All language subtitles for Travelin.Band.Creedence.Clearwater.Revival.At.The.Royal.Albert.Hall.2022

# Seven thirty seven
Comin' out of the sky #

# Won't you take me down
To Memphis on a midnight ride #

# I want to move #

# Playin' in a travelin' band #

# Yeah #

# Well I'm flyin'
'Cross the land #

# Tryin' to get a hand #

# Playin' in
A travelin' band� #

1969 had been
a magical year for Creedence.

In only 12 months, the band
had achieved five top ten singles

and three top ten albums
on the American charts,

outselling The Beatles.

They had appeared
on the legendary Ed Sullivan Show

and played over a million people
across America,

including the hundreds
of thousands

gathered at Woodstock.

John, Tom, Stu, and Doug

may not have had
the familiar ring to it

of John, Paul,
George, and Ringo,

but Creedence
were challenging The Beatles

for the title
of the biggest group in the world.

This is Doug Clifford,

who plays drums
for Creedence Clearwater

who's been there
since the start,

which was how long ago?

Eleven years.

Stu,
have you ever run into a situation

where you didn't like
one another

or you had a very,
very bad argument?

Yeah. We checked our equipment
quite frequently.

John Fogerty,

you write
most of the material for the group.

What was the first
gold record you had?

"Proud Mary."

Tom, uh, how would
you characterize this music?

Rock and roll music.

In April 1970,

Creedence arrived
at Heathrow Airport

to begin their first ever
European tour.

The tour would include
concerts in Berlin,

Stockholm, Rotterdam,
Paris, and London.

The band's British debut
was to take place

at the most prestigious
music venue in the UK,

London's Royal Albert Hall,

which had previously
hosted concerts

by The Beatles,

The Rolling Stones,
Led Zeppelin,

Cream, and Jimi Hendrix.

For Creedence
Clearwater Revival,

the Royal Albert Hall concert

would be a high point
of their tour of Europe.

The concert was filmed,

but never fully released
until now.

This is also the story
of how they got there.

My impressions of Europe?

Well, I like it.
It's, uh-- it's my first time.

And, uh, we're going through
so damn fast.

Each country is definitely
each country, man.

Like there's no, like,
you know, Sweden and Denmark

as close as they are
in all their respects,

there's really two
different worlds.

And I can see that
just having been here

just a day and a half.

The excitement,
it's just-- it's like a dream.

I don't wanna sleep.

Uh, because number one,
I can't, I'm so excited

and it's just like
living a dream

because I've lived in America
all my life,

and now coming over here,

things are, you know,
physically different

and the people are, you know,
mentally different.

It's a whole
fantastic experience.

It's total excitement
when you walk out on the stage,

you're thinking that
these people don't understand English.

They don't understand the words,

but they are communicating
with you

because they feel the music,
you know?

You're gonna give
some people something

that, uh, they've never
heard before, you know?

# Hurryin' to get there
So you save some time #

# Run, run, run, run, run #

# Rushin' to the treadmill #

# Rushin' to get home #

# Worry 'bout the time
You save, save #

# Com, commotion #

# Git, git, git, gone #

# Com, commotion #

# Git, git, git, gone #

# Com, commotion #

# Git, git, git, gone #

We take great pride
in the fact that

we brought our own sound system.

It's like, uh, starting
all over again, you know?

# Well, don't go around tonight #

# Well it's bound
To take your life #

# There's a bad moon
On the rise #

# Don't come around tonight #

# Well it's bound
To take your life #

# There's a bad moon
On the rise #

What I did learn on this trip

more than any other
was to go out into the city

and give it a chance
to just be itself, you know?

Not put on a show for me,
you know,

the people we always see.

Europe is like shades of gray
compared to America

where things are really
getting polar, you know,

uh, black and white,
uh, to use an example.

Uh, people don't--
people don't get all pissed off

about what you look like.

You can get a job
and you can like advance,

you know, with long hair.

In the States, man,
you could-- to get a job,

you have to cut your hair.

You can't even have sideburns,
you know?

Like it doesn't make a difference
how many degrees you have

or what your trip
is or any of that.

# Let the Midnight Special #

# Shine a light on me #

# Let the Midnight Special #

# Shine a light on me #

# Let the Midnight Special #

# Shine a light on me #

# Let the Midnight Special #

# shine an ever-lovin'
Light on me #

# Yonder come Miss Rosie #

# How in the world
Did you know? #

# By the way
She wears her apron #

# And the clothes she wore� #

To the berlin wall?
No, I would like to, though.

It'd be great to--
is the wall-- is it, uh,

is it barbed wire
or is it thick?

Not a wall.

I was thinking
about setting up there.

You know, we could set up

the equipment up
on top of the wall--

Well, at certain
places they have a wall.

And aim it that direction,
you know?

We could aim
it both directions.

How about that?
We'll bring everybody up on it

and dance and maybe
the wall will come down.

Maybe they'll object,
they might object.

# Let the Midnight Special #

# Shine a light on me #

# Let the Midnight Special #

# Shine an ever-lovin'� #

Wow. Paris, France. Okay.

We're off to Paris, then.

Three days.

And Germany was pretty nice.

Lead me on. Lead me on.

-Have a good trip.
-Thank you.

Well, number one,
I'm spending my birthday there,

so it better be good.

Better be good.
Here's to your birthday.

Uh, thank you. Right, right.

I just expect, um, uh�

the American dream, I suppose.

Have you ever eaten one?

- Dandelion?
- No.

Pick one up, eat it.
I'm serious. I'm not kidding.

Really?

Today is the most impressed

I've ever been
in my life with, you know,

just what I've seen, you know?

It's pretty much
of a mindblower.

My 25th birthday has been

the most insignificant thing
of the whole day.

I've been to the Louvre.

I've been to, uh,
Louis XIV's, uh,

playground as it were.

Probably most fantastic
collection of art

I've ever seen,
between that and the Louvre.

Huh?

Uh, I've only been
in my room so far.

It's just like
the room in Berlin

and the room in Stockholm

and the room in�

the water is good though.

# Love to kick my feet
Way down the shallow water #

# Shoo fly, dragon fly,
Get back to your mother #

# Pick up a flat rock,
Skip it across Green River #

# Well� #

Now the whole time
we're in Rotterdam,

it was like a blizzard,
only it was just raining.

What do you mean
about the friendly Europeans?

Well, like in New York,

they would've run us down,
you know?

Me too.

You know, I woke up
around 2:00 one afternoon

and just that's the--
when I saw you on the balcony.

Oh, that was fantastic.

And just, uh, you know,
I was happy. Wow.

# Cleaned a lot of plates
In Memphis #

# Pumped a lot of 'pane
Down in New Orleans #

# But I never saw
The good side of the city #

# 'Til I hitched a ride
On a river boat queen� #

I think that to me,
this tour proves that, uh,

that rock and roll music, uh,
after 15 years

should be somebody--
somebody's taking it serious somewhere.

I mean, it's the same--
you get the same reaction in Rotterdam

that you get in Oakland,
that you get in LA,

that you get in Omaha,

like there's something happening.

The real test
as to the success

of their European tour

would be measured
by the reception

they would receive
at London's Royal Albert Hall.

The journey that led
to this landmark concert

began 13 years earlier
in El Cerrito, California

near San Francisco.

It all happened one day.

The first day
in junior high school,

there was this guy sitting
in the back of the class,

just screwing around.

And, uh, all the seats
were taken

except the ones next to him.

So I just fell down
and sat next to him,

it turned out to be Doug.

Hello there.

Like we were good friends
for a couple years

before we even, you know,
got into a music thing at all.

Then John�

John was tinkling on the piano,
then in the music room

to like audition people
who are interested.

Yeah. We started out
as a-- like a--

as a trio with piano,
drums, and guitar.

You have to understand,

like we were the only band
in the school.

It wasn't like
how it was after The Beatles

when it seemed like
every school had 50 bands,

we were the band of the school.

The instrumental trio,

John Fogerty, Stu Cook,
and Doug Clifford

initially went under the name,
The Blue Velvets.

They became a four piece
when John's older brother,

Tom joined on vocals
under the name,

Tommy Fogerty
and The Blue Velvets,

they released a handful of singles

that helped build their reputation

around the Bay Area.

Then during February of 1964,

their world was shaken
by a hurricane

that had blown in
from across the Atlantic.

# Well, shake it up, baby #

# Now, shake it up, baby #

# Twist and shout #

# Twist and shout� #

So in '64, we'd already
been together five years.

And our listening experience,
the kind of stuff we were into

was pretty much similar
to The Beatles.

And when The Beatles hit,
we said, wow, you know,

the door is wide open again,

'cause The Beatles really just changed

the whole thing for all musicians.

The month
after The Beatles heralded

the start of the so-called
British invasion,

San Francisco's Channel 9
broadcast Anatomy of a Hit,

a television program
that told the story

of "Cast Your Fate to the Wind"

by jazz artist, Vince Guaraldi.

This single had been a hit
for Fantasy,

the San Francisco
based record label.

Having watched the documentary,

John and Tom Fogerty
crossed the Bay Bridge

and played their songs
to Max Weiss,

Fantasy's co-founder
and resident hipster.

I have perfect pitch
and natural rhythm.

And just by one listening

of just a, maybe four or five bars,

usually five bars, uh,

I can spot whether a record's
gonna make it or not.

Impressed by what he heard

and no doubt aware
of the tremendous success of The Beatles

in the growing
beat group phenomenon,

Weiss signed the group
to Fantasy.

Wanting the band's name
to sound more British,

the label opted for a new one

unaware of its offensive
racial connotations.

Thought it sounded British,

Beatle-ly and all the rest,

and that was the reason

trying to emulate
the English thing.

As their sound evolved,

Stu Cook switched
from piano to bass,

Tommy Fogerty to rhythm guitar,

and John Fogerty assumed
the role of lead vocalist.

And by late 1966,

it was beginning
to look like the group

was on the verge
of a breakthrough.

# I got me
A brown eyed girl #

# Yeah #

-# Brown eyed girl #
-# Yeah #

But with the escalation
of the Vietnam War

and the shadow of the draft

hanging over young men
across the States,

the group's progress
was brought to a halt.

John Fogerty enlisted
in the army reserve

and Doug Clifford
served in the coast guard.

During this period,

the musical spotlight
had shifted to San Francisco,

in what would soon explode
into the Summer of Love.

It exploded
while I was gone,

San Francisco
just broke wide open

and everybody was talking
about it and I was away.

I like Country Joe
and the Fish.

And the Jefferson Airplane,
Quicksilver Messenger Service.

Well, like, uh, the local groups

that have been playing
around here,

I've been seeing 'em
for a long time

and, uh, they're really making it,

they're doing
a real good thing, man.

I got out of the army
in, uh, '67

and we sort of resolved
to really go for it.

To either we were-- we were
really gonna commit ourselves

and everything we had
or else we weren't gonna make it.

A major turning point

was the release
of their single Porterville.

It didn't just sound like
the work of a different group,

it pointed the way forward.

# It's been an awful long time #

# Since I been home #

# But you won't catch me
Goin' back down there alone #

# Things they said
When I was young #

# Are quite enough
To get me hung #

"Porterville" showed
John Fogerty's determination

and growing confidence
as a songwriter.

And it was around this time

that they were able
to rid themselves of the name

that had been originally suggested
by the record label.

They became Creedence
Clearwater Revival.

We've been together
all this time

and nothing was happening
with the group.

So we decided we wanted

to have a little revival
among ourselves.

That's what that part meant.

It's just let's get back
to the basics, you know.

Let's get back
to where we were 10 years ago.

When "Porterville"
failed to make an impact on the charts,

Creedence resorted to a formula

that had provided many groups
with breakthrough hits.

They've recorded
a cover version.

The band decided on "Susie Q,"

a song that had been a hit
for Dale Hawkins back in 1958.

# Oh, Susie Q #

At first,
it was just a demo tape

that we took
to a local FM station,

and they started
playing it a lot

like four, five times a day,

in exactly the same form
that it appears on the record.

The excitement of actually

really hearing
your song on KYA, uh,

after years and years,
some nine and a half years, of trying,

it took-- it took us pretty much
by surprise when it happened,

because it just took off.

And wisely,
the man at the record company

finally saw, "Oh, well,
these guys are getting popular.

Maybe they should
make an album."

So, um, we got to go in
and with, um,

something like seven
or eight hours of studio time,

uh, we made the first album.

The budget was like
less than $2,000.

First album was released
and we came to San Francisco

and we started playing there

and it's like it just fell
together real fast,

but we've been working on it
for about nine years,

you know,
getting ourselves together

so that when we--
when we had it together,

like, all we needed
was an audience.

Having broken on
to the San Francisco ballroom circuit

and with their album hovering
just outside the top 50,

they were hoping to take things
to the next level

with another cover
of an R&B classic.

# I put a spell on you #

# Because you're mine #

# You better stop the thing
That you're doin' #

# I said watch out, I ain't lyin' #

Screamin' Jay Hawkins did
"I Put a Spell on You."

And that's another great old
R&B song that I loved.

It happened to fit
my vocal style.

I could-- I could sing that well
and that was the reason, uh,

we decided to do that
particular song.

It's kind of hard for me
to talk about John

and be unbiased, you know,

because, uh,
we're in the same band together,

but I think that he had
one of the most unique voices.

I think it's right up there
with Ray Charles and Van Morrison,

you know, it's a voice that's distinct.

Despite showcasing
his development

into one of the era's
most recognizable voices

with a style rooted deep
in the blues and R&B,

the record failed
to reach the top 50.

John Fogerty had said that
he wanted Creedence

to make something for the ages,
to be great like The Beatles.

On the day that he received
his honorable discharge papers

from the army,

he wrote his first
genuine classic.

# Left a good job In the city #

# Workin' for the man
Ev'ry night and day #

# And I never lost
One minute of sleepin' #

# Worryin' 'bout the way
Things might have been #

# Big wheel keep on turnin' #

# Proud Mary keep on burnin' #

"Proud Mary" reached
number two on the US charts,

and five years
after watching The Beatles

make their debut on American TV,

they too appeared
on The Ed Sullivan Show.

# Rollin' on the river #

# Cleaned a lot of plates
In Memphis #

# Pumped a lot of 'pane
Down in New Orleans #

# But I never saw
The good side of the city #

# 'Til I hitched a ride
On a river boat queen #

# Big wheel keep on turnin' #

# Proud Mary keep on burnin' #

# Rollin', rollin' #

# Rollin' on the river #

You know, like "Proud Mary"
I'm really happy about that,

that it came off
as well as it did.

The way I write
is a very loose thing.

All I'm trying to do really
is put down what I see,

you know, the way I see it.

Get something out of just
hearing the notes and the rhythm.

But if the words
can convey the same meaning,

it's like icing on the cake
then, you know,

because I try and match
the music with the words.

It was during that time
that I completed, uh,

all the stuff on Bayou Country

and, uh, some
of other songs, too.

In other words,
that didn't really reflect--

the songs didn't reflect
my mood at the time, you know,

I just switched off
and went into something else.

If "Proud Mary"
was about a riverboat

rolling up the Mississippi,

"Born on the Bayou"
took you on a journey

through the swamplands
that stretched

from New Orleans
into rural Louisiana.

# When I was just a little boy #

# Standin' to
My daddy's knee� #

At the time
of the release

of their second album,
Bayou Country,

none of the band members
had yet set foot

in the part of
the American South

that was so vividly captured
in their songs,

a great achievement
for a songwriter

whose roots lay 2000 miles away
in Northern California.

# And I can remember
The Fourth of July #

# Runnin' through
The backwood bay #

# I can still hear
My old hound dog barkin' #

# Chasin' down a hoodoo there #

# Chasin' down a hoodoo there #

I, like,
haven't lived there, uh,

you know, in the south,

it was purely that was all
in my head really,

like, that was where
I wanted to go.

And all the things
I had heard before

that I dug were from there.

And it was like, I wanted
to be like that, you know?

Creedence
never bought into the idea

of turning on, tuning in,
and dropping out.

For them, it was always
about the work.

And to reflect
their identification

with the working man,

they called
their rehearsal place

The Factory.

Now, we come down here
every day,

we rehearse, talk about music
or what's happening,

you know, with other groups
or other records.

As well as writing the songs,

John Fogerty was also producing
the records.

The Factory was where
the songs took shape.

As they saw it,
simplicity was best

and less was usually more.

Like, when we make a record,
I don't--

I don't maybe listen to the--

really listen
and get into the words,

until maybe a month
after we're finished, you know.

Like, I don't sit down
and take it all apart,

you know, I just, uh,

you know, one line
or one word does it for me.

# I see the bad moon a-risin' #

# I see trouble on the way #

# I see earthquakes
And lightnin' #

Three months
after releasing "Proud Mary,"

Creedence were back
on the charts

with "Bad Moon Rising."

This song would also give them

their first UK number one.

# There's a bad moon
On the rise #

Yes, but just not fast enough.

Um�

Yeah. There's really no other way
to say it, you know.

I would dig it if we all woke up
tomorrow morning

and we're just superb musicians,
you know, who could play anything,

but it never works out that way.

By mid-1969,

Creedence was arguably
the second biggest band

in the world behind The Beatles.

And that summer featured
among the headlining acts

at the Denver, Newport,

and Atlanta music festivals.

# I went down to the station #

# Just to take a ride #

They were also approached
to perform

at the upcoming
Woodstock Festival.

Creedence was one of the first,

if not the first major act
to sign.

You know, they used us
to entice other artists

of our generation
to get onboard.

We were signed
to headline Saturday night.

The day before
their scheduled appearance at Woodstock,

they were in a Los Angeles
television studio

recording a performance
of "Green River"

on The Andy Williams Show,

a showbiz institution,

a world away
from outdoor festivals

and the counterculture.

# Well, take me back down #

# Where cool water flows, y'all #

# Oh, let me remember
Things I love #

# Stoppin' at the log
Where catfish bite #

# Walkin' along
The river road at night #

# Barefoot girls
Dancin' in the moonlight #

The song is, uh, like, uh,

just a little segment
of John's child--

John and Tom's childhood,

uh, when their father
used to take 'em up

to the, uh, Cody's camp.

I mean, it's, uh, part of the lyric.

The place isn't there anymore.

Like progress, they built a dam,

flooded the-- you know,
backed the river up

and flooded out the whole place.

I think that, you know,
the camp,

everything's gone
except the song.

I like the place that that song

is supposed to be coming from.

"Green River,"
I always thought, was like

the heart and soul
of what Creedence is.

Uh, musically and also just kind of what
it's talking about.

Having honored
their television commitments,

they then traveled
to Upstate New York

to take part
in what would turn out to be

the most historic
music festival of all time,

Woodstock.

We're just overwhelmed
by, uh,

the enormity of--
but we had no idea

of what to expect.

And the weather
and technical problems

pushed the show later and later.

We finally got on
about 3:00 in the morning.

# I put a spell on you #

# Because you're mine #

# You better stop the thing
That you're doin' #

# I said, watch out, I ain't lyin' #

We didn't consciously
go out of our way

to try to sound
like a Black band.

You know, there was parts
of country

and it's just that�

that was really
that we liked Black music

better than the kind
of white music

that was being presented
to us at the time,

but, um, our early heroes
were definitely Black,

so I think it kind of maybe just
unconsciously came together.

-# You know, the night-time #
-# Night and day #

-# Oh, is the right time #
-# Night and day #

-# To be #
-# Night and day #

# With the one you love,
Oh, oh #

# Night and day #

-# I said the night-time #
-# Night and day #

"Night Time Is the Right Time"

was originally recorded
by Ray Charles

and would feature on Creedence's

first number one album in America,
Green River.

I've heard it
and I've experienced it,

and it's real.

And in fact, it's played
on the Black station.

It's being played
on the Black station,

and like the deejay there
was really pushing the record

and the people were digging.
My old lady and myself,

we were thinking of coming
to work the other morning

and I said,
"Hey, wait a minute, you know,

like those cats are for real."

So, like, it doesn't matter,
you know,

whether they're a white group
or not, like,

they're really coming
from within.

You dig it.
And when you come from within,

you got to be for real
no matter what you are.

- Yeah.
- Yeah.

Green River occupied
the top spot

for three weeks
before being replaced

by The Beatles' Abbey Road.

While the record
was still on the charts,

Creedence were back
in the studio

recording
what would be their third album

in less than a year,
Willy and the Poor Boys.

# Down on the corner, out in the street #

# Willy and the Poor Boys
Are playin' #

# Bring a nickel, tap your feet #

# Rooster hits the washboard #

# And people just got to smile #

What set Creedence apart

from many
of their contemporaries,

was their ability to produce
the sound of their records,

on stage
and the primal excitement

and joy of their concerts,

which came from their love
of live performance.

# Down on the corner, out in the street #

# Willy and the Poor Boys
Are playin' #

# Bring a nickel, tap your feet #

It has an elating effect on you.
It makes you feel good.

Therefore, you--
like, "I love music.

I consider it a good thing.

I don't love it
because I think it's good.

I just-- I just love it."

Like it's the fear
of, like, blowing it

and the excitement of being able
to do it at the same time.

If we're all working together, boom.

You know, it's just fabulous
and everybody's turned on.

If you do turn them on,
you really feel rewarded.

And that's really the reward.

That's the only reward
that counts, I think.

# Just to hang around #

# But if you've got a nickel� #

Besides people
looking for your music,

they also-- well,

they wanna know what you think,
they wanna know what you wear,

and, you know,
what movies you like,

and do you eat spaghetti
for breakfast

and junk like that.

And they also wanna know
how you accept

the world you live in.
Do you accept it, really?

John, he's got an expression

that you can-- you can--

You can tell how a person is

by, you know,
looking in his eyes

and just how far behind
his eyes his brain is,

is where he's at.

You know,
if his brain is right up there,

you know, if his head's right up there
behind his eyes

and he's-- you know,
John will talk to him.

We go around talking about
how we're communicating

but no one ever does.

It's like you look right into a guy's
eyeballs and you're staring.

You say, you know, "Are you in there,
you know? Hello? Hello?"

And most of the time,
you don't get anything back.

He really cuts through
the bullshit.

# Good men through the ages #

# Tryin' to find the sun #

# And I wonder, still I wonder #

# Who'll stop the rain? #

I want people to know
when I'm really saying

something seriously
and when I'm�

just being an entertainer,
you know?

But it's also important
that I don't appeal

the basic motivations
and I don't start,

you know, "Hey, all you hippies,

join together
and let's smoke dope," you know?

I mean, people are gonna dig that.

A certain element of society.

But I don't want them
digging it for that.

I want them to look a little
further than just, "Hey.

Okay. We're all together,
brother,"

you know, and that crap.

"Who'll Stop the Rain,"

and some of the others too,
especially that one,

I tried to stay away from,

"Hey, he's a left-wing
radical crazy

or he's a super Bircher,"
you know,

because both sides can take it,
you know,

and use it
as their own rallying cry.

Same as "Fortunate Son," really.

# It ain't me, it ain't me #

# I ain't no senator's son, son #

# It ain't me, it ain't me #

# I ain't no fortunate one, no #

As 1969
was drawing to a close,

John Fogerty was considered
one of America's

most politically significant songwriters.

And in this year alone,
Creedence had accomplished

more than most groups managed
during a whole career,

including four top ten singles

and three top ten albums.

To emphasize this success,

Rolling Stone magazine declared
them best American band.

The outsiders from El Cerrito,
had come a long way.

And 1970 began
with a celebratory concert

on home turf,
in front of 15,000 ecstatic fans

at California's
Oakland Coliseum.

# Keep on chooglin' #

# Keep on chooglin' #

# Keep on chooglin' #

# Chooglin', chooglin' #

# Chooglin', chooglin' #

# Maybe you don't understand #

In America,
Creedence were flying high,

and three months
after their victorious Oakland concert,

they took their show to Europe.

Their European campaign
began on April 7th

when they touched down
at London's Heathrow Airport.

# There's a place
Up ahead and I'm going #

# Just as fast
As my feet can fly #

When we got to London,
we were just destroyed.

Eleven-hour flight
and a nine-hour time difference.

It was like when it was night,
it was morning.

You know, you get so tired
that you just can't sleep.

And then,
just immediately went out

and got on a double-decker bus

and just started cruising
through London.

Creedence's
highly anticipated

sold-out concerts
at London's Royal Albert Hall

would take on
even greater significance

when just days before news broke
that shook the world.

The event is so momentous
that historians

may one day view it
as a landmark

in the decline
of the British Empire.

The Beatles are breaking up.

With the London audience

reeling from the news
of The Beatles' breakup,

Creedence was now poised
to take on the mantle

of the biggest group
in the world.

My biggest fear, man,
if these people

are gonna boo us off.
You know, you're not sacred.

If you ain't making it, you--
the first cat's gonna-- you know,

everyone else think it's like
The Emperor Wears No Clothes.

Finally some cat'll go, "Boo,"

and pretty soon the whole place

will just tear you to pieces,
you know?

There's a lot of pressure on John

and there's a lot of pressure,
I guess, on all of us,

because I wanna live up
to what John expects of me.

And hopefully
because we've practiced a lot

and we have improved anyway,
you know, just�

evolving as musicians,
we want that to happen.

You know, it's four parts
that make up a whole.

Every once in a while,
you really--

you really know together,
you know?

It's like four people are one.

In other words, if something--
if something goes wrong,

hopefully,
instead of getting uptight,

we'll just remember
that time in Omaha

or that time in Lodi.

You just remember
all the little funny things

that have happened in 11 years.

# Seven thirty seven
Comin' out of the sky #

# Oh, won't you take me down
To Memphis on a midnight ride #

# I want to move #

# Playin' in a travelin' band #

# Yeah, and I'm flyin'
'Cross the land #

# Tryin' to get a hand #

# Playin' in a travelin' band #

# Get me to the hotel
Baggage gone, oh well #

# Come on, come on
Won't you get me to my room #

# I want to move #

# Playin' in a travelin' band #

# Yeah #

# Well, I'm flyin'
'Cross the land #

# Tryin' to get a hand #

# Playin' in a travelin' band #

# Listen to the radio
Talkin' 'bout the last show #

# Someone got excited
Had to call the state militia #

# Want to move #

# Playin' in a travelin' band #

# Yeah #

# And I'm flyin'
'Cross the land #

# Tryin' to get a hand #

# Playin' in a travelin' band #

# Here we come again
On a Saturday night #

# With your fussin'
And your fightin' #

# Won't you get me to the rhyme
I want to move #

# Playin' in a travelin' band #

# Yeah #

# Well, I'm flyin'
'Cross the land #

# Tryin' to get a hand #

# Playin' in a travelin' band #

# Woo! #

# Playin' in a travelin' band #

# Playin' in a travelin' band #

# Won't you give myself
A hand? #

# I'm playin'
In a travelin' band #

# Well, I'm flyin'
'Cross the land #

# Tryin' to get a hand #

# Playin' in a travelin' band #

# Oh, now #

# When I was just a little boy #

# Standin' to my daddy's knee #

# My papa said, son,
Don't let the man get you #

# And do what he done to me #

# 'Cause he'll get you, Lord #

# Get right now, now #

# Well, I can remember
The Fourth of July #

# Runnin' through
The backwood bay #

# And I can still hear
My old hound dog #

# Barkin' chasin' down
A hoodoo there #

# Chasin' down a hoodoo there #

# Born on the bayou #

# Born on the bayou #

# All right, yeah #

# Born on the bayou, do it, do it #

# I wish I were back
On the bayou #

# Rollin' with some
Cajun Queen #

# Wish I were
A fast freight train #

# A-just a-choogling on
Down to New Orleans #

# Born on the bayou #

# Born on the bayou #

# All right, yeah #

# Born on the bayou #

# Do it, do it #

# I can remember
The Fourth of July #

# Runnin' through
The backwood bay #

# And I can still hear
My old hound dog barkin' #

# Chasin' down a hoodoo there #

# Chasin' down a hoodoo there #

# Born on the bayou #

# Born on the bayou #

# All right, yeah #

# Born on the bayou #

# Do it, do it, do it, do it #

Thank you.

Yeah. All right.

# Well #

# Take me back down
Where cool water flows, y'all #

# Oh, let me remember
The things I love #

# Stoppin' at the log
Where catfish bite #

# Walkin' along
The river road at night #

# Barefoot girls dancin'
In the moonlight #

# I can hear
The bullfrog callin' me #

# Wonder if my rope's
Still hangin' to the tree #

# Love to kick my feet
Way down the shallow water #

# Shoo fly, dragon fly
Get back to your mother #

# Pick up a flat rock,
Skip it across Green River #

# Well� #

# Up at Cody's camp
I spent my days, Lord #

# With flat car riders
And cross-tie walkers #

# Old Cody Junior took me over #

# Said you're gonna find
The world is smoldering #

# And if you get lost,
Come on home to Green River #

# Well� #

Thank you.

# Tombstone shadow #

# Stretchin' across my path #

# Tombstone shadow #

# Stretchin' across my path #

# Ev'ry time I get
Some good news #

# Ooh, there's a shadow
On my back #

# Saw the gypsy man #

# 'Way down in San Berdoo #

# Said, I saw the gypsy man #

# 'Way down in San Berdoo #

# Five dollars on the table #

# Ooh, keep me 'way
From my tomb #

# Said I got thirteen months of bad luck #

# Bound to be some pain #

# Don't you do no trav'lin' #

# Fly in no machines #

# Tombstone shadow #

# Stretchin' across my path #

# Ev'ry time I get
Some good news #

# Ooh, here come shadow
On my back #

# The man gave me a luck charm #

# Cost five dollars more, Lord #

# Said, put some
On your pillow #

# And put some on your door #

# He said, take a long vacation #

# Ooh, for 13 months or more #

# Tombstone shadow #

# Stretchin' across my path #

# Tombstone shadow #

# Stretchin' across my path #

# Ev'ry time I get
Some good news #

# Ooh, here come a shadow
On my back #

Thank you.

Thank you.

# Some folks are born
Made to wave the flag #

# Hoo, they're red, white and blue #

# And when the band plays
Hail to the chief #

# Ooh they point
The cannon at you, Lord #

# It ain't me, it ain't me #

# I ain't no senator's son #

# It ain't me, it ain't me #

# I ain't no fortunate one #

# Some folks are born
Silver spoon in hand #

# Lord, don't
They help themselves? #

# But when the taxman
Come to the door #

# Lord the house lookin'
Like a rummage sale #

# It ain't me, it ain't me #

# I ain't no millionaire's son #

# It ain't me, it ain't me #

# I ain't no fortunate one #

# Yeah, some folks
Inherit star-spangled eyes #

# Hoo, they send you down
To war #

# And when you ask 'em,
How much should we give? #

# Hoo, they only answer,
More, more, more #

# It ain't me, it ain't me #

# I ain't no military son #

# It ain't me, it ain't me #

# I ain't no
Fortunate one, one #

# It ain't me, it ain't me #

# I ain't no senator's son, no #

# It ain't me, it ain't me #

# I ain't no fortunate one, one, one, no #

# It ain't me, it ain't me #

# I ain't no
Fortunate son, son, no #

# It ain't me, it ain't me #

# I ain't no fortunate one #

# Traffic in the city
Turns my head around #

# No, no, no, no, no #

# Backed up on the freeway,
Backed up in the church #

# Ev'rywhere you look
There's a frown, frown #

# Com, commotion #

# Git, git, git, gone #

# Com, commotion #

# Git, git, git, gone #

# People keep a-talkin'
They don't say a word #

# Jaw, jaw, jaw, jaw, jaw #

# Talk up in the White House
Talk up to your door #

# So much goin' on
I just can't hear #

# Com, commotion #

# Git, git, git, gone #

# Com, commotion #

# Git, git, git, gone #

# Hurryin' to get there
So you save some time #

# Run, run, run, run, run #

# Rushin' to the treadmill
Rushin' to get home #

# Worry 'bout the time
You save, save #

# Com, commotion #

# Git, git, git, gone #

# Com, commotion #

# Git, git, git, gone #

# Com, commotion #

# Git, git, git, gone #

Thank you.

Thank you very much.

# Well, you wake up
In the mornin' #

# You hear the work bell ring #

# And they march you
To the table #

# You see the same old thing #

# Ain't no food upon the table #

# And no pork up in the pan #

# But you better
Not complain, boy #

# You get in trouble
With the man #

# Let the Midnight Special #

# Shine a light on me #

# Let the Midnight Special #

# Shine a light on me #

All right.

# Let the Midnight Special #

# Shine a light on me #

# Let the Midnight Special #

# Shine an ever-lovin'
Light on me #

# Yonder come Miss Rosie #

# How in the world
Did you know? #

# By the way she wears
Her apron #

# And the clothes she wore, no #

# Umbrella on her shoulder #

# Piece of paper in her hand #

# She come to see the gov'nor #

# She want to free her man, oh #

# Let the Midnight Special #

# Shine a light on me #

# Let the Midnight Special #

# Shine a light on me #

# Let the Midnight Special #

# Shine a light on me #

# Let the Midnight Special #

# Shine an ever-lovin'
Light on me #

# If you're ever in Houston #

# Well, you better do it right #

# You better not gamble #

# And you better
Not fight, Lord #

# Or the sheriff will grab ya #

# And the boys
Will bring you down #

# The next thing you know, boy #

# Whoa, you're prison bound #

# Let the Midnight Special #

# Shine a light on me #

# Let the Midnight Special #

# Shine a light on me #

# Let the Midnight Special #

# Shine a light on me #

All right, Lord!

# Let the Midnight Special #

# Shine an ever-lovin' light #

# On me #

# I see the bad moon a-risin' #

# I see trouble on the way #

# I see earthquakes
And lightnin' #

# I see bad times today #

# Don't go around tonight #

# Well it's bound
To take your life #

# There's a bad moon
On the rise #

# I hear hurricanes a-blowin' #

# I know the end
Is comin' soon #

# I fear rivers over flowin' #

# I hear the voice
Of rage and ruin #

# Don't go around tonight #

# Well it's bound
To take your life #

# There's a bad moon
On the rise #

# Hope you got
Your things together #

# Hope you are
Quite prepared to die #

# Looks like we're in for nasty weather #

# One eye is taken for an eye #

# Well don't go around tonight #

# Well it's bound
To take your life #

# There's a bad moon
On the rise #

# Don't come around tonight #

# Well it's bound
To take your life #

# There's a bad moon
On the rise #

- Thank you very much.
- Thank you.

# Left a good job in the city #

# Workin' for the man
Ev'ry night and day #

# And I never lost
One minute of sleepin' #

# Worryin' 'bout the way
Things might have been #

# Big wheel keep on turnin' #

# Proud Mary keep on burnin' #

# Rollin', rollin' #

# Rollin' on the river #

# Cleaned a lot of plates
In Memphis #

# Pumped a lot of 'pane
Down in New Orleans #

# But I never saw
The good side of the city #

# 'Til I hitched a ride
On a river boat queen #

# Big wheel keep on turnin' #

# Proud Mary keep on burnin' #

# Rollin', yeah #

# Rollin', all right #

# Rollin' on the river #

# Rollin' #

# Rollin', yeah #

# Rollin' on the river #

# If you come down
To the river #

# Bet you gonna find
Some people who live #

# You don't have to worry
'Cause you have no money #

# People on the river
Are happy to give #

# Big wheel keep on turnin' #

# Proud Mary keep on burnin' #

# Rollin', yeah #

# Rollin', oh #

# Rollin' on the river #

# Rollin' #

# Rollin', yeah #

# Rollin' on the river #

# Rollin', oh #

# Rollin', yeah #

# Rollin' on the river #

# You know the night time #

# Oh, is the right time #

# To be #

# With the one you love #

# I said the night time #

# Ooh, is the right time #

# To be #

# With the one you love #

# I said the night time, baby #

# Yeah, is the right time #

# To be with the one you love #

# Baby #

# I said a baby #

# Baby #

# Come on
And drive me crazy, Lord #

# You know I love you #

# Always thinkin' of you #

# Hey, baby #

# Oh, I said a baby, oh #

# I said the night time #

# Is the right time #

# To be with the one you love #

# All I can say #

# I said the night time #

# Oh, is the right time #

# To be #

# With the one you love #

# I said the night time #

# Ooh, is the right time #

# To be #

# With the one you love #

# I said the night time, baby #

# Oh, is the right time #

# To be with the one you love #

# Good golly, Miss Molly #

# Sure like a ball #

# Good golly, Miss Molly #

# Sure like a ball #

# When you're
Rockin' 'n' rollin' #

# Can't hear your momma call #

# From the early Early mornin' #

# 'Til the early, early night #

# You can see
Miss Molly rockin' #

# At the house of blue lights #

# Ah, good golly, Miss Molly #

# Sure like a ball #

# When you're
Rockin' 'n' rollin' #

# Can't hear your momma call #

# Say, momma, poppa told me #

# Son, you better
Watch your step #

# If I knew my momma, poppa #

# Have to watch my pop myself #

# Ah, good golly, Miss Molly #

# Sure like a ball #

# When you're
Rockin' 'n' rollin' #

# Can't hear your momma call #

# I am goin' to the corner
Gonna buy a diamond ring #

# Would you pardon me
A kissin' #

# 'N' a ting-a-ling-a-ling? #

# Oh, good golly, Miss Molly #

# Sure like a ball #

# When you're
Rockin' 'n' rollin' #

# Can't hear your momma call #

# Aaaah #

# Good golly, Miss Molly #

# Sure like a ball #

# Good golly, Miss Molly #

# Sure like a ball #

# When you're
Rockin' 'n' rollin' #

# Can't hear your momma call #

Thank you.

This will be our last song,

but we hope you all join in
and listen.

Help us keep something going.

In advance, we wanna say

thank you very much
for having us here in London.

Here's a song called�

�"Keep On--" just "Keep On--"
"Keep On Chooglin'."

# Keep on chooglin' #

# Keep on chooglin' #

# Keep on chooglin' #

# Chooglin' #

# Chooglin', chooglin'
Chooglin' #

# Maybe you don't
Understand it #

# But if you're a natural man #

# You got to ball
And have a good time #

# And that's
What I call chooglin' #

# Here comes Mary
Lookin' for Harry #

# She gonna choogle tonight #

# Here comes Louie
Works in the sewer, Lord #

# He gonna choogle tonight #

# Keep on chooglin' #

# Keep on chooglin' #

# Keep on chooglin' #

# Chooglin' #

# Chooglin', chooglin'
Chooglin' #

# Keep on chooglin' #

# Keep on chooglin' #

# Keep on chooglin'
Chooglin' #

# Chooglin'
Chooglin', chooglin' #

# If you can choose it
Who can refuse it #

# Y'all be chooglin' tonight #

# Go on, take your pick
Right from the git go #

# You gotta choogle tonight #

# Keep on chooglin' #

# Keep on chooglin' #

# Keep on chooglin'
Chooglin' #

# Chooglin'
Chooglin', chooglin' #

# Chooglin', chooglin' #

# Chooglin', chooglin'
Chooglin', chooglin' #

Good night, y'all. We love you.

Creedence received
a 15-minute standing ovation,

clearly winning over
the London audience

and solidifying this performance

is a major highlight
of their career.

Later that year, their fifth album,
Cosmo's Factory,

topped the charts
around the world,

including the US and UK.

Creedence could then
rightfully lay claim to being

the biggest band in the world.

# Just got home from Illinois #

# Lock the front door, oh boy! #

# Got to sit down
Take a rest on the porch #

# Imagination sets in #

# Pretty soon I'm singin' #

# Doo, doo, doo
Lookin' out my back door #

# There's a giant
Doin' cartwheels #

# A statue wearin' high heels #

# Look at all the happy
Creatures dancin' on the lawn #

# Dinosaur Victrola #

# Listenin' to Buck Owens #

# Doo, doo, doo
Lookin' out my back door #

# Tambourines and elephants
Are playin' in the band #

# Won't you take a ride
On the flyin' spoon? #

# Dood-n-doo-doo #

# Wondrous apparition #

# Provided by magician #

# Doo, doo, doo
Lookin' out my back door #

# Tambourines and elephants #

# Are playin' in the band #

# Won't you take a ride
On the flyin' spoon? #

# Dood-n-doo-doo #

# Bother me tomorrow #

# Today I'll buy no sorrows #

# Doo, doo, doo
Lookin' out my back door #

# Forward troubles Illinois #

# Lock the front door, oh boy! #

# Look at all the happy
Creatures dancin' on the lawn #

# Bother me tomorrow #

# Today I'll buy no sorrows #

# Doo, doo, doo
Lookin' out my back door #

# Long as I remember #

# The rain been comin' down #

# Clouds of mystery pourin' #

# Confusion on the ground #

# Good men through the ages #

# Tryin' to find the sun #

# And I wonder #

# Still I wonder
Who'll stop the rain? #

# I went down Virginia #

# Seekin' shelter
From the storm #

# Caught up in the fable #

# I watched the tower grow� #