list, was a better produced record and marked the debut of 'Johnny' Fogerty as a writer. He was the author of both songs ('Bonita' was co-penned with Tom). The playing was confident but the record did not sell. "'Bonita' was cool,' recalls Doug Clifford. "It had kind of a snappy, almost Latin thing going on. We were hopelessly optimistic, so it was certainly disappointing when the singles weren't successful. Besides, Orchestra probably would have gone belly up if they'd had a hit."
Friday, May 25, 1962: ‘Junior Varieties,’ El Cerrito High School, 540 Ashbury Avenue, El Cerrito, Contra Costa County, California
The Junior class of El Cerrito High presented a ‘Junior Varieties’ show tonight at 8:00pm. Doug Clifford was the master of cerimonies and also appeared with the Blue Velvets as the background for a vocal male quartet called Shu and the Strings. Other acts that appeared on the show were Steve Hardison’s Combo, the Vonzells, the Mayer Brothers who did acrobatics, Maxine Long who did a feather dance, a soprano singer named Judy Dittenbir, a tenor singer named Harry Turner, Roberta Davis and Linda Wills who did a creative dance, Pete and Vincent Scalise who did a pantomime, Sherry Clark and Bruce Jones who did a skit, and finally the program closed with a dance by Jane Atkinson, Judy Carver, Kathy Day, Charlene Parris, Carolyn Eason, and Mary Hoffman.
Boys' Gymnasium, El Cerrito High School, May 1962
June 1962
Tommy Fogerty and the Blue Violets [sic]' third and last single, 'Now You're Not Mine / Yes You Did' (210 / OA-6252), was released only in the US. Johnny Fogerty penned the A-side, while Tom the flipside. The single again did not sell, so a frustated Tom decided to wait out the option on the contract, principally because of the parochial nature of the label.
Early/Spring 1963: '10th Reunion Class of 1953,’ Boys’ Gymnasium, El Cerrito High School, 540 Ashbury Avenue, El Cerrito, Contra Costa County, California
The Blue Velvets gig.
June 1963
John, Doug, and Stu graduated from El Cerrito High School. At that point, not sure if their futures lie in music, the Blue Velvets went on hiatus. In fact, John went to work at a gas station during the day, but he also played every session he could at Berkeley's Sierra Sound Laboratories in the evening, while Doug, who expected to be a high school history teacher and football coach, and Stu, who expected being a lawyer like his dad, were both enrolled in San Jose State College later that fall and lived on campus. Meanwhile, Tommy, married to Gail Skinner and the father of a son, had taken a job as a lineman with Pacific Gas and Electric (a job he did for six years).
April 1964
Max Weiss, co-owner of the Fantasy Records with his brother Sol, auditioned the Blue Velvets for his label and eventually signed a management contract with them. Fantasy's investment in the band was minimal, but Max, who became the band's principal manager, proved very helpful. First, he told the band to rename themselves. The Blue Velvets was too 1950s sounding, he told them, and the band dutifully rechristened themselves the Visions. Second, he got them additional gigs, including a residency at the Monkey Inn in Berkeley, a dive bar popular among fraternities.
THE VISIONS (APRIL 1964 - NOVEMBER 1964) / THE GOLLIWOGS (NOVEMBER 1964 - DECEMBER 24, 1967) / CREEDENCE CLEARWATER REVIVAL #1 (DECEMBER 25, 1967 - FEBRUARY 1, 1971)
1) John Fogerty (aka Toby Green) vocals, lead guitar
2) Doug Clifford drums
3) Stu Cook bass
4) Tom Fogerty (aka Rann Wild) vocals, rhythm guitar
June 1964
After a couple of months of entering Fantasy, Max Weiss recorded the Visions in the makeshift studio in the back of the label's plant. "We made a demo tape, a demostration thing ... down in that lean-to in the back," recalls John Fogerty. "It was supposed to be a demostration. It was cut at 7 1/2 [inches per second] like a home tape recorder, and we added a few things." Busy with other aspects of Fantasy and not sure what to do with the demo, Max held onto it for a while. Sadly the contract with the Weisses did not permit the band to be full-time musicians.
November ?, 1964
Max Weiss surprised the Visions when he announced that he would release the "demo" they had recorded back in June as a single. The band rushed over to Fantasy, had a listen, and were very excited. However, after about a half hour, one of the members looked at the label. 'Don't Tell No Lies' was the A-side backed with 'Little Girl (Does Your Momma Know)', which was fine, but the name of the group stunned them: the Golliwogs? Without any consultation, Max had renamed the group. To put it mildly, none of the Visions preferred it. John tried to like it, tried to understand Weiss's rationale, but couldn't. It was the beginning of what John called a "nightmare." For four years, he continued, "[We] were laughed at ... we were ashamed to say the name even! They'd ask us, 'What's the name of your group?' And we'd turn the other way and say, 'The Golliwogs,' That kind of thing." Yet believing they had no choice, they accepted their new name - at least sometimes. Often they would leave their name unannounced to audiences and sometimes they performed unbilled, "We were young and we listened to him," said John, suffering from what Doug and Stu would later call El Cerrito syndrome - a suburban inferiority complex in which the boys doubted themselves and felt intimidated by those seemingly more worldly. Weiss, like everyone else, took notice of the unparalleled chart domination of the young British Invasion bands. He focused on their unusual but catchy names: Gerry and the Pacemakers, Herman's Hermits, the Kinks, the Swinging Blue Jeans, the Zombies, and on and on. Max thought if the Visions took a name more concrete, more specific, more English-sounding that they would get a hearing. He alighted on Golliwoggs, the central characters in an immensely popilar series of English children's books in the late nineteenth century, created by Florence Kate Upton and subsequently manufactured into even more popular dolls. A Golliwog - the second 'g' was dropped for the doll - was inspired by American black-faced minstrel characters, and was depicted by a wide band of glossy white, and thick lips of bright red. The Visions may not have had a unique name or sound at this point, but Golliwogs was a disastrous name on many levels. If listeners did not recognize the reference it sounded silly and lightweight, and if they did, it sounded insensitive at best and racist at worst. As Cook said, "may as well have called us the Pickaninnies."
December 1964
The Golliwogs' debut single, 'Don't Tell Me No Lies / Little Girl (Does Your Momma Know?)' (Fantasy 590), was released only in the US. Both songs were penned by the Fogerty brothers.
April 1965
The Golliwogs' second single, 'Where You Been / You Came Walking' (Fantasy 597), was released only in the US. Both songs were penned by the Fogerty brothers.
July 1965
The Golliwogs' third single, 'You Can't Be True (1° Version) / You Got Nothin' On Me' (Fantasy 599), was released only in the US. Both songs were penned by the Fogerty brothers.
November 1965
The Golliwogs' fourth single, 'Brown-Eyed Girl / You Better Be Careful' (Scorpio 404), was released in the US. Both songs were penned by the Fogerty brothers. The single was a local hit and sold 15,000 copies! By the way, from then on the band's singles were released by Scorpio label, a subsidiary of Fantasy Records.
1965/66: The Bold Knight, 769 North Matilda Avenue, Sunnyvale, Santa Clara County, California
1966: The Continental, 1600 Martin Avenue, Santa Clara, California
Also on the bill: The English (spelling?), The Sound of Soul.
1966: Stockton Civic Auditorium, 525 North Center Street, Stockton, San Joaquin County, California
1966: unknown venue, Hanford, Kings County, California
1966: unknown venue, Clear Lake, Lake County, California
1966: unknown venue, Santa Rosa, Sonoma County, California
1966: unknown venue, Marysville, Yuba County, California
1966: unknown venue, Yuba City, Sutter County, California
Sunday, January 23, 1966: The Brass Rail, 160 Mountain View - Alviso Road, Sunnyvale, Santa Clara Valley, Santa Clara County, California
The band was misspelled as ‘The Goliwogs’ on the poster. The gig was advertised as the band “1st Bay Area Performance.” Also on the bill: Guest Stars (aka The Nitecaps and possibly others). Two shows, 2:30pm and 6:30pm.
Friday, March 4, 1966
The Golliwogs' fourth single, 'Brown-Eyed Girl / You Better Be Careful' (Vocalion VF 9266), was released in the UK.
March 1966
The Golliwogs' fifth single, 'Fight Fire / Fragile Child' (Scorpio 405), was released in the US. Both songs were penned by the Fogerty brothers.
April 1966: American Legion Hall, 939 West Main Street, Merced, California
Also on the bill: The Morelochs.
Saturday, May 14, 1966: 'Autograph Party,' Bruce Stewart Co. and Olympus Music Centers Inc., 1711 South El Camino Real, San Mateo, California
From 2:00 to 3:00pm, The Famous Golliwogs, as they were advertised, did a promotional visit to a local music store to meet fans and sign autographs.
July or August 1966: War Memorial Auditorium, 247 East Canal Drive, Turlock, Stanislaus County, California
Friday, September 30, 1966: 'Coop Dance,' Santa Rosa Junior College, 1501 Mendocino Road, Santa Rosa, Sonoma County, California
The coop dance was sponsored by Santa Rosa Junior College’s ASB (Associated Student Body).
Monday, October 3, 1966
The Golliwogs' sixth single, 'Walking On The Water / You Better Get It Before It Gets You' (Scorpio 408), was released only in the US. Both songs were penned by the Fogerty brothers. The single was produced by Paul Rose.
Saturday, October 8, 1966: 'Shindig USA,' Roll-A-Land, 1236 Juarez Street, Napa, California
Also appeared: The California Girls. One show, from 9:00pm to 1:00am.
Friday, October 21, 1966: ‘”Bares-Bruins” Student Night at the Union,’ Pauley Ballroom, Student Union Building, UC Berkeley (University of California at Berkeley) campus, 2475 Bancroft Way at Sather Road, Berkeley, Alameda County, California
Also on the bill: Quicksilver Messenger Service, plus 2 North Beach GO GO Girls. The evening show, which ended at 1am, was presented by the ASUC (Associated Students of the University of California) Union Program Board.
After a couple of months of entering Fantasy, Max Weiss recorded the Visions in the makeshift studio in the back of the label's plant. "We made a demo tape, a demostration thing ... down in that lean-to in the back," recalls John Fogerty. "It was supposed to be a demostration. It was cut at 7 1/2 [inches per second] like a home tape recorder, and we added a few things." Busy with other aspects of Fantasy and not sure what to do with the demo, Max held onto it for a while. Sadly the contract with the Weisses did not permit the band to be full-time musicians.
November ?, 1964
Max Weiss surprised the Visions when he announced that he would release the "demo" they had recorded back in June as a single. The band rushed over to Fantasy, had a listen, and were very excited. However, after about a half hour, one of the members looked at the label. 'Don't Tell No Lies' was the A-side backed with 'Little Girl (Does Your Momma Know)', which was fine, but the name of the group stunned them: the Golliwogs? Without any consultation, Max had renamed the group. To put it mildly, none of the Visions preferred it. John tried to like it, tried to understand Weiss's rationale, but couldn't. It was the beginning of what John called a "nightmare." For four years, he continued, "[We] were laughed at ... we were ashamed to say the name even! They'd ask us, 'What's the name of your group?' And we'd turn the other way and say, 'The Golliwogs,' That kind of thing." Yet believing they had no choice, they accepted their new name - at least sometimes. Often they would leave their name unannounced to audiences and sometimes they performed unbilled, "We were young and we listened to him," said John, suffering from what Doug and Stu would later call El Cerrito syndrome - a suburban inferiority complex in which the boys doubted themselves and felt intimidated by those seemingly more worldly. Weiss, like everyone else, took notice of the unparalleled chart domination of the young British Invasion bands. He focused on their unusual but catchy names: Gerry and the Pacemakers, Herman's Hermits, the Kinks, the Swinging Blue Jeans, the Zombies, and on and on. Max thought if the Visions took a name more concrete, more specific, more English-sounding that they would get a hearing. He alighted on Golliwoggs, the central characters in an immensely popilar series of English children's books in the late nineteenth century, created by Florence Kate Upton and subsequently manufactured into even more popular dolls. A Golliwog - the second 'g' was dropped for the doll - was inspired by American black-faced minstrel characters, and was depicted by a wide band of glossy white, and thick lips of bright red. The Visions may not have had a unique name or sound at this point, but Golliwogs was a disastrous name on many levels. If listeners did not recognize the reference it sounded silly and lightweight, and if they did, it sounded insensitive at best and racist at worst. As Cook said, "may as well have called us the Pickaninnies."
December 1964
The Golliwogs' debut single, 'Don't Tell Me No Lies / Little Girl (Does Your Momma Know?)' (Fantasy 590), was released only in the US. Both songs were penned by the Fogerty brothers.
April 1965
The Golliwogs' second single, 'Where You Been / You Came Walking' (Fantasy 597), was released only in the US. Both songs were penned by the Fogerty brothers.
July 1965
The Golliwogs' third single, 'You Can't Be True (1° Version) / You Got Nothin' On Me' (Fantasy 599), was released only in the US. Both songs were penned by the Fogerty brothers.
November 1965
The Golliwogs' fourth single, 'Brown-Eyed Girl / You Better Be Careful' (Scorpio 404), was released in the US. Both songs were penned by the Fogerty brothers. The single was a local hit and sold 15,000 copies! By the way, from then on the band's singles were released by Scorpio label, a subsidiary of Fantasy Records.
1965/66: The Bold Knight, 769 North Matilda Avenue, Sunnyvale, Santa Clara County, California
1966: The Continental, 1600 Martin Avenue, Santa Clara, California
Also on the bill: The English (spelling?), The Sound of Soul.
1966: Stockton Civic Auditorium, 525 North Center Street, Stockton, San Joaquin County, California
1966: unknown venue, Hanford, Kings County, California
1966: unknown venue, Clear Lake, Lake County, California
1966: unknown venue, Santa Rosa, Sonoma County, California
1966: unknown venue, Marysville, Yuba County, California
1966: unknown venue, Yuba City, Sutter County, California
Sunday, January 23, 1966: The Brass Rail, 160 Mountain View - Alviso Road, Sunnyvale, Santa Clara Valley, Santa Clara County, California
The band was misspelled as ‘The Goliwogs’ on the poster. The gig was advertised as the band “1st Bay Area Performance.” Also on the bill: Guest Stars (aka The Nitecaps and possibly others). Two shows, 2:30pm and 6:30pm.
Friday, March 4, 1966
The Golliwogs' fourth single, 'Brown-Eyed Girl / You Better Be Careful' (Vocalion VF 9266), was released in the UK.
March 1966
The Golliwogs' fifth single, 'Fight Fire / Fragile Child' (Scorpio 405), was released in the US. Both songs were penned by the Fogerty brothers.
April 1966: American Legion Hall, 939 West Main Street, Merced, California
Also on the bill: The Morelochs.
Saturday, May 14, 1966: 'Autograph Party,' Bruce Stewart Co. and Olympus Music Centers Inc., 1711 South El Camino Real, San Mateo, California
From 2:00 to 3:00pm, The Famous Golliwogs, as they were advertised, did a promotional visit to a local music store to meet fans and sign autographs.
July or August 1966: War Memorial Auditorium, 247 East Canal Drive, Turlock, Stanislaus County, California
Friday, September 30, 1966: 'Coop Dance,' Santa Rosa Junior College, 1501 Mendocino Road, Santa Rosa, Sonoma County, California
The coop dance was sponsored by Santa Rosa Junior College’s ASB (Associated Student Body).
Monday, October 3, 1966
The Golliwogs' sixth single, 'Walking On The Water / You Better Get It Before It Gets You' (Scorpio 408), was released only in the US. Both songs were penned by the Fogerty brothers. The single was produced by Paul Rose.
Saturday, October 8, 1966: 'Shindig USA,' Roll-A-Land, 1236 Juarez Street, Napa, California
Also appeared: The California Girls. One show, from 9:00pm to 1:00am.
Friday, October 21, 1966: ‘”Bares-Bruins” Student Night at the Union,’ Pauley Ballroom, Student Union Building, UC Berkeley (University of California at Berkeley) campus, 2475 Bancroft Way at Sather Road, Berkeley, Alameda County, California
Also on the bill: Quicksilver Messenger Service, plus 2 North Beach GO GO Girls. The evening show, which ended at 1am, was presented by the ASUC (Associated Students of the University of California) Union Program Board.
The Daily Californian (October 21, 1966)
Friday, October 28, 1966: Solano County Fairgrounds, 900 Fairgrounds Drive, Vallejo, Solano County, California
Also on the bill: The New Breed.
Wednesday, November 23, 1966: Strand Theatre, 1021 10th Street, Modesto, Stanislaus County, California
Also on the bill: Sir Douglas Quintet, The Weathervane. One show, started at 7:30pm.
Friday, November 25 - Monday, December 5, 1966: ‘Grand Opening,’ Mousie’s Night Club, 212 F Street, Davis, Yolo County, California
The Gollywogs [sic] were on the bill along with The Squires, and Denny and Kenny.
Saturday, December 17, 1966: ‘Would You Believe,’ Sacramento Memorial Auditorium, Sacramento Convention Center Complex, 1515 J Street, downtown Sacramento, California
Sonny & Cher headlined a show which started at 7:30pm and that was staged as a fund raising project for the local Hiram W. Johnson High School adult chapter of the American Field Service. Proceeds from the show was used to bring a foreign student to Hiram W. Johnson High for a year of study under the American Field Service Students Abroad program or to send a Johnson student abroad to study. The Golliwogs, who reportedly performed in furry white hats, were one of the supporting bands along with the New Breed, the Royal Bishops, and the Looking Glass.
Friday, December 30, 1966: ‘Dance,' Fairfax Park Pavilion, 142 Bolinas Road, Fairfax, Marin County, California
Also on the bill: Overbrook Express. The show, which lasted from 8:00pm to 12 midnight, was presented by Golden Star Promotions.
January 1967: The Trophy Room, 1527 21st Street, Sacramento, California
Thursday, January 26 - Saturday, January 28, 1967: Mousie’s, 212 F Street, Davis, Yolo County, California
One show, from 9pm to 2am.
Thursday, February 2 - Saturday, February 4, 1967: Mousie’s, 212 F Street, Davis, Yolo County, California
One show, from 9pm to 2am.
February - July 1967
The Golliwogs went on hiatus for six months after John Fogerty served in the Army Reserves (he stationed at Fort Bragg, Fort Know, and Fort Lee), and Doug Clifford served in the Coast Guard. Meanwhile, at home, Stu Cook was earning his undegraduate college degree, while Tom Fogerty continued to work for Pacific Gas and Electric.
Friday, March 10, 1967
The Golliwogs' fifth single, 'Fight Fire / Fragile Child' (Vocalion VF 9283), was released in the UK. A demostration sample not for sale promotional copy of the single was distributed a week before on Saturday, March 4.
June 1967
The Golliwogs' seventh single, 'Tell Me / You Can't Be True (2° Version)' (Scorpio 410), was distributed only in the US as test pressing and in a very limited copies. Both songs were penned by the Fogerty brothers and were recorded in May 1967. By the way, a "bootleg / repro" promo copy of the single circulated since 2001.
September 1967
Saul Zaentz acquired Fantasy Records from the Weisses.
Saturday, October 28, 1967: 'Homecoming Dance,' Gymnasium, Encina High School, 1400 Bell Street, Sacramento, California
One show, started at 9:00pm.
November 1967
The Golliwogs' eighth and last single, 'Porterville / Call It Pretending' (Scorpio 412), was distributed only in the US as a not for sale promotional copy. Both songs were penned by John Fogerty under the pseudonym of T. Spicebush Swallowtail.
Friday, December 8, 1967: 'Christmas Dance,' Gymnasium, Elk Grove High School, 9800 Elk Grove Florin Road, Elk Grove, Sacramento County, California
Also on the bill: The Breed. The show, which was sponsored by the student council, lasted from 9:00pm to 12 midnight.
Monday, December 25, 1967
The Golliwogs changed their name to Creedence Clearwater Revival with Zaentz's approval.
Friday, January 5, 1968
Creedence Clearwater Revival signed the new recording contract with Fantasy Records that Saul Zaentz had requested.
January 1968 (?): unknown venue, Sacramento, California
1968
Fantasy Records relocated their office from San Francisco to Oakland.
February 1968
Creedence Clearwater Revival's debut single, 'Porterville / Call It Pretending' (Scorpio 412), was released in the US. Nedless to say, the single was actually only an official release of the last single of the Golliwogs which was distributed a year earlier as a promo copy only.
Thursday, February 29, 1968: Deno and Carlo, 728 Vallejo Street, North Beach, San Francisco, California
Sunday, March 17, 1968: Deno and Carlo, 728 Vallejo Street, North Beach, San Francisco, California
Monday, March 18, 1968: ‘KMPX Strike Rally,' back of a flatbed truck parked outside KMPX-FM radio station, 50 Green Street, San Francisco, California
At 3:05am, after their abovementioned Sunday night gig at Deno and Carlo, Creedence Clearwater Revival performed on the back of a flatbed truck parked outside KMPX-FM radio station. After them, the Grateful Dead also performed but their set was short because residents up the hill complained about the noise so the police arrived and ordered the crowd to disperse. Needless to say, all the other three bands announced to play - The Ace of Cups, All Men Joy, and Blue Cheer - finally didn’t play exactly.
Wednesday, March 20, 1968: 'KMPX Strike Fund Benefit,' Avalon Ballroom, 1268 Sutter Street at Van Ness Street, Polk Gulch, San Francisco, California (CCR cancelled)
‘Creedence Clearwater’ as they were billed on the poster, cancelled at last minute for unknown reasons. Also on the bill: Blue Cheer, Frumious Bandersnatch, Grateful Dead, Jeremy Steig and The Satyrs, Charlie Musselwhite Southside Sound System, Santana Blues Band, Clover, Kaleidoscope, All Men Joy (cancelled), Black Swan (cancelled), Ace Of Cups (cancelled).
Friday, March 22, 1968: Poppycock, 135 University Avenue at High Street, Palo Alto, Santa Cruz County, California
One show, started at 9:00pm.
Wednesday, March 27, 1968: 'KMPX Strike Fund Benefit,' Avalon Ballroom, 1268 Sutter Street at Van Ness Street, Polk Gulch, San Francisco, California
Also on the bill: Jeremy and The Satyrs, It's A Beautiful Day, The Sons Of Champlin. The show was promoted by Family Dog, a production company founded a couple of years earlier by Big Brother and The Holding Company’s former manager and Janis Joplin’s partner in crime, the great late Chet Helms.
Friday, March 29 - Saturday, March 30, 1968: The New Monk, 2119 University Avenue at Shattuck Avenue, Berkeley, Alameda County, California
Friday, April 5 - Sunday, April 7, 1968: The New Monk, 2119 University Avenue at Shattuck Avenue, Berkeley, Alameda County, California
Sunday, April 14, 1968: ‘Play in the sand - dance groove’ (open free concert), Deno and Carlo’s Naval Base (aka Muir Beach Lodge), Muir Beach, Marin County, California
Also on the bill: Buddha From Muir Beach (MC), Cleveland Wrecking Co., Country Weather, Marble Farm, Clover, The Womb.
Friday, April 19 - Saturday, April 20, 1968: Poppycock, 135 University Avenue at High Street, Palo Alto, Santa Cruz County, California
One show each day, started at 9:00pm.
Sunday, May 5 - Tuesday, May 7, 1968: The New Monk, 2119 University Avenue at Shattuck Avenue, Berkeley, Alameda County, California
Tuesday, May 28, 1968
Creedence Clearwater Revival's eponymous debut album, 'Creedence Clearwater Revival' (Fantasy 8382) was released in the US.
Friday, May 31 - Sunday, June 2, 1968: Avalon Ballroom, 1268 Sutter Street at Van Ness Street, Polk Gulch, San Francisco, California
Also on the bill: Taj Mahal, Dave Van Ronk, Family Tree, AB Skhy Blues Band. Lights by Electroluminescence. These shows were presented by Family Dog and lasted from 9pm to 2am each day.
Friday, June 14, 1968: Deno and Carlo’s Naval Base (aka Muir Beach Lodge), Muir Beach, Marin County, California
One show, started at 7:30pm.
Saturday, June 15, 1968
Creedence Clearwater Revival's second single, 'Suzi Q (Part One) / Suzi Q (Part Two)' (Fantasy 616), was released in the US. The single, which was a cover of Dale Hawkins' 1957 classic and was produced by Saul Zaentz, spent 12 weeks on the Billboard Hot 100 chart, peaking at #11.
Sunday, June 16 or Tuesday, June 18, 1968 (?): Deno and Carlo, 728 Vallejo Street, North Beach, San Francisco, California
Also on the bill: Devil’s Kitchen.
June or July 1968: Mousie’s, 212 F Street, Davis, Yolo County, California
The band played here for two weeks.
Summer 1968: Deno and Carlo, 728 Vallejo Street, North Beach, San Francisco, California
Also on the bill: Santana.
Summer 1968: unknown venue, Stinson Beach, Marin County, California
Also on the bill: Devil’s Kitchen.
Monday, July 1, 1968: ‘Free-Form Family Freakout - KSAN cocktail party,' Avalon Ballroom, 1268 Sutter Street at Van Ness Street, Polk Gulch, San Francisco, California
Also on the bill: West. Lights by Little Joe’s Electro Luminescence. One show, from 6:00pm to 8:30pm.
Tuesday, July 2 - Thursday, July 4, 1968: Fillmore Auditorium, 1805 Geary Boulevard at Fillmore Street, Fillmore District, San Francisco, California
Also on the bill: Steppenwolf, It’s A Beautiful Day. Lights by Holy See. These shows, which lasted from 9:00pm to 2:00am each day, were presented by the great late Bill Graham.
Friday, July 12, 1968: 'Benefit Harmony Planning,' Cow Palace, 2600 Geneva Avenue, Daly City, San Mateo County, California
Filling in for Phoenix, who were originally scheduled to appear, Creedence Clearwater Revival played at this rock benefit dance for Harmony, a new utopian International Research Center and School to be established in the Santa Cruz area. The free school will span all educational periods of a student's life. Also on the bill: Vanilla Fudge, Iron Butterfly, Canned Heat, Kai Moore, Sweet Rush, West, Sandy Bull, Wedge, Initial Shock. One show, from 4:00pm to 1:00am.
Saturday, July 13 - Sunday, July 14, 1968: ‘Dance/Concert,’ The Y-Knot Ballroom at Lucky Lanes, 13255 San Pablo Avenue, San Pablo, Contra Costa County, California
Also on the bill: Traumatic Experience, The Bus. Lights by Fiat Lux. One show each day, from 5:00pm to 12 midnight.
The Independent (July 13, 1968)
Sunday, July 28, 1968: ‘The Flick presents Come! - Summer Rock Concert! at Stanford,’ Laurence Frost Amphitheater, Leland Stanford Junior University, Lasuen Street, Stanford, Santa Clara County, California
The benefit, which lasted from 2:00am to 7:00pm, was sponsored by Media Unlimited, a Stanford University student organization. Also on the bill: Quicksilver Messenger Service, Chambers Brothers, Sons Of Champlin, Santana Blues Band, Beggar's Opera (filled in for Morning Gory), Gypsum Heaps, Edward Bear (MC).
Friday, August 2, 1968, 1968: ‘Cuesta Folk-Rock Concerts,’ Cuesta College, Highway 1, San Luis Obispo, California
Creedence Clearwater Revival played only on the first day of this 2-day (August 2-3) folk-rock music festival. Also on the bill: West (only August 3), Martha’s Laundry, Liberty Street Wedge, New Dehli River Band, Daemon Grass Hopper, Office, Bubble, The Bernard Barnch Memorial Jugband. Head, Orville Pinecones Contemporary Blues Band, The Fabulous Jets, Charey Nothing, Folk Singers, Tom Scribner & His Musical Saw, Family High Lights, Arts & Crafts, Silent Movies & Sights, and more local groups.
(Saturday, August 3) - Sunday, August 4, 1968: The Cheetah, 1 Navy Street, Santa Monica (actually just over the line in Venice Beach), Los Angeles County, California (CCR cancelled on August 3)
Creedence Clearwater Revival were advertised to play on both nights, but for unknown reasons they didn’t show up on Saturday and were replaced by a relatively unknown band called Eternity’s Children. Also on the bill: Howlin' Wolf, The Hook. Lights and Visuals by Thomas Edison and Castle Lighting. “Howlin' Wolf is opening for Creedence, which mystifies me even now,” recalls John Fogerty in his autobiography. “I stood in the audience and watched Wolf’s whole set. He was a big guy, and he0d point that figner at you. I think he was sitting down most of the time. Hubert Sumlin was on guitar, a 335 Gibson, and he was badass. We got to go in the dressing room, and I felt like a little kid. The Wolf smoked Kools and so did I at the time. We shared a smoke. I’m sure he was amused. He looked at me like he was going to reach down and pat me on the head.”
Sunday, August 11, 1968: ‘West Coast Love In and Watermellon Feed,’ private beach, Greyhound Rock County Park, 1551 Cabrillo Highway, Davenport, Santa Cruz County, California
Also on the bill: Steve Miller Blues Band (cancelled), Quicksilver Messenger Service, Charlie Musselwhite Blues Band, The Youngbloods, Flamin’ Groovies, Phoenix, West, Kai. The show started at 12 noon.
Saturday, August 31, 1968: Arena, Honolulu International Center, 777 Ward Avenue, downtown Honolulu, Hawaii
Also on the bill: Vanilla Fudge. Lights by Picadilly Ltd. The show was promoted by KKUA, a local radio station, and Dick Clark Productions.
Saturday, September 14, 1968: ‘Date Nite Party,’ Tomorrowland, Disneyland, Disneyland Resort, Anaheim, Orange County, California
Also on the bill: O.C. Smith, Jeannie C. Riley, the Mustangs, Humdinger Dancers, KRLA disc-jockey Dave Hull (MC). Two shows, 9pm to 11pm and 11pm to 1am.
Sunday, September 22, 1968: ‘Autumn Rock Concert,’ Exposition Hall, Santa Clara County Fairgrounds, 344 Tully Road, San Jose, Santa Clara County, California
Afternoon show. Also on the bill: Santana, Loading Zone, Fraternity of Man, 39 Homer Lane.
Sunday, October 6: ‘San Francisco International Pop Festival,’ 500-acres land, Searsville Lake, San Mateo County, California (cancelled)
In August, Creedence Clearwater, as they were advertised, were scheduled to play on the second day of this 2-day (October 5-6, from 11am to 7pm daily) festival presented by Rich Romanello of Top Star Productions Inc., 31 Fountain Alley, San Jose. Also scheduled to perform on that first day were Iron Butterfly, Joan Baez, Blue Cheer, Country Joe & The Fish, Loading Zone, Ike & Tina Turner Revie, and many more still in negotiations by that date. However, the festival, which Romanello announced that would have been recorded and an album would have been released, was cancelled at last minute and re-scheduled for October 26-27 at another Bay Area location.
San Francisco Examiner (September 8, 1968)
Friday, October 18, 1968: Rainbow Ballroom, 1725 Broadway Street, Fresno, San Joaquin Valley, Fresno County, California
Two shows, 8pm and 11pm. Also on the bill: The Youngbloods. Lights by ?
Sunday, October 27, 1968: ‘San Francisco International Pop Festival,’ Alameda County Fairgrounds, 4501 Pleasanton Avenue, Pleasanton, Alameda County, California
Creedence Clearwater Revival played on the second day of this 2-day (October 26-27) festival which was presented by Rich Romanello of Top Star Productions Inc., 31 Fountain Alley, San Jose, and was originally scheduled for October 5-6 in Searsville Lake. Also on the bill: Canned Heat, Womb, Spyders, Loading Zone, Deep Purple, Grassroots, Chambers Brothers, Procol Harum, MC Squared. The festival, which lasted from 10am to 6pm daily, was recorded.
Friday, November 15, 1968: Sound Factory, 1817 Alhambra Boulevard, Sacramento, Sacramento County, California
Also on the bill: Santana.
Saturday, November 16, 1968: The Terrace Ballroom, 464 South Main Street, Salt Lake City, Salt Lake County, Utah
Also on the bill: Spirit of Creation. Lights by Five Fingers On My Hand.
Saturday, January 4, 1969: Eagles Auditorium, 1416 7th Avenue at Union Street, Seattle, King County, Washington
Also on the bill: Popcorn. Lights by The Retina Circus. One show, from 8:00pm to 12 midnight.
Early/Mid January 1969
Creedence Clearwater Revival's second album, 'Bayou Country' (Fantasy 8387), was released in the US.
Saturday, May 10, 1969: The Rose Palace, 835 South Raymond Avenue, Pasadena, Los Angeles County, California (CCR cancelled)
Creedence Clearwater Revival were originally scheduled to perform but they cancelled at last minute for unknown reasons and the Grateful Dead filled in for them, Also on the bill: Kaleidoscope, Southwind, plus the filmed farewell performance of Cream. Lights and Visuals by Thomas Edison. The show, which started at 7:45pm, was presented by Scenic Sounds.
Friday, May 16, 1969: Sacramento Memorial Auditorium, Sacramento Convention Center Complex, 1515 J Street, downtown Sacramento, California
Also on the bill: Blues Image. The show, which started at 8:30pm, was presented by KROY, a local radio station.
Wednesday, May 28, 1969: ‘People’s Park Bail Ball (aka Berkeley Bail Fund Concert),’ Winterland, 2000 Post Street at Steiner Street, San Francisco, California
The benefit, which lasted from 6pm to 2am, was produced by Bill Graham. Also on the bill: Santana, Grateful Dead, Jefferson Airplane, Elvin Bishop Group, AUM, Bangor Flying Circus. Lights by Brotherhood of Light, and Little Princess 109. Reportedly, more than 6,000 people were in attendance.
August ?, 1969
Creedence Clearwater Revival's third album, 'Green River' (Fantasy 8393), was released in the US.
Saturday, August 16, 1969: 'Woodstock Music & Art Fair presents An Aquarian Exposition - 3 Days Of Peace & Music' (aka 'Woodstock,' aka 'Woodstock Festival'), Max Yasgur's dairy farm, White Lake, Bethel, Sullivan County, Woodstock Valley, New York
Also on the bill: The Quill, Santana, Keef Hartley Band, Country Joe McDonald, John Sebastian, Canned Heat, Mountain, Grateful Dead, Janis Joplin & Her Kozmic Blues Band, Sly and The Family Stone, The Who, Jefferson Airplane. CCR missed an opportunity for full-blown counterculture credibility when John Fogerty - much to his band mates' consternation - refused to sign a consent form which would have featured them on both Woodstock album and film, apparently because he thought their set was a complete disaster due to several electric problems. However, few years later, the band's full set was finally released as a bootleg titled Woodstock '69, and later, in 1994, four of the songs performed that day - 'Commotion', 'Green River', 'Ninety Nine And A Half (Won't Do)', and 'I Put A Spell On You' - were officialy released on the re-issued edition of the Woodstock album soundtrack.
Friday, August 22, 1969: ‘Annual Kings District Fair - Teen Fair,’ Teen Pavilion, Kings County Fairgrounds, 801 South 10th Avenue, Hanford, Kings County, California
Creedence Clearwater Revival headlined the evening dance concert (8:30pm to 12 midnight) held during the third day of the 5-day (August 20-24) teen fair that was one of the attractions of this year’s annual Kings District Fair. Also on the bill: The Nomads. Sound by the Eastgates. Lights by Keepers of the Lyte.
Sunday, November 2, 1969
Creedence Clearwater Revival's fourth album, 'Willy And The Poor Boys' (Fantasy 8397), was released in the US.
1970
Fantasy Records relocated their office from Oakland to Berkeley, where it built a new headquartes at Tenth and Parker Streets. It included three custom-designed recording studios, Studio A, Studio B and Studio C, which Fantasy built specifically for Creedence.
July ?, 1970
Creedence Clearwater Revival's fifth album, 'Cosmo's Factory' (Fantasy 8402), was released in the US.
December 1970
Creedence Clearwater Revival's sixth album, 'Pendulum' (Fantasy 8410), was released in the US.
Tuesday, February 2, 1971
Today was announced that Tom Fogerty was leaving the band. He wanted to spend more time with his wife and four children, and also he wanted to record a solo album.
CREEDENCE CLEARWATER REVIVAL #2 (FEBRUARY 2, 1971 - MAY 22, 1972)
1) John Fogerty
2) Doug Clifford
3) Stu Cook
Sunday, June 20, 1971: ‘The Big Record ’71,’ TV Special (broadcast date)
Also appeared: Steppenwolf, Nitty Gritty Dirt Band, Ike & Tina Turner, Tony Joe White, Led Zeppelin, The Doors, Kenny Rogers & The First Edition. The television special was aired from 9pm to 10pm.
Sunday, July 4, 1971: ‘Fillmore West Closing Week,’ Fillmore West, 10 South Van Ness Avenue at 1545 Market Street, San Francisco, California
Also on the bill: Santana, Tower of Power. Lights by Heavy Water. Presented as usual by Bill Graham, Fillmore’s final night was attended by more than 2,000 people and ended with a billed ‘San Francisco Musician Jam’ which featured Santana and Tower of Power plus surprised guests such as singer Linda Tillery of Loading Zone, singer Van Morrison, guitarist Michael Bloomfield, guitarist John Cipollina, jazz pianist Vince Guaraldi, members of Cold Blood, and even Bill Graham who got into the act playing the various percussion instruments in Santana’s band. The jam, and so the Fillmore, closed for good at 4am.
Also appeared: Steppenwolf, Nitty Gritty Dirt Band, Ike & Tina Turner, Tony Joe White, Led Zeppelin, The Doors, Kenny Rogers & The First Edition. The television special was aired from 9pm to 10pm.
Sunday, July 4, 1971: ‘Fillmore West Closing Week,’ Fillmore West, 10 South Van Ness Avenue at 1545 Market Street, San Francisco, California
Also on the bill: Santana, Tower of Power. Lights by Heavy Water. Presented as usual by Bill Graham, Fillmore’s final night was attended by more than 2,000 people and ended with a billed ‘San Francisco Musician Jam’ which featured Santana and Tower of Power plus surprised guests such as singer Linda Tillery of Loading Zone, singer Van Morrison, guitarist Michael Bloomfield, guitarist John Cipollina, jazz pianist Vince Guaraldi, members of Cold Blood, and even Bill Graham who got into the act playing the various percussion instruments in Santana’s band. The jam, and so the Fillmore, closed for good at 4am.
Oakland Tribune (July 7, 1971)
April ?, 1972
Creedence Clearwater Revival's seventh and last album, 'Mardi Gras' (Fantasy 9404), was released in the US.
