As the historic festival marks its 40-year anniversary, Rhino presents Woodstock 40, six-CD boxed set that features the most comprehensive collection ever available of artists that performed at the original festival, sequenced in chronological order of performance, featuring 38 previously unreleased recordings, including the Grateful Dead, The Who, Tim Hardin, Jefferson Airplane, Country Joe & The Fish, and others. Also box includes 80-page book with extensive liner notes, photos and the complete and accurate set lists.

Chronicle, Vol. 1 contains every one of Creedence Clearwater Revival's original 19 hit singles – including "Proud Mary," "Bad Moon Rising," "Green River," "Down on the Corner," "Travelin' Band," "Up Around the Band," and "Have You Ever Seen the Rain" – plus "I Heard It Through the Grapevine," which became a hit at the same time this double-record compilation was released. It's a lean, concise collection that tells you everything you need to know about Creedence. Several of the band's individual albums are essential, but Chronicle is not only an excellent introduction to the group, it offers definitive proof that the group was one of the definitive singles' bands of the late '60s. Rarely has a greatest- hits collection been so well-assembled. Chronicle, Vol. 2 effectively compiles all of the highlights from Creedence Clearwater Revival's career that weren't on the first volume. All of the singles were included on Chronicle, Vol. 1, so Chronicle, Vol. 2 is comprised solely of album tracks.

Make no mistake, Willy & the Poor Boys is a fun record, perhaps the breeziest album CCR ever made. Apart from the eerie minor-key closer "Effigy" (one of John Fogerty's most haunting numbers), there is little of the doom that colored Green River. Fogerty's rage remains, blazing to the forefront on "Fortunate Son," a working-class protest song that cuts harder than any of the explicit Vietnam protest songs of the era, which is one of the reasons that it hasn't aged where its peers have. Also, there's that unbridled vocal from Fogerty and the ferocious playing on CCR, which both sound fresh as they did upon release. "Fortunate Son" is one of the greatest, hardest rock & rollers ever cut, so it might seem to be out of step with an album that is pretty laid-back and friendly, but there's that elemental joy that by late '69 was one of CCR's main trademarks.

Creedence Clearwater Revival concert performance at the Fillmore West in San Francisco, CA on 7/04/1971. This was the final of 5 nights of closing concerts at the Fillmore West. Broadcast on KSAN-FM, SF. Hosted by promoter Bill Graham.

Creedence Clearwater Revival were one of the definitive bands of the late 1960s, creating iconic hit singles along the way. "Bad Moon Rising", "Suzie Q", "Green River" and "I Put A Spell On You" are jukebox staples to this day on both sides of the Atlantic. The complete U.S. singles collection presented in their original mixes for the first time in over 40 years! Thirty tracks on two cds, each screened with a vintage fantasy record label. The cds are housed in a standard jewel case, together with a 20-page booklet that includes new liner notes by ben fong-torres.

Creedence Clearwater Revival As the tumultuous 1960s crashed into the '70s, few American bands could match the fevered output, unified vision, and consistent hit-making ability of Creedence Clearwater Revival. Despite hailing from Northern California, bandleader John Fogerty rooted his imagination in the Deep South, fusing vivid Southern imagery with a distinctive brand of rock & roll that combined swamp pop, blues, R&B, and country. Viewed as outliers in the Bay Area's overwhelmingly psychedelic music scene, CCR's punchy roots rock delivery, blue-collar work ethic, and comparative sobriety helped them quickly surpass their peers and become one of the most prolific and popular bands in the country. In 1969 alone they produced three major albums, headlined the Woodstock Festival, and introduced iconic songs like "Proud Mary" and "Fortunate Son" into the cultural lexicon. The latter of the two went on to become one of the defining protest songs of the Vietnam War, followed closely by "Run Through the Jungle" and "Bad Moon Rising," which, while not written about the war, nonetheless tapped into the nation's zeitgeist and had a similar resonance. Their creative and commercial success peaked with 1970's Cosmo's Factory, a rock solid chart-topper that housed massive hits like "Up Around the Bend" and "Lookin' Out My Back Door." Like many great bands, CCR's star burned brightly for a relatively short period before in-fighting and contention led to their breakup in 1972. In spite of ongoing feuds and protracted legal battles with their record label, the band's legacy grew over the following decades as their music became a definitive touchstone of American classic rock. Their 1976 anthology Chronicle

Mardi Gras is the seventh and final studio album by American band Creedence Clearwater Revival, released on April 11, 1972. Unlike previous albums, Mardi Gras had Stu Cook and Doug Clifford sharing songwriting and production with John Fogerty, as well as their own lead vocal contributions for the first time. Following the album's release, the group was officially dissolved on October 16, 1972 in a statement released by the group and its record label Fantasy Records. Mardi Gras is the only album by the band that was not remastered and reissued until the 40th anniversary of their formation, in 2008.

Cosmo's Factory is the fifth studio album by American rock band Creedence Clearwater Revival, released by Fantasy Records in 1970. The name of the album comes from the warehouse in Berkeley where the band rehearsed early in their career. It was dubbed "The Factory" by drummer Doug "Cosmo" Clifford, because bandleader John Fogerty made them practice there almost every day. The album was certified Gold by the Recording Industry Association of America on December 16, 1970. Almost twenty years later, on December 13, 1990, it received a certification of four times platinum with sales of over four million copies.

This carefully compiled, finely presented boxed set collects the output of Creedence Clearwater Revival, still one of America's most original-sounding rock bands approaching 50 years after their recordings were made. When you hear the combination of gritty blues, rockabilly and swampified boogie that CCR perfected, it's surprising to learn that the band formed in Northern California, far closer to Haight-Ashbury than Highway 61. Collected here is every studio-recorded album the band made – all within a four-year period – along with a bonus 45rpm disc that features special mixes of a couple of songs. Included are liner notes written by former Rolling Stone editor Ben Fong-Torres and period photos from Baron Wolman and Didi Zill, who documented CCR during the band's heyday. Each record comes in a glossy fold-over sleeve constructed of heavy stock, everything fitting into an attractive box.

Chronicle, Vol. 1 contains every one of Creedence Clearwater Revival's original 19 hit singles – including "Proud Mary," "Bad Moon Rising," "Green River," "Down on the Corner," "Travelin' Band," "Up Around the Band," and "Have You Ever Seen the Rain" – plus "I Heard It Through the Grapevine," which became a hit at the same time this double-record compilation was released. It's a lean, concise collection that tells you everything you need to know about Creedence. Several of the band's individual albums are essential, but Chronicle is not only an excellent introduction to the group, it offers definitive proof that the group was one of the definitive singles' bands of the late '60s. Rarely has a greatest- hits collection been so well-assembled.

Make no mistake, Willy & the Poor Boys is a fun record, perhaps the breeziest album CCR ever made. Apart from the eerie minor-key closer "Effigy" (one of John Fogerty's most haunting numbers), there is little of the doom that colored Green River. Fogerty's rage remains, blazing to the forefront on "Fortunate Son," a working-class protest song that cuts harder than any of the explicit Vietnam protest songs of the era, which is one of the reasons that it hasn't aged where its peers have. Also, there's that unbridled vocal from Fogerty and the ferocious playing on CCR, which both sound fresh as they did upon release. "Fortunate Son" is one of the greatest, hardest rock & rollers ever cut, so it might seem to be out of step with an album that is pretty laid-back and friendly, but there's that elemental joy that by late '69 was one of CCR's main trademarks.

Creedence Clearwater Revival As the tumultuous 1960s crashed into the '70s, few American bands could match the fevered output, unified vision, and consistent hit-making ability of Creedence Clearwater Revival. Despite hailing from Northern California, bandleader John Fogerty rooted his imagination in the Deep South, fusing vivid Southern imagery with a distinctive brand of rock & roll that combined swamp pop, blues, R&B, and country. Viewed as outliers in the Bay Area's overwhelmingly psychedelic music scene, CCR's punchy roots rock delivery, blue-collar work ethic, and comparative sobriety helped them quickly surpass their peers and become one of the most prolific and popular bands in the country. In 1969 alone they produced three major albums, headlined the Woodstock Festival, and introduced iconic songs like "Proud Mary" and "Fortunate Son" into the cultural lexicon. The latter of the two went on to become one of the defining protest songs of the Vietnam War, followed closely by "Run Through the Jungle" and "Bad Moon Rising," which, while not written about the war, nonetheless tapped into the nation's zeitgeist and had a similar resonance.

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.”

Creedence Clearwater Revival was an American rock band active in the late 1960s and early 1970s. The band consisted of lead vocalist, lead guitarist, and primary songwriter John Fogerty, his brother rhythm guitarist Tom Fogerty, bassist Stu Cook and drummer Doug Clifford. Their musical style encompassed the roots rock, swamp rock, and blues rock genres. Despite their San Francisco Bay Area origins, they played in a Southern rock style, with lyrics about bayous, catfish, the Mississippi River, and other popular elements of Southern United States iconography, as well as political and socially-conscious lyrics about topics including the Vietnam War. The band performed at 1969's famed Woodstock Festival. The band has sold 26 million albums in the United States alone. Rolling Stone ranked the band 82nd on its list of the 100 greatest artists of all time.

Released in the summer of 1968 – a year after the summer of love, but still in the thick of the Age of Aquarius - Creedence Clearwater Revival's self-titled debut album was gloriously out-of-step with the times, teeming with John Fogerty's Americana fascinations. While many of Fogerty's obsessions and CCR's signatures are in place – weird blues ("I Put a Spell on You"), Stax R&B (Wilson Pickett's "Ninety-Nine and a Half"), rockabilly ("Susie Q"), winding instrumental interplay, the swamp sound, and songs for "The Working Man" – the band was still finding their way. Out of all their records (discounting Mardi Gras), this is the one that sounds the most like its era, thanks to the wordless vocal harmonies toward the end of "Susie Q," the backward guitars on "Gloomy," and the directionless, awkward jamming that concludes "Walking on the Water."