When the words Creedence Clearwater Revival are spoken, one image undeniably stands out from all of the rest – The Vietnam War. The band might as well have been married to the War, considering the profound influence they drew from it and how they influenced the counter culture movement of the time. Born on the Bayou is one of their best songs, and is from their second album – Bayou Country. A truly beautiful song, it stands out as one of the greats even today … something you cannot say about every song back then. CCR are in fact known for this, often writing very relatable songs, with very appealing instrumentation which was rooted in the blues of the south, and even some jazz influences. While they are very much a rock and roll band, their music could be said to transcend the genre.
The song is 5 and a quarter minutes long. Depending on the version, you can hear the band members actually talking between each other before the song starts … (the long version – about 6 and a half minutes). This gives us a sense of the clear camaraderie present between the bandmates, with the riff being played a few times before launching into the song… a lovely way to build up the tension and a wonderful way to release it.
The song has two main riffs, one for the verse and the other between the verses. The latter is one of the loveliest ones ever, reminding one of the chiming of a bell. The guitar work, although simple compared to some of their contemporary artists such as Jimi Hendrix, is still quite catchy and easy on the ear. The solo is simple, but appealing, and this underlines the main selling point of CCR – they were relatable, oh so relatable. The guitar is not relentless but it isn’t like a slow dance either, it is a perfect balance between the two … a medium beat that serves to keep the tempo exactly. There is always a dynamic to it, which keeps it interesting, the rhythm is simple, but again, it doesn’t feel repetitive or boring. CCR definitely knew how to keep the mundane interesting.
Quite possibly the best thing about this song is the vocals. While the drums, bass, and the rhythm guitar are steady, they are nothing extraordinary. The vocals, however, are in a league of their own. John Fogerty was good at the guitar and had a voice that he probably obtained by selling his soul to the devil. When singing about almost anything, the emotion is palpable, and his effortless ability to reach the high notes as well as sing with a southern tone despite not being from the south is brilliant in itself. He has an incredible range, and it is an experience to hear him use it almost at will – effortlessly.
Coming to the lyrics, they are of a familiar theme, a subtle but definitive statement of opposition to the war draft and a protest against Big Brother. It also has an ironic reference to the fourth of July, while also implying that patriotism only got the men drafted, not rewarded. It goes on to reference the hoodoo culture of the deep south. It is also a time in which these cultures started going through a bit of a revival, due to the psychedelic era. Crudely, one can explain hoodoo as good voodoo. It may even be a sign of desperation from the men who were drafted that they were going to the extent of hoodoo to work miracles and get out of the draft if it were possible to do so. The deep south of US is in focus time and again. The poor southerners were often drafted in, white or black ethnicity did not make a difference. The bayou is a reference to the marshes and swamps of Louisiana, one of the bedrocks of the American deep south. The entire song is from the perspective of a drafted southerner, but is written and sung by a Californian. Oh the irony! It is delicious.
It is justifiably one of CCR’s greatest songs and rightly deserves many more listens than one. One for the ages, timeless in its appeal.
Text by Simha Y. N.
Illustration by Namrata Nirmal
Article 19 