Editing Creedence Clearwater Revival (section)

==History==
===Early career: The Blue Velvets (1959–1964)===
[[John Fogerty]], [[Doug Clifford]], and [[Stu Cook]] met at Portola Junior High School in [[El Cerrito, California]]. Calling themselves the Blue Velvets, the trio played [[instrumental]]s and "jukebox standards",<ref name=rs30>{{Cite news|last=Fong-Torres|first=Ben|author-link=Ben Fong-Torres|title=Creedence C'water At the Hop|newspaper=[[Rolling Stone]]|page=9|date=April 5, 1969|issue=30|url=https://www.rollingstone.com/music/music-features/creedence-cwater-at-the-hop-186659/}}</ref> and backed John's older brother [[Tom Fogerty|Tom]] at recordings and performances before he joined the band. The band had also released three singles, the second of which was picked up by [[Casey Kasem]], who worked at KEWB, [[Oakland, California|Oakland]]. In 1964, they signed with [[Fantasy Records]], an independent jazz label in San Francisco.<ref>{{cite web|url=http://crawdaddy.wolfgangsvault.com/article/fantasy-studios-alive-and-well-in-berkeley.html |title=Fantasy Studios: Alive and Well in Berkeley |publisher=Crawdaddy.wolfgangsvault.com |date=August 6, 2008 |access-date=March 2, 2010 |url-status=dead |archive-url=https://web.archive.org/web/20091009135750/http://crawdaddy.wolfgangsvault.com/Article/Fantasy-Studios-Alive-and-Well-in-Berkeley.html |archive-date=October 9, 2009}}</ref> The band was attracted to the label after hearing [[Vince Guaraldi]]'s instrumental "[[Cast Your Fate to the Wind]]", which the label had released to national success.<ref name="Lembo">{{cite book |last=Moskowitz |first=David V. |title=The 100 Greatest Bands of All Time: A Guide to the Legends Who Rocked the World p. 166 |publisher=[[ABC-CLIO]] |year=2015 |isbn=978-1-4408-0340-6}}</ref>

===Vision and the Golliwogs (1964–1967)===
For the band's first release, Fantasy co-owner Max Weiss renamed the group the Golliwogs (after the children's literary character [[Golliwog]]). Prior to the Golliwog name, Weiss had renamed them Vision. Band members' roles changed during this period; Cook switched from piano to bass guitar and Tom Fogerty from lead vocals to rhythm guitar; John became the band's lead vocalist and primary songwriter. In Tom's words: "I could sing, but John had a sound!"<ref>{{cite web|url=http://www.spinner.com/2010/05/14/john-fogerty-creedence-clearwater-revival/ |last=Sullivan |first=James |title=John Fogerty Sued for Plagiarizing ... Himself: Twisted Tales |date=May 14, 2010 |url-status=dead |archive-url=https://web.archive.org/web/20130629055303/http://www.spinner.com/2010/05/14/john-fogerty-creedence-clearwater-revival/ |archive-date=June 29, 2013}}</ref> For their work with this band, Tom took on the name "Rann Wild", and John became "Toby Green". Both sides of each of the group's first six singles (issued between 1964 and 1966) were credited to the writing team of Wild/Green.  

In 1966, John Fogerty and Doug Clifford were [[Conscription in the United States|drafted into the U.S. armed forces]]; Fogerty joined the [[United States Army Reserve|U.S. Army Reserve]], while Clifford joined the [[United States Coast Guard Reserve|U.S. Coast Guard Reserve]]. Speaking of his experience in the [[US Army]], Fogerty has said: "I would become delirious and go into a trance. And I started narrating this story to myself, which was the song '[[Creedence Clearwater Revival (album)|Porterville]]'."<ref>{{cite web |last1=Lynskey |first1=Dorian |title=John Fogerty: 'I had rules. I wasn't embarrassed that I was ambitious' |url=https://www.theguardian.com/music/2013/may/29/john-fogerty-creedence-clearwater-interview |work=The Guardian |date=May 29, 2013 |access-date=July 18, 2019}}</ref> John Fogerty eventually took control of the group by singing lead vocals and blossoming into a multi-instrumentalist who played keyboards, harmonica, and saxophone in addition to lead guitar. By 1967, he was [[Record producer|producing]] the group's recordings, although without credit. The group's final single, "Porterville", failed to chart (like every other Golliwogs recording), but the exact same recording was very shortly thereafter issued as a track by Creedence Clearwater Revival on that group's first album.

===Name change to Creedence Clearwater Revival (1968–1969)===
In 1967, [[Saul Zaentz]] bought Fantasy Records and offered the band a chance to record an album. Having hated the name "the Golliwogs" from day one, the band decided on their own name, Creedence Clearwater Revival (CCR), which they took in January 1968.<ref name=pc54>{{Gilliland |url=https://digital.library.unt.edu/ark:/67531/metadc19837/m1/ |title=Show 54 - Hail, Hail, Rock 'N' Roll: Getting back to rock's funky, essential essence. [Part 3]}}</ref> According to interviews with the band members 20 years later, the name's elements came from three sources: Tom Fogerty's friend Credence Newball, whose name they changed to form the word ''Creedence'' (as in [[creed]]); a television commercial for [[Olympia Brewing Company]] ("clear water"); and the four members' renewed commitment to their band.<ref>{{Cite web|url=http://timesmachine.nytimes.comhttp//arch-timesmachine-fe-prd-40741-2-575473780.us-east-1.elb.amazonaws.com/timesmachine/1995/10/15/060380.html?pageNumber=236|title=MUSIC MUSIC;The Rolling, Uh, Pebbles?|access-date=June 19, 2023|website=Timesmachine.nytimes.com}}{{Dead link|date=December 2024 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Rejected contenders for the band's name included "Muddy Rabbit", "[[Gossamer Wump]]", and "Creedence Nuball and the Ruby"; the last was the starting point, though, from which the band derived their final name. Cook described the name as "weirder than [[Buffalo Springfield]] or [[Jefferson Airplane]]".<ref name="isbn"/> In early 1968, the band began appearing regularly at local [[San Francisco]]-area clubs and venues, including [[Deno and Carlo's]], the [[Avalon Ballroom]], and the [[Fillmore West]]. Later that year, the band began touring across the US and made their first appearances in New York City at the [[Fillmore East]].

By 1968, [[AM radio]] programmers around the U.S. took note when CCR's [[cover version|cover]] of the 1956 [[rockabilly]] song<ref name=pc54/> "[[Susie Q (song)|Susie Q]]" received substantial airplay in the [[San Francisco Bay area]] and on [[Chicago]]'s [[WLS (AM)|WLS-AM]].<ref>{{cite web|url=http://www.oldiesloon.com/il/wls101468.htm|title= WLS890 Hit Parade|work=Mike Gallant|date=1968-10-14|access-date=2020-03-07}}</ref> It was the band's second single, its first to reach the [[top 40]] (number 11), and its only top-40 hit not written by John Fogerty. Two other singles were released from their May 1968 debut self-titled album, a cover of [[Screamin' Jay Hawkins]]'s "[[I Put a Spell on You]]" (number 58) and "Porterville" (released on the Scorpio label with writing credited to "T. Spicebush Swallowtail"), written during Fogerty's time in the Army Reserve.

=== Peak success: 1969–1970 ===
[[File:Creedence Clearwater Revival performing on stage at the Forum.jpg|thumb|CCR in concert in [[Inglewood, California]], December 1969]]
After their breakthrough, CCR began touring and started work on their second album, ''[[Bayou Country (album)|Bayou Country]]'' (released January 1969), at [[RCA]] Studios in Los Angeles. A number-seven platinum hit, the record was their first in a string of hit albums and singles that continued uninterrupted for two years. The single "[[Proud Mary]]", backed with "[[Born on the Bayou]]", reached number two on the national ''[[Billboard magazine|Billboard]]'' chart. The former eventually became the group's most-covered song, with some 100 versions by other artists to date, including the number-four 1971 hit by [[Ike & Tina Turner]], two years to the week after the original peaked. John cites this song as being the result of high spirits on gaining his discharge from the Army Reserve.<ref name=pc54/> The album also featured a cover of the rock and roll classic "[[Good Golly, Miss Molly]]"<ref name=pc54/> and the band's nine-minute live-show closer, "Keep On Chooglin{{'"}}.

Months later, during April 1969, "[[Bad Moon Rising (song)|Bad Moon Rising]]" backed with "[[Lodi (Creedence Clearwater Revival song)|Lodi]]", was released and peaked at number two in the US. In the United Kingdom, "Bad Moon Rising" spent three weeks at number one on the [[UK Singles Chart]] during September and October 1969, becoming the band's only number-one single in the UK.<ref>{{cite web|url=https://www.popexpresso.com/2018/09/19/creedence-clearwater-revival-scored-their-only-u-k-no-1-single-with-bad-moon-rising|title = Creedence Clearwater Revival scored their only U.K. No 1 single with "Bad Moon Rising|work = Pop Expresso| date=September 18, 2023 }}</ref> The band's third album, ''[[Green River (album)|Green River]]'', followed in August 1969, was their first album to top the ''Billboard'' 200, and went gold along with the single "[[Green River (song)|Green River]]", which again reached number two on the ''Billboard'' charts. The B-side of "Green River", "[[Commotion (song)|Commotion]]", peaked at number&nbsp;30, and the band's emphasis on covers of their old favorites continued with "[[Night Time Is the Right Time]]". 

CCR continued to tour constantly with performances in July 1969 at the [[Atlanta International Pop Festival (1969)|Atlanta Pop Festival]] and in August 1969 at the [[Woodstock Festival]]. At Woodstock, the band took the stage in the early morning, hours after their scheduled start time. They followed the [[Grateful Dead]], whom John said had put the audience to sleep; as he scanned the audience, he saw a "[[Dante's Inferno|Dante]] scene, just bodies from hell, all intertwined and asleep, covered with mud".<ref name="isbn">{{cite book |url=https://books.google.com/books?id=zDDKxvnPy7cC&pg=PA64 |title=Bad Moon Rising: The Unauthorized History of Creedence Clearwater Revival |author=Hank Bordowitz |publisher=Chicago Review Press, Incorporated |location=Chicago, Illinois |year=2007 |page=64 |isbn=978-1-55652-661-9 |access-date=August 27, 2011}}</ref> In addition to the low-energy crowd, the band also experienced issues with their equipment and lighting, resulting in John vetoing their inclusion in the [[Woodstock (film)|Woodstock film]] or soundtrack.{{sfn|Fogerty|McDonough|2015|p=259–260}} Cook, however, praised their set, saying, "The performances are classic CCR and I'm still amazed by the number of people who don't even know we were one of the headliners at Woodstock '69."<ref name="Woodstock quote">{{cite book|url= https://books.google.com/books?id=zDDKxvnPy7cC&q=I%27m+still+amazed+by+the+number+of+people+who+don%27t+even+know+we+were+one+of+the+headliners+at+Woodstock+%2769&pg=PA65|title=The Unauthorized History of Creedence Clearwater Revival Page 65|author=Hank Bordowitz|publisher= Chicago Review Press, Incorporated|location=Chicago, Illinois|year=2007|page=65|isbn=978-1-55652-661-9|access-date=August 16, 2014}}</ref> 

{{Blockquote|Creedence Clearwater Revival ... were progressive and anachronistic at the same time. An unapologetic throwback to the golden era of rock and roll, they broke ranks with their peers on the progressive, psychedelic San Francisco scene. Their approach was basic and uncompromising, holding true to the band members' working-class origins. The term "roots rock" had not yet been invented when Creedence came along, but in essence, they defined it, drawing inspiration from the likes of [[Little Richard]], [[Hank Williams]], [[Elvis Presley]], [[Chuck Berry]], and the artisans of soul at [[Motown]] and [[Stax Records|Stax]]. In so doing, Creedence Clearwater Revival became the standard bearers and foremost celebrants of homegrown American music.
|source = [[Rock and Roll Hall of Fame]]<ref name="rockhall.com"/>
}}

After Woodstock, CCR was busy honing material for a fourth album, ''[[Willy and the Poor Boys]]'', their second top-three LP, released in November 1969. "[[Down on the Corner]]" and "[[Fortunate Son]]", both of which they performed on ''[[The Ed Sullivan Show]]'' on November 16, 1969,<ref>{{cite web|url=http://www.tv.com/the-ed-sullivan-show/creedence-clearwater-revival---jerry-lee-lewis/episode/106884/summary.html|title=The Ed Sullivan Show: Creedence Clearwater Revival / Jerry Lee Lewis|publisher=TV.com|access-date=May 8, 2009|archive-date=June 4, 2011|archive-url=https://web.archive.org/web/20110604114924/http://www.tv.com/the-ed-sullivan-show/creedence-clearwater-revival---jerry-lee-lewis/episode/106884/summary.html|url-status=dead}}</ref> climbed to number three and number&nbsp;14, respectively, by year's end. The album was CCR in standard mode, featuring Fogerty originals and two reworked [[Lead Belly]] covers, "[[Cotton Fields]]" and "[[Midnight Special (song)|Midnight Special]]". The year 1969 had been remarkable for the band - three top-10 albums, four hit singles (three charting at number two and one at number three) with three additional charting [[B-side]]s.

CCR released another double A-side hit, "[[Travelin' Band]]"/"[[Who'll Stop the Rain (song)|Who'll Stop the Rain]]", in January 1970. The speedy "Travelin' Band", with a strong Little Richard sound, however, bore enough similarities to "Good Golly, Miss Molly" to warrant a lawsuit by the song's publisher; it was eventually [[Settlement (litigation)|settled]] out of court.<ref>{{cite web |url=http://www.thisdayinrock.com/index.php/general/1971-john-fogerty-is-sued-by-the-owners-of-specialty-records-their-suit-accuses/ |title=Rock History - 1971 – John Fogerty is sued by the owners of Specialty Records. |publisher=Thisdayinrock.com |date=October 14, 1971 |access-date=October 24, 2013 |archive-date=October 16, 2013 |archive-url=https://web.archive.org/web/20131016232331/http://www.thisdayinrock.com/index.php/general/1971-john-fogerty-is-sued-by-the-owners-of-specialty-records-their-suit-accuses/ |url-status=usurped }}</ref> The song ultimately topped out at number two. The band also recorded its January 31, 1970, live performance at the [[Oakland Coliseum Arena]], which was later marketed as a live album and television special. In February, CCR was featured on the cover of ''[[Rolling Stone]]'', although only John was interviewed in the accompanying article.<ref>{{cite magazine|url=https://www.rollingstone.com/artists/creedenceclearwaterrevival/photos/collection/photo/1 |title=Creedence Clearwater Revival Photo Gallery : Rolling Stone |magazine=Rolling Stone |date=February 21, 1970 |access-date=May 8, 2009 |url-status=dead |archive-url=https://web.archive.org/web/20090412090626/http://www.rollingstone.com/artists/creedenceclearwaterrevival/photos/collection/photo/1 |archive-date=April 12, 2009}}</ref>

In April 1970, CCR was set to begin their first European tour. To support the upcoming live dates, John wrote "[[Up Around the Bend]]" and "[[Run Through the Jungle]]"; the single reached number four that spring. The band returned to [[Wally Heider Studios]] in San Francisco in June to record ''[[Cosmo's Factory]]''. The album contained the earlier top-10 hits "Travelin' Band" and "Up Around the Bend", plus popular album tracks such as the opener "Ramble Tamble".

''Cosmo's Factory'' was released in July 1970, and it was number one in the US for nine weeks. It was released along with the band's fifth and final number-two national hit, "[[Lookin' Out My Back Door]]"/"[[Long as I Can See the Light]]". Although they topped some international charts and local radio countdowns, CCR has the distinction of having had five number-two singles without ever having had a number one on the [[Hot 100]], the most of any group.<ref>{{cite web|url=http://www.billboard.com/specials/hot100/charts/most-no2s-wo1s.shtml |title=Most No.&nbsp;2 Hits Without Reaching No.&nbsp;1 By Artist |work=[[Billboard Magazine]] |format=PHP |url-status=dead |archive-url=https://web.archive.org/web/20121228031342/http://www.billboard.com/specials/hot100/charts/most-no2s-wo1s.shtml |archive-date=December 28, 2012}}</ref> Their five number-two singles [[Billboard Hot 100 chart achievements and milestones#Most number-two singles|were exceeded]] only by [[Madonna (entertainer)|Madonna]] (six), [[Taylor Swift]] (seven), and [[Drake (musician)|Drake]] (nine), and tied with [[Elvis Presley]] and [[the Carpenters]]. Conversely, on station WLS-AM, the band had three number ones, four number threes, and two number fours, but no number-two singles, with "Down on the Corner" the only top-10 CCR single registering the same peak position (number three) on the Hot 100 and on WLS.<ref>{{cite web|url=http://www.oldiesloon.com/il/wlsyear.htm|title=WLS Year Index|publisher=Oldiesloon|date=1969–1971|access-date=December 26, 2011}}</ref>

Other cuts on the ''Cosmo's Factory'' album included an 11-minute jam of [[Marvin Gaye]]’s 1968 cover of "[[I Heard It Through the Grapevine]]" (a minor hit when an edited version was released as a single in 1976), and a nearly note-for-note'' homage'' to [[Roy Orbison]]'s "Ooby Dooby". The album was their biggest seller, going to number one on the ''Billboard'' 200 album charts and number&nbsp;11 on ''Billboard'' Soul Albums chart.

''[[Pendulum (Creedence Clearwater Revival album)|Pendulum]]'', released in December 1970, was another top seller, spawning a top-10 hit with "[[Have You Ever Seen the Rain?]]" John played the [[Hammond organ|Hammond B3 organ]] on many of the ''Pendulum'' tracks, notably in "Have You Ever Seen the Rain?", in recognition of the deep respect and influence of [[Booker T. & the M.G.'s]], with whom the members of the band had jammed. The single's flip side, "Hey Tonight", was also a hit.

=== Tom Fogerty's departure, discord, and breakup: 1971–1972 ===
{{more sources needed section|date=January 2025}}
[[File:Creedence Clearwater Revival - Sweet Hitch-Hiker (1971).jpg|thumb|Trade advertisement for the release of CCR's single "[[Sweet Hitch-Hiker]]" in July 1971]]
[[File:Creedence Clearwater Revival.jpg|thumb|CCR in 1972 after Tom Fogerty's departure; John Fogerty, Stu Cook, Doug Clifford]]

Around this time, an overwhelming perception among the other band members that John was being overly controlling and domineering was approaching a boiling point.{{sfn|Fogerty|McDonough|2015}}{{page needed|date=January 2025}} Tom Fogerty decided he had enough and resigned from CCR in early 1971 after the recording of ''Pendulum'', with his departure being made public in February of that year. The remaining members initially considered replacing him, but ultimately continued as a trio.

In the spring of 1971, John Fogerty, frustrated with his remaining bandmates' constant complaining that they were not allowed to write and produce their own songs,{{sfn|Fogerty|McDonough|2015}}{{page needed|date=January 2025}} relented and informed Cook and Clifford that CCR would continue only by adopting a "democratic" approach; each member would now write and perform his own material with each band member contributing three songs apiece to the next album. Fogerty would only contribute guitar parts to his bandmates' songs.{{sfn|Fogerty|McDonough|2015}}{{page needed|date=January 2025}}

Conflicting views exist regarding Cook and Clifford's reaction to this proposed new arrangement, although everyone seemed to acknowledge that Cook and Clifford had wanted more input in CCR's artistic and business decisions. For his part, Fogerty recounts that Cook and Clifford were initially excited about this new opportunity to write and perform their own songs free of his meddling, since they had been the ones who asked for it in the first place, and they only soured on the concept after the record's lack of success (Fogerty also mentions a time while recording the album when he refused Cook's request to "fix" one of his (Cook's) songs to make it sound more like other Creedence material, which may have also played a role in the band members' attitudes toward the project).{{sfn|Fogerty|McDonough|2015|page=225}} However, other sources imply that Cook and Clifford were resistant to this approach from the start.<ref>{{cite web |url=https://eu.azcentral.com/story/entertainment/music/2015/07/07/doug-clifford-ccr-john-fogerty/29792885/ |title= Interview: Doug Clifford on CCR and John Fogerty |website= azcentral |access-date= February 13, 2022}}</ref> Allegedly, Fogerty at one point insisted they accept the arrangement or he would quit the band.<ref>{{cite web |title=Creedence Clearwater Revival – the full story, by John Fogerty, Stu Cook and Doug Clifford |url=https://www.uncut.co.uk/features/creedence-clearwater-revival-the-full-story-by-john-fogerty-stu-cook-and-doug-clifford-6563/ |website=UNCUT |access-date=25 December 2023 |date=18 July 2014}}</ref> Despite the conflict, the trio put its new work ethic to the test in the studio, releasing the top-10 single "[[Sweet Hitch-Hiker]]" in July 1971, backed with Cook's "Door to Door". The band toured both the U.S. and Europe that summer and fall with Cook's song a part of the live set. In spite of their continuing commercial success, relations among the three had become increasingly strained.

The band's final album, ''[[Mardi Gras (album)|Mardi Gras]]'', was released in April 1972, featuring songs written by John Fogerty, Cook, and Clifford, as well as a cover of "[[Hello Mary Lou]]" (a song [[Gene Pitney]] had originally written for [[Ricky Nelson]]). Each member sang lead vocal on the songs written by that member. The album was a critical failure, considered by critics to be of inconsistent quality and lacking in cohesion. ''Rolling Stone'' reviewer [[Jon Landau]] deemed it "relative to a group's established level of performance, the worst album I have ever heard from a major rock band".<ref name="landau-review">{{cite magazine |url=https://www.rollingstone.com/music/albumreviews/mardi-gras-19760526 |title=Creedence Clearwater Revival: ''Mardi Gras'': Music Reviews: Rolling Stone |magazine=Rolling Stone |date=May 25, 1972|access-date=May 8, 2009}}</ref> The sales of ''Mardi Gras'' were weaker than previous albums, ultimately peaking at number&nbsp;12, though it still became the band's seventh consecutive studio album to be certified gold. Fogerty's "[[Someday Never Comes]]", backed with Clifford's "Tearin' Up the Country", also cracked the U.S. top 40.

By this point, Fogerty was not only at direct odds with his bandmates, but he also had come to see the group's relationship with Fantasy Records as onerous, feeling that Zaentz had reneged on his promise to give the band a better contract. Cook&mdash;who held a degree in business&mdash;claimed that because of poor judgment on Fogerty's part, CCR had to abide by the worst record deal of any major U.S. recording artist. Despite the relatively poor reception of ''Mardi Gras'' and deteriorated relationships among the remaining band members, CCR embarked upon a two-month, 20-date U.S. tour. However, on October 16, 1972—less than six months after the tour ended—Fantasy Records and the band officially announced its disbanding.<ref>{{cite book|url=https://archive.org/details/bub_gb_7A4EAAAAMBAJ|page=[https://archive.org/details/bub_gb_7A4EAAAAMBAJ/page/n62 16]|quote=creedence splits.|title=Billboard –|via=[[Internet Archive]]|date=October 28, 1972|publisher=Nielsen Business Media|access-date=August 30, 2010}}</ref> CCR never formally reunited after the breakup, although Cook and Clifford eventually started the band [[Creedence Clearwater Revisited]]. John Fogerty later commented on the demise of CCR in a 1997 edition of the [[Sweden|Swedish]] magazine ''Pop'':

{{blockquote|I was alone when I made that [CCR] music. I was alone when I made the arrangements, I was alone when I added background vocals, guitars, and some other stuff. I was alone when I produced and mixed the albums. The other guys showed up only for rehearsals and the days we made the actual recordings. For me, Creedence was like sitting on a time bomb. We'd had decent successes with our cover of "Susie Q" and with [[Creedence Clearwater Revival (album)|the first album]], when we went into the studio to cut "Proud Mary". It was the first time we were in a real Hollywood studio, RCA's Los Angeles studio, and the problems started immediately. The other guys in the band insisted on writing songs for the new album, they had opinions on the arrangements, they wanted to sing. They went as far as adding background vocals to "Proud Mary", and it sounded awful. They used [[tambourine]]s, and it sounded no better.

That's when I understood I had a choice to make. At that point in time, we were just a one-hit wonder, and "Susie Q" hadn't really been that big a hit. Either this [the new album] would be a success, something really big, or we might as well start working at the car wash again. There was a big row. We went to an Italian restaurant and I remember that I very clearly told the others that I for one didn't want to go back to the car wash again. Now, we had to make the best possible album and it wasn't important who did what, as long as the result was the very best we could achieve. And of course I was the one who should do it. I don't think the others really understood what I meant, but at least I could manage the situation the way I wanted. The result was eight million-selling, double-sided singles in a row and six albums, [which] all went platinum. And ''[[Melody Maker]]'' had us as the best band in the world. That was after [[break-up of the Beatles|the Beatles split]], but still. ... And I was the one who had created all this. Despite that, I don't think they understood what I was talking about. ... They were obsessed with the idea of more control and more influence. So finally, the bomb exploded, and we never worked together again.<ref name="1997-98Interviews">{{cite web|url=http://riverising.tripod.com/john-bluemoonswamp/bmsinterviews.html?stop_mobi=yes|title=Blue Moon Swamp Interview|work=POP |year=1997|access-date=May 23, 2012}}</ref>|author=|title=|source=}}