Charley Pride, country music luminary whose sensational voice, artistry, and strong spirit shattered cultural walls, died Saturday, December 12 in Dallas, Texas of complications from Covid-19. He was 86.

“It is with great sadness that we confirm that Charley Pride passed away this morning, Saturday, December 12, 2020, in Dallas, Texas of complications from Covid-19 at age 86,” his family confirmed in a statement. “He was admitted to the hospital in late November with Covid-19 type symptoms and despite the incredible efforts, skill and care of his medical team over the past several weeks, he was unable to overcome the virus. Charley felt blessed to have such wonderful fans all over the world. And he would want his fans to take this virus very seriously.”

Photo courtesy of artist’s site

Born a sharecropper’s son in Sledge, Mississippi, on March 18, 1934, Pride emerged from and escaped out of cotton fields to become the first Black artist to be inducted into the Country Music Hall of Fame and the first to win a Grammy in the country category.

By the time he was 14, he had enough money in his savings account to order a $10 Silvertone guitar from the Sears, Roebuck, & Co. catalog. “I opened it up, lifted it in my hands and strummed my first chords. That minute, I was the happiest kid in Mississippi,” he said, years later.

Growing up, Pride thought baseball would be his ticket out of poverty and the labor which pained his entire body. But it would be his musicality that took him out of the fields, rather than his pitching and hitting skills. After his time in the Army, working at a Missouri smelting plant, and some botched attempts to break into big-league baseball, he came to Nashville in 1963 and made demo recordings with help from manager Jack Johnson.

Those recordings sat for a couple years before Johnson met with producer Jack Clement, who offered songs for Pride to learn. On August 16, 1965, Clement produced Pride at RCA Studio B. Those sessions proved awe-inspiring to RCA’s Chet Atkins who then signed Pride to a recording contract.

In 1967, Pride’s recording of Clement’s “Just Between You and Me” broke into country’s Top Ten. With the days of iron ore behind him, he was now on the road to platinum records. Between 1967 and 1987, Pride achieved 52 Top 10 country hits and became RCA Records’ top-selling country artist, with chart-topping hits including “Kiss An Angel Good Mornin’,” “Is Anybody Goin’ to San Antone,” and Harold Dorman’s “Mountain of Love.”

Early in his career, when asked how it felt to be the “Jackie Robinson of country music,” he would respond unequivocally and somewhat puzzled, “Well, I’m Charley Pride, the staunch American.” In his memoir, Pride wrote, “We’re not color blind yet, but we’ve advanced a few paces along the path and I like to think I’ve contributed something to that process.”

That he did. Through resilience, Pride became a member of the Grand Ole Opry and a national treasure. Pride won the Country Music Association’s Entertainer of the Year award in 1971, and its top male vocalist prize in 1971 and 1972. On November 11 he gave his final performance at the 2020 Country Music Awards in Nashville, where he was honored with the CMAs’ Lifetime Achievement Award.

Pride was a forerunner whose impact on the country music industry can be seen today in authentic roots artists like Rhiannon Giddens and Valerie June who tweeted, “Remembering Charley Pride. Such a huge inspiration to all black folks who love country music and to everyone else too.”

Perhaps the finest example of Pride’s rich, soothing baritone is his performance of “Roll On Mississippi,” the official song of his home state where a stretch of highway is named after him.

I grew up in Fort Basinger, Florida — both a U.S. Army military post and a ghost town along the banks of Kissimmee River — so the song always struck a personal chord of emotion in its lyrics:

Roll on Mississippi, you make me feel like a child again

Roll on Mississippi, big river roll.

You’re the childhood dream that I grew up on.

Roll on Mississippi, carry me home.


Now I can see I’ve been away too long.

Roll on, Mississippi, roll on.

Now, when the world’s spinning round, too fast for me,

And I need a place to dream.


So I come to your banks, I sit in your shade

Relive the memories

Tom Sawyer and Huckleberry Finn

Roll on Mississippi, you make me feel like a child again

Roll on Mississippi, Big river roll

When the world was spinning madly around me, I could always come back home to the loving arms of my Granny and Papa, to those banks where I would relive the memories and realize I’d been away too long.

Roll on, Charley, roll on. You’re the childhood dream I grew up on.

*Feature image credit: Michael Putland/Getty Images


The post Remembering Songs of Pride…Charley, That Is appeared first on American Blues Scene.

Davis is formidable as Chicago’s ‘Mother of the Blues’, alongside a whip-sharp Chadwick Boseman in his final screen role, in this often stagey drama

In 2016, Denzel Washington produced, directed and starred in the screen adaptation of August Wilson’s 1985 play Fences, earning a supporting actress Oscar for Viola Davis, along with nods for best actor, best picture and a posthumous screenwriting nomination for Wilson, who died in 2005. Davis is back in the awards-running for her dynamite role as “Mother of the Blues” Gertrude “Ma” Rainey in this latest screen adaptation of Wilson’s work, on which Washington again serves as producer. Like Fences, it showcases some tour de force acting, with Chadwick Boseman similarly at the top of his game in what would tragically prove to be his final screen role. Yet, like its predecessor, the theatrical origins of Ma Rainey’s Black Bottom weigh heavy on this film, directed with a stagey air by Tony award winner George C Wolfe.

In late-1920s Chicago, the humid atmosphere of a dingy recording studio is made hotter by the broiling tensions between musicians, producers, managers and an increasingly recalcitrant star. The session will include cutting Ma Rainey’s signature song – a saleable disc that will doubtless earn more for its white backers than any of the black players making the music.

In cinemas now and on Netflix from 18 December

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Back in September, Blues Rock Review launched The Blues Rock Show, a new weekly YouTube series discussing anything and everything blues rock music. Now Blues Rock Review is excited to be releasing weekly highlight videos from The Blues Rock Show. The highlight videos focus on one topic from a particular show.

Check out some of the highlight videos below and make sure to subscribe to Blues Rock Review on YouTube!

Is Beth Hart the Top Female Blues Rock Act?

Why Is John Mayer Polarizing With Music Fans?

Who Are Today’s Guitar Heroes?

How Many #1 Blues Albums Will Joe Bonamassa Get?

Why Is Greta Van Fleet So Polarizing?

Are CDs Still Relvelant? 

Will Spotify’s New Promotional Tool Hurt Musicians?

Catch new episodes of The Blues Rock Show Monday’s on Blue Rock Review.

The post Introducing Blues Rock Show highlight videos appeared first on Blues Rock Review.

Featuring a sharp team of musicians on horns and keys, Kansas City’s bluesman Kurt Allen released his second album, Whiskey, Women & Trouble. In this brand new album, Allen keeps his direct and blues-based style, as shown in his first album (Titanium Blue, 2014).

The first song is “Graveyard Blues”, a blues-rock track with a solid guitar riff and slide solos. “Watch Yo Step” is a kind of a boogie-blues, with the expected stops and played-along guitar solos. In “How Long” the powerful vocals and horn lines make a nice slow blues. The title-track is a traditional boogie-blues where all the instruments are balanced, giving the perfect mood for the song.

“Funkalicious” starts with a rhythmic bass line that is complimented with other instruments, and where the vocals are more spoken than sung. The album’s ballad is “Count On Me”, with nice piano playing. In the blues-rock “Roadrunner”, the main role belongs to the saxophone, which, besides the guitar, does an excellent job. “Cry Mercy” has a non-straight and peaked rhythm very well led by the drums, where Allen’s distorted guitar gives fluency to the song. “Voodoo Queen” is another track with remarkable sax and bass lines, besides the soulful Allen’s vocals. The last track, “Sweet T” is a song that reminds the listener where the rock comes from.

Whiskey, Women & Trouble is a blues-based album that shows all the shades of blues and rock. It’s a real journey where Allen was careful and able to use his influences and create an album that represents them very well.

The Review: 7/10

Can’t Miss Tracks

– Roadrunner
– Funkalicious
– Graveyard Blues

The Big Hit

– Funkalicious

Buy the album: Amazon | Amazon UK

The post Kurt Allen: Whiskey, Women & Trouble Review appeared first on Blues Rock Review.

On 10th December 2020 we all learned of the devastating news that ‘Mojo’ Morganfield had suddenly died.

I, for one was totally stunned. I first came across Mojo about 3 years ago, quite by accident as it happens. I’ve been on Facebook for as long as I can remember, mainly because of my involvement with blues music. It was through this rather tenuous link that I first met Joseph. I do what I call a blues kitchen once a week.

This involves es me trying to cook something whilst listening to a blues album or two on vinyl. This particular night I had posted the meal that I was going to attempt along with the ingredients. The blues vinyl that I had chosen was Muddy Waters, Live At Newport 1960. A few people commented as per normal when I noticed that a Joseph Morganfield had commented, great album choice buddy. I thought to myself, that’s a coincidence and started to check. Lo and behold it was on his profile, Father, McKinley Morganfield.

To say I was shocked is an understatement. Then, almost straight away he sent me a friend request. From that day we became firm Facebook friends and had many a chat about blues music, his career, and what I was involved with at the time, writing for Blues Matters Magazine. He talked about recording an album with his band, The Mannish Boyz, and also about hoping to tour the Uk soon. We’d agreed to meet up at a gig and that I would interview him and also write a gig review for the magazine. Most weeks when I did a blues kitchen he would comment on the meal that I was preparing and about the album that I’d chosen for that night.

One night I played an album that my wife had bought for me for my birthday. Super Super Blues Band on orange vinyl ft. Howlin’ Wolf, Muddy Waters, and Bo Didley. It is an amazing album, to say the least. Joesph messaged me in almost disbelief that I had a copy. He said he had tried to get hold of a copy a few times but to no avail. I did a spot of looking out for a copy and luckily managed to get hold of a copy for him. I told him to send me his address and I’d send it to him. He was over the moon that I had found a copy and sent me his address and said he would send me the money. I replied that this was a gift from one blues brother to another. I sent the album and he sent me his profound thanks and said we’d hopefully meet up in 2021 if he managed to make it to the Uk on tour. Earlier this year he got married to Deborah and was so happy.

He had recorded and released Its Good To Be King as a single and was working on finishing his album with his band The Mannish Boyz. He is survived by his wife Deborah and his children, Joshua, Matthew, Gabrielle, Jordan, Jade, Julissa, and Bella and his step-children Annaliese and Amelia. I feel such a sad loss of a blues brother and a thoroughly nice guy that always had time for everyone. On Wednesday 9th December 2020 I once again found myself in my blues kitchen and had posted the recipe and ingredients for the meal I was about to attempt. The blues vinyl that I had chosen for that night….. Super Supr Blues Band ft. Howlin’ Wolf, Muddy Waters, and Bo Didley on orange vinyl.



Born 14th April 1964 – 10TH December 2020


The post JOSEPH ‘MOJO’ MORGANFIELD – Gone but not forgotten appeared first on Blues Matters Magazine.

The songwriting duo of Melody Federer and Burt Bacharach released their new track, The Sun Also Rises,” today. The song, whose title is taken from the Ernest Hemingway novel, is a tale of light and looking toward a new dawn that’s arriving just at the right time to support a great cause.

“This is a song about hope. Even in the darkest of times, there’s hope,” Federer says of the track. “I thought the book’s title, one of Burt’s favorites, would be a good theme for a lyric especially in these harrowing times. My dad would always say, ‘It’s always darkest before the dawn.’ In these dark winter months at the end of this insane year, it’s a nice quote to hold onto.”

Photo courtesy of Emily Ginsberg

In this spirit, they have teamed up with famed photographer and filmographer Roger Fishman and Conservation International to help bring further awareness to global climate change. Fishman filmed and directed the music video, which includes breathtaking visuals of nature captured during his travels in Iceland, Greenland and Antarctica.

“I photograph and film the most remote places on Earth so that each of us can connect to the ephemeral and eternal beauty of our planet, the importance of our ecosystem, and to share what is at risk and what is worth fighting to protect for ourselves, for future generations and for all life,” Fishman said of the project. “I want to thank Melody and Burt for allowing me to bring their magical song to life through the sublime and eternal beauty of Mother Nature. I also want to thank Ian Imhof for bringing us all together. What a true joy this project has been.”

All donations, and a portion of the proceeds from the song, will go to directly supporting Conservation International’s work. When asked about using the song and video to support causes fighting climate change Bacharach said, “My kids, Oliver and Raleigh, are in their 20s. Looking at what their future holds in store for them, with this radical change in climate, the effects that we’re seeing now and what we will see in the future, we must do something now to make it better and change things.” 

“Climate change requires dramatic action — action that is only possible if the world comes together with a sense of optimism and shared purpose,” said Dr. M. Sanjayan, CEO of Conservation International. “I want to thank Melody and Burt for using their legendary talents to so beautifully articulate that purpose. I also want to thank Roger Fishman for underscoring its urgency with such powerful images. We’re proud to partner with all of them on such a hopeful and inspiring message.”

 The video premiered on Conservation International’s YouTube Channel today, and you can stream and download the song now from your preferred service HERE.

“The Sun Also Rises” is the second collaborative release from Melody Federer & Burt Bacharach, following their single “Bridges” that was released in January 2020. 

Conservation International works to protect the critical benefits that nature provides to people. Through science, partnerships and fieldwork, Conservation International is driving innovation and investments in nature-based solutions to the climate crisis, supporting protections for critical habitats, and fostering economic development that is grounded in the conservation of nature. Conservation International works in 30 countries around the world, empowering societies at all levels to create a cleaner, healthier and more sustainable planet. Follow Conservation International’s work on  Conservation News, Facebook, Twitter, Instagram and YouTube

*Feature image: GMS Awards

The post Burt Bacharach and Melody Federer Present New Track ‘The Sun Also Rises’ appeared first on American Blues Scene.

Something Good is almost too humble of a title for JD3 & The Jondo Trio‘s new album, as the band’s songwriting and playing has ratcheted up a number of notches. The 11 tracks quickly bring to mind echoes of everything from Stevie Ray Vaughn to Otis Redding to CCR, but, with a deeper dive, those easy touchstones all meld together into JD3’s own special brand of the blues.


“It always comes back to the blues,” comments singer/guitarist Nate Mosley. “I

got into the blues almost by accident as a kid. I had a record player that couldn’t play 45s, so I listened to the first record I ever bought, “Don’t Bring Me Down,” by ELO, at 33 – the wrong speed – and what came out of the speakers was unmistakably blues. The vocals were lower, the tempo was slower and everything had this power that just grabbed me. And through sheer coincidence, that low end was the singing voice I ended up having too.”

Mosley formed the band with drummer Paul Osborn after both being frustrated with punching a clock in various cover bands. “Paul and I were both between bands, and we wanted to do something else. Something that we really could get behind. It had to be original music and, even though we didn’t need to discuss it, it had to be rooted in the blues. Once we added in Stu (Way) on bass, in 2012, we had the classic power trio lineup and made our first record as The Jondo Trio.”

Fate intervened in 2016, and the Trio became JD3. “I got cancer,” Mosley explains, “and had to have my jaw removed and rebuilt – literally. For a while I couldn’t sing fully, I didn’t have my voice back, so we had our friend Chris Daffron start playing horns and keyboards, and morphed into a four- piece out of pure necessity.” That expansion solidified the band as a bluesy powerhouse and also spurred a change in their songwriting that yielded a bigger, rawer, more diverse sound and their boldest record yet – one under the monicker of JD3 & The Jondo Trio so fans of both incarnations of the group can find them.

Packing a memorable punch of swampy soul, Texas boogie and Detroit rock, all held together in that framework of the blues, it’s more than Something Good, it’s something you remember.

Today, ABS is proud to premiere the new lyric video for “Tangentially” from Something Good. Using a vintage portable TV as a set piece, JD3 & The Jondo Trio make the most out of minimalism.

“The song’s about getting perspective, taking a look at where you’ve been vs. where you are,” notes singer /guitarist Nate Mosley. “You reach a point in life where you look around and think ‘none of this is what I thought it was gonna be.’ You can get discouraged by it, but if you look closer you find you actually have some version of it—just not the one you initially envisioned.

That’s why we used a retro looking TV. Everyone looks back at their past more romantically. Memory kind of works that way, nobody remembers everything 100% accurately. You look at your life and you really only remember snapshots and scenes (which is another TV parallel); tangentially, in this case, just means it’s similar but a hair different.”


Purchase Something Good

*Feature image courtesy of band’s site

The post Video Premiere – JD3 & The Jondo Trio ‘Tangentially’ appeared first on American Blues Scene.

The youngest son of Chicago blues legend Muddy Waters, Joseph “Mojo” Morganfield died Thursday after collapsing in his home in Waukegan, Illinois. He was 56. The announcement came via Morganfield’s publicist Lynn Orman Weiss, and a statement from his producer and longtime supporter Michael Freeman:

It is with the deepest sadness that we have to announce that our beloved Joseph “Mojo” Morganfield passed away at home this morning after suffering a sudden heart attack. The family have asked that their privacy is respected at this tragic and very difficult time. More details will follow.

Joseph ‘Mojo’ Morganfield. Publicity photo courtesy of Delmark Records.


Born in Chicago, Morganfield began his career at a young age, traveling and preforming with his father and growing up in the blues. He was taught guitar by his father, and his father’s guitarist Bob Margolin. Raised with the same Mississippi country values to which Muddy held firm, even after decades in Chicago, Mojo’s talent took a backseat while he worked to provide for his own children.

As a young man, Morganfield played basketball at Westmont High School and then at the University of Northern Iowa after winning a full scholarship. His prowess on the court brought him a great deal of local attention and many accolades. He also had a powerful voice, and in 2018 released the 4-song EP Mojo Risin‘.

He worked closely with collaborator Terry Abrahamson, and was planning on releasing his first full album this year via the Delmark Records label. COVID had other plans, but Mojo was able to recently release the single, “It’s Good to Be King,” with his band The Mannish Boyz and special guests Ronnie Baker Brooks, Billy Branch, and Brother John Kattke. The Mannish Boyz are made up of Paul Handover, Chris Alexander, Mike Flynn, and his father’s last guitarist, Rick Kreher. The full album was still in the works for a 2021 release.

In a 2019 interview with American Blues Scene, Morganfield said, “My siblings and I are trying to keep my father’s legacy alive. Big Bill and Mud Morganfield are keeping his legacy alive. We don’t want his legacy to die. We are doing our part.” He also added, “Being Muddy’s son doesn’t mean anything. I am trying to fine tune my craft and work on my vocals. I take vocal lessons and rehearse with my band. I know it’s not going to happen overnight.”

Mojo has performed with Grammy Award Winners Don Was, Jamey Johnson, and Warren Haynes at The Chicago Theater in The Last Waltz, with his brother Big Bill Morganfield at the Chicago Blues Fest, and in 2019 he opened for Bad Company featuring Paul Rogers. He is an Ambassador, Supporter, and Promoter Inductee in the prestigious Chicago Blues Hall of Fame. Mojo also attended many public events on behalf of his father, keeping the name and the blues legacy alive.

On September 4th, Morganfield married his wife Deborah. She; his children Joshua, Matthew, Gabrielle, Jordan, Jade, Julissa and Bella; his stepchildren Annaliese and Amelia; brothers Larry and William; sisters Mercy and Rosalind; stepmother Marva Morganfield; grandson Joshuan; nieces, nephews and great-niece survive him.

Arrangements are pending.

Joseph “Mojo” Morganfield

*Feature image Lynn Orman Weiss – Orman Music & Media

The post Joseph ‘Mojo’ Morganfield, Youngest Son of Muddy Waters Dead at 56 appeared first on American Blues Scene.



Eric Gales has rescheduled his February 2022 UK Tour to March 2022. The tour follows the release of his album ‘The Bookends‘ via Provogue/Mascot Label Group earlier in 2019. The album features collaborations with B. Slade, Doyle Bramhall II and Beth Hart.

Tickets for all dates are on sale via Previously bought tickets for all shows are still valid. Customers unable to attend the rescheduled date should contact their original point of purchase for a refund.

Special guest on all shows is the critically acclaimed British Blues rock guitarist Danny Bryant. Hailed as “A National Blues Treasure,” Bryant recently released his 11th studio album ‘Means of Escape‘ via Jazzhaus Records to great fanfare.

The challenge for making ‘The Bookends‘ was for Gales to challenge himself. “As a guitar player it’s been established that I can play a little bit, just a little bit,” he smiles. But for this album he not only wanted to push himself as a musician, but also as a vocalist, to build up his vocal discography. “What spearheaded that was the artists that I have on the record,” he says.

One of the best, if not the best guitar player in the world.” – Joe Bonamassa

He is absolutely incredible.” – Carlos Santana

How Eric Gales isn’t the hugest name in rock guitar is a total mystery.” – Dave Navarro

This guy could be the best player on Earth.” – Mark Tremonti



Brighton, Concorde 2 – Wednesday 23 March 2022
Dover, The Booking Hall – Thursday 24 March 2022
London, O2 Academy Islington – Friday 25 March 2022
Southampton, 1865 – Saturday 26 March 2022
Bristol, Fleece – Sunday 27 March 2022
Nottingham, Rescue Rooms – Tuesday 29 March 2022
  Bilston, The Robin – Wednesday 30 March 2022
Manchester, Academy – Thursday 31 March 2022
Glasgow, Oran Mor – Friday 1 April 2022
Whitley Bay, Playhouse – Saturday 2 April 2022
Leeds, Brudenell Social Club – Sunday 3 April 2022

The post ERIC GALES 2022 UK TOUR RESCHEDULED appeared first on Blues Matters Magazine.

Craft Recordings continues their salute to the enduring musical legacy of Creedence Clearwater Revival with the release of half-speed mastered editions of the band’s two final albums: Pendulum, their closing studio album released 50 years ago, and 1972’s Mardi Gras.

Pressed on 180-gram vinyl and set for release February 12th, both records were mastered by the award-winning engineer Miles Showell at Abbey Road Studios. Available for pre-order now, these audiophile-quality LPs come housed in beautifully crafted jackets (tip-on gatefold for Pendulum and embossed for Mardi Gras), replicating the albums’ original packaging.

Photo courtesy of Aaron Feterl/Chummy Press

Pendulum, which marked CCR’s second release of 1970—following Cosmo’s Factory—was a unique title in the band’s catalog for several reasons. First, the album was the group’s sole LP to feature all original material. Typically, CCR sprinkled covers of blues songs, traditional material, and rock ‘n’ roll standards into each of their albums, putting their own spin on classic favorites. Pendulum also found the guitar-heavy group expanding their sonic palate—experimenting with new sounds (including the use of saxophones, vocal choirs, and keyboards) and even venturing into psychedelia.

The quartet’s musical explorations paid off. Not only was Pendulum a critical success, but it also spawned two global Top Ten hits: the reflective “Have You Ever Seen the Rain” and the upbeat “Hey Tonight.” The singles, released as a double A-side in 1971, peaked at No.8 on the Billboard Hot 100. Other highlights included the stomper “Molina,” the bluesy “Pagan’s Groove” and the twangy “Sailor’s Lament.”

Recently, “Have You Ever Seen the Rain” gained renewed popularity with the 2018 launch of a new official music video featuring Sasha Frolova, Jack Quaid, and Erin Moriarty (the latter two also featuring in Amazon’s smash hit series, The Boys), introducing the song to a new generation. To date, the video—available on the official CCR YouTube channel—has received over 61 million plays.

Creedence Clearwater Revival’s seventh and final studio album, 1972’s Mardi Gras, followed the departure of founding member and rhythm guitarist Tom Fogerty. The album, however, found the remaining trio of musicians taking a more collaborative approach to songwriting. Prior to Mardi Gras, frontman John Fogerty was the band’s creative leader—writing, arranging, and producing the majority of every album.

For Mardi Gras, bassist Stu Cook and drummer Doug Clifford not only penned many of the tracks (including Cook’s hard-driving “Door to Door,” and Clifford’s rollicking “Tearin’ Up the Country”) but also sang on them. Other highlights off the album include a cover of the rockabilly classic “Hello Mary Lou,” as well as the Fogerty-penned rocker “Sweet Hitch-Hiker”—a Top Ten hit in the US, Australia, Canada, and across Europe. The poignant “Someday Never Comes,” meanwhile, marked the group’s final single.

While the band members went their separate ways after Mardi Gras, Creedence Clearwater Revival’s legacy only continued to grow. Today, CCR remains one of the best-selling groups of all time, thanks to their trove of generation-defining hits and their singular, roots-rock sound.

Roughly half a century later, CCR fans can enjoy a new vibrancy when they revisit Pendulum and Mardi Gras, thanks to the exacting process of half-speed mastering. Using high-res transfers from the original analog tapes, the process involves playing back the audio at half its recorded speed while the cutting lathe is also turned to half the desired playback speed. The technique allows more time to cut a micro-precise groove, resulting in more accuracy with frequency extremes and dynamic contrasts. The result on the turntables is an exceptional level of sonic clarity and punch.

 Both of these special pressings were previously released only as part of Creedence’s collectible, seven-LP The Studio Albums Collection box set, and follow standalone reissues of the band’s first five albums—available here.

 Earlier this year, the three surviving members of CCR spoke with Uncut and reflected on their time in the band. “We didn’t get to where we got just falling off a log,” said John Fogerty, as he spoke of the band’s tireless work ethic. “It’s a wonderful thing to have a goal and then to attain it, more or less.”

 Stu Cook compared the band’s rise to “a rocket ride, we went up so fast. We burned until we burned out, in three-and-a-half years from start to finish.” But, while brief, those years together brought the group unparalleled creative achievement and global success. “We had a magic band,” recalled Doug Clifford. “We got high playing the music.” Fogerty added that he was “humbly pleased” knowing that, 50 years later, CCR’s music “is still relevant, that people still care about it. That’s just so satisfying.”

 Pre-order Pendulum or Mardi Gras half-speed masters, with special bundles offered via the Craft Recordings store. A limited gold vinyl edition of Pendulum is also available exclusively via Vinyl, Me Please.


Tracklist – Pendulum:

 Side A:

  1. Pagan Baby
  2. Sailor’s Lament
  3. Chameleon
  4. Have You Ever Seen the Rain
  5. (Wish I Could) Hideaway

Side B:

  1. Born to Move
  2. Hey Tonight
  3. It’s Just a Thought
  4. Molina
  5. Rude Awakening #2

Tracklist – Mardi Gras:

Side A:

  1. Lookin’ for a Reason
  2. Take It Like a Friend
  3. Need Someone to Hold
  4. Tearin’ Up the Country
  5. Someday Never Comes

Side B:

  1. What Are You Going to Do
  2. Sail Away
  3. Hello Mary Lou
  4. Door to Door
  5. Sweet Hitch-Hiker

The post Creedence Clearwater Revival’s ‘Pendulum’ and ‘Mardi Gras’ Set for Half-Speed Mastered 180-Gram Vinyl Reissues appeared first on American Blues Scene.