Creedence Clearwater Revival
Recently I’ve been listening to the folk-tinged rock music of Creedence Clearwater Revival, on the one hand, and the rock-tinged folk music of Pesnyary on the other. Creedence were a Bay Area band who emerged out of, and came to exemplify, a certain strand within the sixties counterculture—though they usually composed lyrics about, and were influenced by the folk culture of—Greater Appalachia, the Bayou, the American South generally. Pesnyary, by contrast, were a Soviet state-sponsored VIA (vokal’no-instrumental’nyi ansambl’, literally ‘vocal-instrumental ensemble’) who played acid-rock and progressive-rock arrangements of traditional folk songs as well as their own compositions. They were also one of the very few Soviet bands to actually tour in America—specifically in the American South. Creedence had split up by 1972; Pesnyary were then just getting started: officially, there are two bands calling themselves Pesnyary now and four or five others borrowing the name without licence, but most people agree that Pesnyary’s classic period ended in 2003 with founding member Vladimir Mulyavin’s death. Despite their very different origins and ‘stances’—the lyrical and thematic difference between ‘Proud Mary’ and ‘Ave Maria’, as it were—I’m finding I’m enjoying them for very similar reasons.
One of the reasons I find both of these bands so enjoyable to listen to, is because they invest these deceptively simple melodies and chord progressions (these are rock groups, after all) with a great deal of dynamic and emotional depth. Creedence Clearwater Revival build on a basis of swamp blues—the harmonica was there from early on—and diverge from there in various directions, adding more and more rock instrumentation, as well as elements like Hammond organ. By the end of their career, as one can hear on songs like ‘Sweet Hitch-Hiker’, they were veering very close to hard rock or even proto-metal. CCR’s tunes are catchy, instantly-recognisable, iconic: ‘Suzie Q’, ‘Down on the Corner’, ‘Fortunate Son’, ‘Have You Ever Seen the Rain?’, ‘Lookin’ Out My Back Door’.
As important as Creedence Clearwater Revival are for a certain generation of Americans, I’d say that the Pesnyary are equally as important for a certain generation of people from the former Soviet Union. The Belarusian group, led by Vladimir Mulyavin, took its influences both from Western rock music (particularly the Beatles) and from traditional White Russian folk melodies. Pesnyary songs blend guitar melodies, drums, keyboards and even saxophones with traditional folk instruments (wooden whistles, fiddles, flutes, accordions, hurdy-gurdies) in a unique way. The VIA was signed to the state-owned label Melodiya in the Soviet Union (the only real game in town, as it were), and their albums sold millions of copies. Their unique approach to making accessible music with depth and feeling—with hits including ‘Aleksandrina’ and ‘Belovezhskaya Pushcha’—and Mulyavin’s ability to seek out and recruit talented multi-instrumentalists and singers, made the Pesnyary very literal rock stars in the Soviet Union.
John Fogerty and Leonid Bortkevich are, obviously, two very different vocalists—but even here there are some interesting similarities. Fogerty gives a very nasal delivery, with occasionally having a hoarse or a hard edge to his tenor melodies. There’s definitely a ‘country’ or ‘Southern’ inflection to this delivery, but it’s easy to hear the lasting influence on rock—even hard rock and heavy metal—that Fogerty’s voice had. Leonid Bortkevich was a much more traditional tenor: clean-toned, pectoral delivery, like a classically-trained singer. On the surface, he sounds much more like John Denver than John Fogerty. But Bortkevich deploys some interesting flourishes in his singing—a breath’s delayed approach to the note, a glide or a back-throat catch, that can make his vocals sound grittier, or ‘folksier’ (a good example of this being ‘Do Tret’ih Petruhov’).
It’s a bit strange. I’ve explored a lot of the musical differences between the two bands here. If we take account of their analogical positions within their respective cultures, the countercultural and ‘oppositional’ political nature of CCR’s music (‘Fortunate Son’, ‘Effigy’) more closely aligns with the career of the alternative rock / new wave band Kino headed by Viktor Tsoi. Pesnyary, meanwhile, despite the influence they took from the Beatles, probably more closely aligns with the folk-revival artists like Lead Belly, Woody Guthrie, Pete Seeger, Burl Ives and so on than with the later tail of the folk-rock trend in American music to which Creedence belongs. But somehow it seems more natural to my ear to connect these two bands. Both of them evince a vitality and a creativity that tends in a similar direction. Both CCR and Pesnyary seek their inspiration in the deep roots of their respective countries—not without a critical eye in each case—and both draw them out to infuse them with the sounds of their contemporaries. Certainly both bands are worth listening to and appreciating.
Pesnyary
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