The numbers sing, as the cliché goes, but in this case the seven albums they released in the space of just four years reflect two things: the high productivity of the record companies at a time when the distribution channels for which music they had practically vetoed, and on the other hand, the outstanding qualitative bar of the generated and recorded work.
A double aspect, that of quality and that of quantity, which in the case of the CCRs joins the music scene in which they moved, full of competitors of proven level. It was not so easy to move in those major record leagues, in those hit parades doing white rock with canonical foundations in a situation where singer-songwriters, counterculture, British pulse pop ruled...
But they also knew how to capture what was pulsating in the street and turn it into mainstream material, both music and lyrics and themes, whether it was the Vietnam War, exploitation of minorities, class differences or oppression in general... A song like Fortunate is sums it up masterfully.
There is a classic photograph of the four members of the group, playing and surrounded by black children, which illustrates the cover of the Willy and the poor boys album and explains another of the essences of the Creedence: you can see how they play root instrumentation, country white, surrounded by children also root, in this case colored.
Their cocktail of rock, blues and country is unparalleled. And all this with the impossible character of John Fogerty, a fact that gives the existence of the band and its legacy the qualification of almost miraculous. Because the other reality is that the CCRs were above all a vehicle for Fogerty's genius rather than a group of four.
