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Stu Cook


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Is this guy the real deal, or what?


I've recently gotten out an old CCR compilation, which I really hadn't listened to since college, and listening now as a bass player I'm really impressed with what this guy does.


There are no killer riffs or monster licks. But if you ever threw a "killer riff" under what John Fogerty & the others are doing, you'd just kill the song. This guy serves up EXACTLY what the song needs, every time, & keeps you smiling. And THAT, imo, is a great bass player.


Right now, I'm listening to their version of "I Heard It Through the Grapevine," and I love how he can combine the funkiness of Jamerson's approach on the original (Gaye) version, with the straight-ahead roots rock of CCR. Nailing that feel is trickier than it sounds. Good on ya, Stu!


Can I get a witness?

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Amen bother!


Graveyard Train. The most incredibly simple yet indespinsible part of that song is that compilation of 4 notes. I can play that for the 8+ minutes of that song and never get bored because it is what keeps it all together. That is what the Bass is all about.

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John was, and still is, a serious control freak. After CCR he produced several albums with himself as the entire band (try the Blue Ridge Rangers). Amazing what you can do with multi-track recording. He wouldn't even let his old band use the name Creedence Clearwater Revisited because they would be playing HIS music. I believe he did cave in to that recently, though. Nevertheless, John is an incredible-if not somewhat tempramental--artist and I have loved his music since day one. He may have told his band what to play, but the feeling, rhythm and soul is all there.
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Yes, that John exercised a very high level of control over CCR comes as no surprise at all.


John may have told Stu (& Doug & Tom) what to play, but John didn't play it. The execution--the heart--is coming from Stu. And it would come as a HUGE surprise if all of Stu's jams & improvs on songs like "Grapevine" were written out for him, by John or anyone. That I simply won't believe (and even if they were, he sure put a lot of booty in them). But of course that's where his unique, personal contribution to all their music is revealed.

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I think 'Grapevine' is abit atypical as far as letting Stu & Doug loosen up a little bit. Again, I'm not trying to take anything away from these guys. I thought they swung pretty good. Here's an interview with Fogerty that'll give a little insight to what went on with CCR:



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Sorry dcr, for me the jury is still out (not that I have the right to criticize another player).


The problem is that too many of those lines needed help - I don't subscribe to the idea that every CCR song stood best with a simple bass part. I also think some of the songs needed "more" ("Keep On Chooglin" comes to mind).


My impression of the band and it's work is that the songs fall into 3 types:


1. Boring (see above example, as well as items like "Midnight Special"). I could take a few of these (maybe boring is too strong a term), but there were too many.


2. Cool - Fortunate Son, Lodi, Green River, etc. are tunes I enjoy listening (and when possible, playing).


3. Great - Most of these are covers (though I like Who'll Stop The Rain). Grapevine, Suzi Q, and I Put A Spell On You had the best arrangements, playing, and feel.


Stu played on all of these, so my love of some of the songs means the dude can play. But I get sick listening to some of the boring parts. If that wasn't Stu's fault (as I said - I don't know), then maybe he's better than I tend to think of him.




Acoustic Color


Be practical as well as generous in your ideals. Keep your eyes on the stars and keep your feet on the ground. - Theodore Roosevelt

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