Creedence Clearwater Revival Japanese

If anything, CCR's third album Green River represents the full flower of their classic sound initially essayed on its predecessor, Bayou Country. One of the differences between the two albums is that Green River is tighter, with none of the five-minute-plus jams that filled out both their debut and Bayou Country, but the true key to its success is a peak in John Fogerty's creativity. Although CCR had at least one cover on each album, they relied on Fogerty to crank out new material every month. He was writing so frequently that the craft became second-nature and he laid his emotions and fears bare, perhaps unintentionally.

This long sought-after release celebrates the 50th anniversary of Woodstock, by giving fans a front-row seat to relive CCR’s stirring, hour-long set as it was performed that historic night in August of 1969. Kicking off with “Born on the Bayou,” the album features the band’s biggest singles of the day, plus selections off their first three LPs, including “Commotion,” “Ninety-Nine and a Half (Won’t Do)” and “Bootleg.” Full of creative energy, John, Tom, Stu, and Doug delve deep into their music, playing extended improvisations of “I Put a Spell on You,” “Keep on Chooglin’” and “Suzie Q.”

This long sought-after release celebrates the 50th anniversary of Woodstock, by giving fans a front-row seat to relive CCR’s stirring, hour-long set as it was performed that historic night in August of 1969. Kicking off with “Born on the Bayou,” the album features the band’s biggest singles of the day, plus selections off their first three LPs, including “Commotion,” “Ninety-Nine and a Half (Won’t Do)” and “Bootleg.” Full of creative energy, John, Tom, Stu, and Doug delve deep into their music, playing extended improvisations of “I Put a Spell on You,” “Keep on Chooglin’” and “Suzie Q.”

If anything, CCR's third album Green River represents the full flower of their classic sound initially essayed on its predecessor, Bayou Country. One of the differences between the two albums is that Green River is tighter, with none of the five-minute-plus jams that filled out both their debut and Bayou Country, but the true key to its success is a peak in John Fogerty's creativity. Although CCR had at least one cover on each album, they relied on Fogerty to crank out new material every month. He was writing so frequently that the craft became second-nature and he laid his emotions and fears bare, perhaps unintentionally.

American rock singer, guitar player, record producer, and actress. Born on September 22, 1958 as Joan Marie Larkin. After the divorce of her parents she changed her surname to her mother's maiden name: Jett. At age 15, Jett co-founded The Runaways. As the leader of Joan Jett & The Blackhearts, Jett has had eight platinum and gold albums and nine Top 40 singles…

"Under Cover" is the third solo album of Joe Lynn Turner, released in 1997. It mostly consists of covers of artists that had a great influence on Turner. On the Japanese version of the album, Gimme Some Lovin' and I'm Your Man are two separate tracks instead of one. "Under Cover 2" is the 5th solo album of Joe Lynn Turner released in 1999. Just like Under Cover, the album consists mainly of covers of Turner's favourite artists. Due to successful sales of the previous edition, the label asked him to record a follow-up. The Race Is On is a re-recorded version of a song that appeared on Turner's solo debut album, Rescue You.

The Doobies team up with the Memphis Horns for an even more Southern-flavored album than usual, although also a more uneven one. By this time, Tom Johnston, Patrick Simmons, and company had pretty well inherited the mantle and the core (and then some) of the audience left behind by Creedence Clearwater Revival and John Fogerty, with Johnston songs like "Pursuit on 53rd Street," "Down in the Track," and "Road Angel" recalling pieces like "Travelin' Band," while Simmons' "Black Water" (their first number one hit) evoked the softer side of the "swamp rock" popularized by CCR. Actually, in some respects, given the range of instruments employed here, including an autoharp (courtesy of Arlo Guthrie) and viola, the songs on the original LP's first side suffer somewhat from a sameness that makes What Were Once Vices Are Now Habits a little less interesting than the albums that preceded it.