Post by CountryCrock on Jan 8, 2024 23:17:09 GMT
435MB
mega.nz/file/lGU2FZ7L#t-JKgERZ9C-KJGltfz6GqNexeyUlH6jWbdJgrncK2-k
As I'd said in a downstream post: I think that the *worst* Creedence song (among all those contained on the first six, "proper" albums) is, by far, "SAILOR'S LAMENT" (not: "R.A. No. 2").
No one, honestly?, can believe it was intended as a "serious attempt at avant-gardé (emulating REVOLUTION 9)"...2 1/2-years'-too-late, BTW! What it was/is, clearly: IT'S A TONGUE-IN-CHEEK SEND-UP OF NOT JUST "REVOLUTION 9" BUT, ALSO, OF THE ENTIRE SQUARE/CORNPONE IMAGE OF CREEDENCE'S "WILLY AND THE POOR BOYS" ALTER-EGO --- SUGGESTING, THEY'D FINALLY "GOTTEN HIP ENOUGH TO GO ELECTRIC AND DROP ACID" LOL! The fact the last forty-percent-or-so of the piece sounds like a literal organ grinder performing on a street corner, shows the best evidence to demonstrate this theory.
Now...
If you *want* to bring-up the very real possibility of there having been a Beatles' influence on Fogerty's making of "R.A. No. 2" --- it concerns one element within it, that no average American audience member in 1970 would've had access to hearing (let-alone; even knowing) about which had existed on a Beatles' album: THE MONO BRITISH SGT. PEPPER INNER GROOVE.
I mean: Fogerty and/or engineer Russ Gary *could've* (either) ended the mix with, say(?): the sound-effect of a bomb burst (which, would've suited Fogerty's hallmark pessimistic lyricism -particularly then-over Vietnam- entirely perfect)...or(?): they could've just ended the piece cold right-after the circus-like fanfare of the sped-up piano or musicbox finishes playing the (I think?) nursery rhyme "Hey Diddle Diddle".
But...they didn't!
For some (interesting) reason, Fogerty decided to deliberately close it out by fading a monotonous/drone-like tape loop into perpetuum.
He got THAT idea, IMO, from when CCR went to Britain in April 1970 and (must've) heard a copy of what the gibberish ending to the native mono SGT. PEPPER sounded like(!).
i.postimg.cc/rs7SFjzM/Polish-20231229-175421098.jpg
i.postimg.cc/Ls7fVvBf/Polish-20240106-214542222.jpg
Disclaimer;) :
(I am not an Amazon-contracted blog that's a shill drug abuser reading from a sales pitch, PR manual or using 100 names. I base these hypotheses on, otherwise: what 35 years'-worth of studying with my eyes/ears and flea market memorabilia collection have taught me about '60s Pop Culture history).
mega.nz/file/lGU2FZ7L#t-JKgERZ9C-KJGltfz6GqNexeyUlH6jWbdJgrncK2-k
As I'd said in a downstream post: I think that the *worst* Creedence song (among all those contained on the first six, "proper" albums) is, by far, "SAILOR'S LAMENT" (not: "R.A. No. 2").
No one, honestly?, can believe it was intended as a "serious attempt at avant-gardé (emulating REVOLUTION 9)"...2 1/2-years'-too-late, BTW! What it was/is, clearly: IT'S A TONGUE-IN-CHEEK SEND-UP OF NOT JUST "REVOLUTION 9" BUT, ALSO, OF THE ENTIRE SQUARE/CORNPONE IMAGE OF CREEDENCE'S "WILLY AND THE POOR BOYS" ALTER-EGO --- SUGGESTING, THEY'D FINALLY "GOTTEN HIP ENOUGH TO GO ELECTRIC AND DROP ACID" LOL! The fact the last forty-percent-or-so of the piece sounds like a literal organ grinder performing on a street corner, shows the best evidence to demonstrate this theory.
Now...
If you *want* to bring-up the very real possibility of there having been a Beatles' influence on Fogerty's making of "R.A. No. 2" --- it concerns one element within it, that no average American audience member in 1970 would've had access to hearing (let-alone; even knowing) about which had existed on a Beatles' album: THE MONO BRITISH SGT. PEPPER INNER GROOVE.
I mean: Fogerty and/or engineer Russ Gary *could've* (either) ended the mix with, say(?): the sound-effect of a bomb burst (which, would've suited Fogerty's hallmark pessimistic lyricism -particularly then-over Vietnam- entirely perfect)...or(?): they could've just ended the piece cold right-after the circus-like fanfare of the sped-up piano or musicbox finishes playing the (I think?) nursery rhyme "Hey Diddle Diddle".
But...they didn't!
For some (interesting) reason, Fogerty decided to deliberately close it out by fading a monotonous/drone-like tape loop into perpetuum.
He got THAT idea, IMO, from when CCR went to Britain in April 1970 and (must've) heard a copy of what the gibberish ending to the native mono SGT. PEPPER sounded like(!).
i.postimg.cc/rs7SFjzM/Polish-20231229-175421098.jpg
i.postimg.cc/Ls7fVvBf/Polish-20240106-214542222.jpg
Disclaimer;) :
(I am not an Amazon-contracted blog that's a shill drug abuser reading from a sales pitch, PR manual or using 100 names. I base these hypotheses on, otherwise: what 35 years'-worth of studying with my eyes/ears and flea market memorabilia collection have taught me about '60s Pop Culture history).