Look up lodi in Wiktionary, the free dictionary.

Lodi (pronounced LOW-dee or LOW-die) may refer to:

Places[link]

In Canada:

• Lodi, Ontario, a community in North Stormont, Ontario

In Italy:

• Lodi, Lombardy, in the Province of Lodi of the Lombardy region
  • The Treaty of Lodi, 1454 between Italian city-states
  • The Battle of Lodi, 1796 in Lodi
• Lodi Vecchio, an Italian commune of the Lombardy region

In the United States:

• Lodi, Arkansas
• Lodi, California
  • Lodi AVA, California wine region
  • Lodi Academy, a school in Lodi, California
• Lodi, Illinois (disambiguation), various places
• Lodi, Indiana
• Lodi, Michigan (disambiguation), various places
• Lodi, Missouri
• Lodi, New Jersey
• Lodi (village), New York
• Lodi (town), New York
• Lodi, Ohio
• Lodi, Texas
• Lodi, Virginia
• Lodi, Wisconsin
• Lodi (town), Wisconsin
• Lodi Township, Athens County, Ohio
• Lodi Township, Michigan
• Lodi Township, Minnesota
• Lodi Township, New Jersey

Music[link]

• "Lodi" (Creedence Clearwater Revival song), a track from the 1969 album Green River
• "Lodi" (Veer-Zaara song), a song from the Bollywood film Veer-Zaara, directed by Yash Chopra
• Lodi Dodi, a Mozambican rapper

Other uses[link]

• Lodi (apple), a variety of apple
• Lodi (ship), a type of Estonian barge or sailing ship
• Lodi (wrestler), in-ring name of professional wrestler Brad Cain
• Lodi, another name for the annual Lohri festival in Northern India
• Lodi dynasty, a Ghilzai Afghan dynasty from 1451 to 1526
• Lodi Gardens, a park in New Delhi, India
• Lodi Road, a street in New Delhi, India
• Lodi (Pashtun), a Batani Pashtun (Ghilzai) tribe mainly found in Afghanistan and Pakistan
• Lodhi, an agricultural caste in India

See also[link]

• Lodhi (disambiguation)
• Lodi High School (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Creedence Clearwater Revival
Creedence Clearwater Revival, 1968. L-R: Tom Fogerty, Doug Clifford, Stu Cook, and John Fogerty
Background information
Origin	El Cerrito, California
Genres	Roots rock, country rock, blues rock, swamp rock, Southern rock, rock and roll
Years active	1967–1972
Labels	Fantasy
Associated acts	The Blue Velvets, The Golliwogs, Creedence Clearwater Revisited
Website	www.creedence-online.net
Past members
John Fogerty Stu Cook Doug Clifford Tom Fogerty

Creedence Clearwater Revival (sometimes shortened to Creedence or CCR) was an American rock band that gained popularity in the late 1960s and early 1970s with a number of successful singles drawn from various albums.

The band consisted of lead vocalist, lead guitarist, and primary songwriter John Fogerty, his brother and rhythm guitarist Tom Fogerty, bassist Stu Cook, and drummer Doug Clifford. Their musical style encompassed country rock and swamp rock genres. Despite their San Francisco Bay Area origins, they positioned themselves as Southern rock stylists, singing about bayous, the Mississippi River, catfish, and other popular elements of Southern iconography.

Creedence Clearwater Revival's music is still a staple of American and worldwide radio airplay^[1] and often figures in various media. The band has sold 26 million albums in the United States alone.^[2] Creedence Clearwater Revival was inducted into the Rock and Roll Hall of Fame in 1993.^[3] They were ranked at 82 on Rolling Stone's 100 greatest artists of all time.^[4]

History[link]

Before Creedence: 1959–1967[link]

John Fogerty, Doug Clifford, and Stu Cook (all born 1945) met at Portola Junior High School in El Cerrito, California and began playing instrumentals and "juke box standards" together under the name The Blue Velvets.^[5] The trio also backed singer Tom Fogerty— John Fogerty's older brother by three years—at live gigs and in the recording studio. By 1964, the band had signed to Fantasy Records, an independent jazz label based in San Francisco at the time. Fantasy had released Cast Your Fate to the Wind, a national hit for jazz pianist Vince Guaraldi. The record's success was the subject of a National Educational Television TV special, which prompted budding songwriter John Fogerty to contact the label.^[6] For the band's first release, however, Fantasy co-owner Max Weiss renamed the group the Golliwogs (after the children's literary character, Golliwogg), apparently to cash in on a wave of popular British bands with similar names.^{[citation needed]}

During this period, band roles underwent some changes. Stu Cook had gone from piano to bass guitar and Tom Fogerty became the band's rhythm guitarist. John Fogerty also began to write much of the band's material. Most notably, the young guitarist had taken over lead vocal duty. As Tom Fogerty would later say, "I could sing, but John had a sound!"^{[citation needed]}

Early success: 1967–68[link]

The group had suffered a setback in 1966 when the draft board called up John Fogerty and Doug Clifford for military service. Fogerty managed to enlist in the Army Reserve instead of the regular Army while Clifford did a tenure in the United States Coast Guard Reserve.

In 1967, Saul Zaentz purchased Fantasy Records from Weiss and offered the band a chance to record a full-length album, but only if the group changed its name. Never having liked The Golliwogs, the foursome readily agreed. Zaentz and the band agreed to come up with ten suggestions each, but he enthusiastically agreed to their first: Creedence Clearwater Revival. The band took the three elements from, firstly, Tom Fogerty's friend Credence Newball, (to whose first name Credence they added an extra 'e', making it resemble a faith or creed); secondly, "clear water" from a TV commercial for Olympia beer; and finally "revival", which spoke to the four members' renewed commitment to their band. Rejected contenders for the band's name included 'Muddy Rabbit', 'Gossamer Wump', and 'Creedence Nuball and the Ruby', but the last was the start that led to their finalized name.^[7]

By 1968, Fogerty and Clifford had been discharged from military service. All four members subsequently quit their jobs and began a heavy schedule of rehearsing and playing area clubs full-time.^{[citation needed]} AM radio programmers around the United States took note when a song from the LP, "Suzie Q", received substantial airplay in the San Francisco Bay Area as well as on Chicago's WLS.^{[citation needed]} A remake of a 1956 song by rockabilly singer Dale Hawkins, "Suzie Q" was the band's second single, and its first to crack the Top 40. Reaching #11 nationally, it would be Creedence's only Top 40 hit not written by John Fogerty. Two other singles from the debut were released: a cover of Screamin' Jay Hawkins' "I Put a Spell On You" (which made it to #58) and "Porterville" (released on the Scorpio label with writing credited to "T. Spicebush Swallowtail"), written during John Fogerty's Army Reserve stint.

Peak success: 1969–70[link]

With a string of live dates around the country to capitalize on their breakthrough, Creedence Clearwater Revival was also hard at work on their second album Bayou Country at RCA Studios in Los Angeles. Released in January 1969 and becoming a #7 platinum hit, the record was the first in a string of hit albums and singles which continued uninterrupted for the next three years.

Bayou Country's seven songs were well-honed from Creedence's constant live playing.^{[says who?]} The album showed a distinct evolution in approach, much more simple and direct than the band's first release.^{[says who?]} The single "Proud Mary," backed with "Born on the Bayou," went to Number 2 on the national Billboard chart. The former would eventually become the group's most-covered song, with some 100 cover versions by other artists to date, including a hit version in 1971 by Ike and Tina Turner. Bob Dylan named it his favorite single of 1969^{[citation needed]}. John Fogerty cites this song as being the result of high spirits on gaining his discharge from the Army Reserve.^{[citation needed]} The album also featured a remake of the rock & roll classic "Good Golly Miss Molly" and the band's nine-minute live-show closer, "Keep On Chooglin'", the entire song has only one chord: E7.^{[citation needed]}

Only weeks later, in March 1969, "Bad Moon Rising" backed with "Lodi" was released and peaked at #2 on the charts. The band's third album, Green River, followed in August and went gold along with the single "Green River," which again reached #2 on the Billboard charts. The B-side of "Green River," "Commotion" peaked at #30. The bar-band story of "Lodi" became a popular staple on then-emerging FM radio.^{[citation needed]} The band's emphasis on remakes of their old favorites continued with "Night Time Is the Right Time," which found its way into the band's live set as a crowd sing-along.^{[says who?]}

In 1969, Harry Shearer interviewed Cook and John Fogerty for the Pop Chronicles radio documentary.^[8][9]

Creedence continued to tour heavily including performances at the Atlanta Pop Festival and Woodstock. Their set was not included in the Woodstock film or its original soundtrack because John Fogerty felt the band's performance was subpar. (Several tracks from the event were eventually included in the 1994 commemorative box set.) Stu Cook's view: "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."^{[citation needed]} The band complained that they had to take the stage at three in the morning because the Grateful Dead had jammed far past their scheduled set time, so by the time Creedence began playing many in the audience had gone to sleep.^[7]

After Woodstock, Creedence was busy honing material for a fourth album, Willy and the Poor Boys, released in November 1969. "Down on the Corner", a good-time street-corner number, and "Fortunate Son" climbed to #3 and #14, respectively, by year's end. The album was Creedence in its standard form, featuring Fogerty originals and two reworked Leadbelly covers, "Cotton Fields" and "Midnight Special". Both the latter songs also had been performed by actor Harry Dean Stanton in the movie Cool Hand Luke, suggesting a subtle non-conformist theme to an apparently tradition-oriented album.

1969 had been a remarkable chart year for the band: three Top Ten albums, four hit singles (charting at #2, #2, #2, and #3) with three additional charting B-sides. On November 16, 1969, they performed "Fortunate Son" and "Down on the Corner" on The Ed Sullivan Show.^[10]

Just after the new year, 1970, Creedence Clearwater Revival released yet another new double-sided 45, "Travelin' Band"/"Who'll Stop the Rain". John Fogerty has said that the flip side was inspired by the band's experience at Woodstock.^{[citation needed]} The speedy "Travelin' Band", however, bore enough similarities to "Good Golly, Miss Molly" to warrant a lawsuit by the song's publisher;^{[citation needed]} it was eventually settled out of court.^{[citation needed]} In the meantime, the single had topped out at #2. The band also recorded its January 31, 1970, live performance at the Oakland Coliseum Arena in Oakland, California, which would later be marketed as a live album and television special. In February, the Creedence foursome was featured on the cover of Rolling Stone, although only John Fogerty was interviewed in the accompanying article.^[11]

In April 1970, Creedence was set to begin its first European tour. To support the upcoming live dates, Fogerty wrote "Up Around the Bend," and "Run Through the Jungle". The single—written, recorded, and shipped in only a few days' time—went to #4 that spring, enjoying enthusiastic response from European live audiences and high commercial success in the U.S. and the rest of the world.^{[citation needed]}

The band returned to Wally Heider's San Francisco studio in June to record what many consider their finest album, Cosmo's Factory.^{[weasel words]} The title was an in-joke about their various rehearsal facilities and factory work ethic over the years.^{[citation needed]} (Drummer Doug Clifford's longtime nickname is "Cosmo," due to his keen interest in nature and all things cosmic.)^{[citation needed]} The album contained the earlier Top 10 hits "Travelin' Band" and "Up Around the Bend" plus highly popular album tracks such as the opener "Ramble Tamble".

Cosmo's was released in July 1970, along with the band's fifth and final #2 national hit, "Lookin' Out My Back Door"/"Long As I Can See the Light." Though they topped some international charts and local radio countdowns, Creedence Clearwater Revival never had a #1 Billboard Hot 100 hit. Their five #2 singles were exceeded only by Elvis Presley and Madonna with 6 each and tied with The Carpenters. The band has the odd distinction of having the most #2 singles on the Billboard charts without ever having had a #1.^[12] Curiously on WLS the band had three #1, four #3, two #4, but no #2, singles.^[13]

Other cuts on the "Cosmo's Factory" album included an eleven-minute jam of the 1967 and 1968 R&B hit "I Heard It Through The Grapevine" (which would become a minor hit when an edited version was released as a single in the 70s a few years after the group's breakup) and a nearly note-for-note homage to Roy Orbison's "Ooby Dooby." John Fogerty's musical range clearly had expanded.^{[says who?]} He now wove in slide guitar, keyboards, saxophones, tape effects, and layered vocal harmonies—and pushed himself vocally more than ever on "Long As I Can See the Light." The album, eleven songs in all, was Creedence's best seller and went straight to #1 on the Billboard 200 album charts and #11 on Billboard's Soul Albums chart.

Decline and breakup: late 1970–1972[link]

The Cosmo's Factory sessions had seen the stirrings of tensions within the foursome as the incessant touring and heavy recording schedules took their toll.^{[citation needed]} John Fogerty had taken control of the group in its business matters and its artistic output.^{[citation needed]} The situation began to grate on Tom Fogerty, Cook, and Clifford, who wanted more of a say in the band's workings.^{[citation needed]} Fogerty resisted, feeling that a 'democratic' process would threaten their success.^{[citation needed]} Other issues included Fogerty's decision at a 1970 Nebraska gig that the band would no longer give encores at its live shows.^{[citation needed]}

Pendulum, released in December 1970, was another top seller, spawning a Top 10 hit with "Have You Ever Seen the Rain?". The album marked yet another shift in the band's approach: a more minimal approach to production values, as opposed to the "wall of sound" style of the previous three albums.^{[says who?]} However, John Fogerty included Hammond B3 Organ on many of the Pendulum tracks, notably "Have You Ever Seen the Rain?"; a recognition of the deep respect and influence of Booker T and The MG's,^{[says who?]} with whom the members of the band had jammed. The single's flip side, "Hey Tonight," was also a hit.

But even continued musical innovation and success could not resolve the differences between John and Tom Fogerty.^{[says who?]} During the recording of Pendulum Tom Fogerty, who had already quit the band several times in disgust but was always talked into returning, left Creedence Clearwater Revival permanently.^{[citation needed]} His departure was made public in February 1971. The band members considered replacing Tom but never did. Tom Fogerty stated on an Australian TV broadcast that no new member could endure being in Creedence.

In spring 1971, John Fogerty informed a startled Cook and Clifford the band would continue only by adopting a 'democratic' approach: each member would now write and sing his own material. Fogerty also would contribute only rhythm guitar to his bandmates' songs. Cook and Clifford, who had wanted more of a voice in the band's music and business decisions, resisted this arrangement. Fogerty insisted they accept the new arrangement, or he would quit the band.

Despite the dissension, 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 Stu Cook's "Door to Door." The band toured both the U.S. and Europe that summer and autumn, with Cook's song a part of the live set. In spite of their continuing commercial success, however, relations among the three had become increasingly strained.

The band's final album, Mardi Gras, was released in April 1972, featuring songs written by Fogerty, Cook, and Clifford and a cover of "Hello Mary Lou" (a song Gene Pitney originally wrote for Ricky Nelson.) It received mostly poor, even savage reviews: Rolling Stone reviewer Jon Landau called it "the worst album I have ever heard from a major rock band".^[14]

The sales of Mardi Gras were weaker than those of the previous albums, though not a flop commercially. Mardi Gras peaked at #12, perhaps due more to the strength of the Creedence name than to the particular music on the record. This final release had the worst showings of any Creedence album and single since 1968. The 1971 hit single "Sweet Hitch-Hiker"/"Door to Door" was included on the album. Fogerty's "Someday Never Comes," backed with Clifford's "Tearin' Up the Country," also cracked the US Top 40. The album was also notable for featuring songs written by all three members of the band, with the writer also singing their song. Not surprisingly, the LP has a disjointed feel, with only those by Fogerty having the identifiable Creedence sound.

By this point, Fogerty was not only at direct odds with his bandmates, but he had also come to see the group's relationship with Fantasy Records as onerous, feeling that label owner Saul Zaentz had reneged on his promise to give the band a better contract. Cook — who holds a degree in business — claimed that because of poor judgment on Fogerty's part, Creedence Clearwater Revival had to abide by the worst record deal of any major American recording artist.

Despite the relatively poor reception of Mardi Gras and deteriorated relationships among the remaining band members, Creedence immediately 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 the disbanding of Creedence Clearwater Revival.^[15]

Creedence Clearwater Revival never formally reunited after the break-up, although Cook and Clifford eventually started the band Creedence Clearwater Revisited.

As for John Fogerty's thoughts on the band and its eventual demise, he told a Swedish magazine in 1997: "I was alone when I made that [Creedence] 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 'Suzie Q' and with 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 tambourines, 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 'Suzie 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, who all went platinum. And Melody Maker had us as the best band in the world. That was after 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."^[16]

After Creedence[link]

John Fogerty[link]

John Fogerty has continued to have a successful solo career for decades after the dissolution of CCR; he is pictured here performing in 2011

In 1973, Fogerty began his solo career with The Blue Ridge Rangers, his one-man band collection of country and gospel songs. Under his old Creedence contract, however, Fogerty owed Fantasy eight more records. In the end, he simply refused to work for the label any longer. The impasse was resolved only when Asylum Records' David Geffen bought Fogerty's contract for $1,000,000. His next major hit was Centerfield, a chart-topping success in 1985. On tour in 1986, however, Fogerty suffered complaints over his steadfast refusal to play Creedence songs live and suffered with recurring vocal problems which he blamed on having to testify in court. Fogerty's explanation for not playing Creedence Clearwater Revival songs was that he would have had to pay performance royalties to copyright holder Saul Zaentz—and that it was "too painful" to revisit the music of his past.

With the Centerfield album, Fogerty also found himself entangled in new, tit-for-tat lawsuits with Zaentz over the song "The Old Man Down the Road" which was, according to Zaentz, a blatant re-write of Fogerty's own 1970 Creedence hit "Run Through the Jungle". Since Fogerty had traded his rights to Creedence's songs in 1980 to cancel his remaining contractual obligations, Fantasy now owned the rights to "Run Through the Jungle" and sued Fogerty essentially for plagiarizing himself. While a jury ruled in Fogerty's favor, he did settle a defamation suit filed by Zaentz over the songs "Mr. Greed" and "Zanz Kant Danz". Fogerty was forced to edit the recording, changing the "Zanz" reference to "Vanz".

On February 19, 1987, at the Palomino Club in Los Angeles, Fogerty broke his self-imposed 1972 ban on performing his Creedence Clearwater Revival hits, on an admonition from Bob Dylan and George Harrison (who both joined him onstage) that "if you don't, the whole world's gonna think 'Proud Mary' is Tina Turner's song." At a Fourth of July benefit for Vietnam veterans in 1987, Fogerty finally ran through the list of Creedence hits—beginning with "Born on the Bayou" and ending with "Proud Mary"—to an ecstatic audience. He retreated from music again in the late 1980s but returned in 1997 with the Grammy-winning Blue Moon Swamp. John Fogerty still tours frequently and plays Creedence Clearwater Revival tunes alongside material from his newer albums.

Tom Fogerty[link]

Tom Fogerty released several solo albums, though none reached the success of Creedence Clearwater Revival.

Tom's 1974 solo album Zephyr National was the last to feature the four original band members. A few of the songs sound very much in the Creedence style, particularly the aptly titled "Joyful Resurrection" on which all four members played, even though John Fogerty recorded his part to the mix separately.

In September 1990, Tom Fogerty died of an AIDS complication, which he contracted via a tainted blood transfusion he received while undergoing back surgery.

Stu Cook and Doug Clifford[link]

CCR's rhythm section formed Creedence Clearwater Revisited in 1995

Junior high buddies Doug Clifford and Stu Cook continued to work together following the demise of Creedence Clearwater Revival both as session players and members of the Don Harrison Band. They also founded Factory Productions, a mobile recording service in the Bay Area. Clifford released a solo record, Cosmo, in 1972. Cook produced artist Roky Erickson's The Evil One and was bassist with the popular country act Southern Pacific in the 80s.

Doug Clifford also produced "Groovers Paradise" for former Sir Douglas Quintet and Texas Tornados frontman Doug Sahm. Both Clifford and Stu Cook played on the album which was released on Warner Bros. in 1974.

Following a relatively lengthy period of musical inactivity, the two formed Creedence Clearwater Revisited in 1995 with several well-known musicians. Revisited toured globally performing the original band's classics. John Fogerty's 1997 injunction forced 'CCRev' to change to 'Cosmo's Factory', but the courts later ruled in Cook's and Clifford's favor.

Fantasy Records[link]

After Creedence, Fantasy Records released several greatest-hits packages and curiosities such as 1975's Pre-Creedence, a compilation album of The Golliwogs' early recordings. Fantasy also released the highly successful Chronicle, Vol. 1, a collection of Creedence's twenty hit singles, in 1976. Several years later, the label released a live recording entitled The Royal Albert Hall Concert. Contrary to its title, the 1970 performance was recorded in Oakland, California, not at the Royal Albert Hall in London, England. Subsequent issues of the original 1981 album have been retitled simply The Concert.

The success of Creedence Clearwater Revival made Fantasy and Saul Zaentz a great deal of money. Indeed, Fantasy built a new headquarters building in 1971 at 2600 Tenth Street in Berkeley, California.^[17] Zaentz also used his wealth to produce a number of successful films including Best Picture Oscar winners One Flew Over the Cuckoo's Nest, Amadeus, and The English Patient. In 2004, he sold Fantasy to Concord Records. As a goodwill gesture, Concord honored the unfulfilled contractual promises Fantasy made nearly forty years earlier, finally paying the band a higher royalty rate on their sales.

One decision made by John Fogerty rankled his bandmates and would leave all of them without most of their hard-earned money and facing legal and financial problems for years. Without the other three band members' knowledge, Fogerty agreed to a tax shelter scheme proposed by Saul Zaentz and his lawyers in which most of the bandmembers' assets were transferred to Castle Bank & Trust (Bahamas) of Nassau. Zaentz and his associates withdrew their assets before the bank eventually dissolved — along with the savings of the four Creedence Clearwater Revival band members. A series of lawsuits began in 1978 and eventually ended with a California court awarding $8.6 million to the band members in April 1983. Despite this legal victory, very little of the money was recovered.^{[citation needed]}

John Fogerty, seeing that Zaentz was no longer involved with the company, also signed a new contract with Concord/Fantasy. In 2005, the label released The Long Road Home, a collection of Creedence and Fogerty solo classics. After Revival came out on the Fantasy label in October, 2007 but before his following album Blue Ridge Rangers Rides Again was issued in 2009, Fogerty switched from Fantasy to Verve Forecast Records.

Attempts at reuniting[link]

The original Creedence lineup rarely reunited after their breakup, and never professionally. All four members jammed together at Tom Fogerty's wedding on October 19, 1980. John Fogerty, Cook, and Clifford played at their 20th El Cerrito High School reunion in 1983, but they performed as their original incarnation, The Blue Velvets. In the 1980s and 90s, new rounds of lawsuits between the band members, as well as against their former management, deepened their animosities. By the time Creedence Clearwater Revival was inducted into the Rock and Roll Hall of Fame in 1993, John Fogerty refused to perform with his surviving bandmates Stu Cook and Doug Clifford. The pair were barred from the stage, while Fogerty played with an all-star band that included Bruce Springsteen and Robbie Robertson. Tom Fogerty's widow Tricia had expected a Creedence reunion, and even brought the urn containing her husband's ashes to the ceremony. Cook and Clifford formed Creedence Clearwater Revisited, a partial reunion group with additional musicians, two years later.

In a July 2011 interview with the Calgary Herald, John Fogerty, for the first time in over 20 years, admitted that he would at least be willing to consider reuniting with Cook and Clifford. "Years ago, I looked at people and I was so full of some sort of emotion and I'd say, 'Absolutely not!' . . . . But I have to admit, people have asked me more recently, and even though I have no idea how such a series of events would come to pass, I can tell that there isn't the bombast in my voice, in the denial, in the refusal. It's more like, 'Well, I dunno.' Never say never is I guess is what people tell you. In this life, all kinds of strange things come to pass," Fogerty said. "Realizing that it doesn't really kick up a big firestorm of emotion, it kind of suggests that at least if someone started talking I'd sit still long enough to listen."^[18] When asked about a potential reunion again in October 2011, Fogerty said: "I'm saying it's possible, yeah. I think the call [laughs] would maybe have to come from outside the realm. Somebody would have to get me to look at things in a fresh way." ^[19]

However, Cook and Clifford both stated in the February 2012 edition of Uncut Magazine that they aren't interested in a CCR reunion. "Leopards don't change their spots. This is just an image-polishing exercise by John. My phone certainly hasn't rung," Cook said. Added Clifford: "It might have been a nice idea 20 years ago, but it's too late."^[18]

Legal rights to music[link]

Creedence Clearwater Revival's catalogue of songs has frequently been used or referenced in popular culture. In part this is because John Fogerty "long ago signed away legal control of his old recordings to Creedence's record label, Fantasy Records."^[20][21] Fogerty objected to what he regarded as a misuse of his music in an NPR interview:

Folks will remember Forrest Gump and that was a great movie, but they don't remember all the really poor movies that Fantasy Records stuck Creedence music into: car commercials, tire commercials. I'm remembering a paint thinner ad at one point, the song "Who'll Stop the Rain". Oh, boy. That's clever, isn't it?^[22]

Of particular interest was the use of his protest song "Fortunate Son" in a blue jean commercial.^[20] In this case, the advertiser eventually stopped using the song, as Fogerty related in a later interview:

Yes, the people that owned Fantasy Records also owned all my early songs, and they would do all kinds of stuff I really hated in a commercial way with my songs. ... Then one day somebody from the L.A. Times actually bothered to call me up and ask me how I felt, and I finally had a chance to talk about it. And I said I'm very much against my song being used to sell pants. ... So my position got stated very well in the newspaper, and lo and behold, Wrangler to their credit said, "Wow, even though we made our agreement with the publisher, the owner of the song, we can see now that John Fogerty really hates the idea," so they stopped doing it.^[23]

Discography[link]

• Creedence Clearwater Revival (1968)
• Bayou Country (1969)
• Green River (1969)
• Willy and the Poor Boys (1969)
• Cosmo's Factory (1970)
• Pendulum (1970)
• Mardi Gras (1972)

Members[link]

See also[link]

	Book: Creedence Clearwater Revival
Wikipedia books are collections of articles that can be downloaded or ordered in print.

• Creedence Clearwater Revisited
• John Fogerty discography
• BlueVelvets/Golliwogs discographies
• Kalamazoo, Michigan

References[link]

External links[link]

• Creedence Clearwater Revisited official site
• Creedence Clearwater Revival, The Ed Sullivan Show
• Creedence Clearwater Revival at WorldMusicDatabase
• Creedence Clearwater Revival at the Internet Movie Database

v t e Creedence Clearwater Revival Doug Clifford Stu Cook John Fogerty Tom Fogerty Studio albums Creedence Clearwater Revival (1968) Bayou Country (1969) Green River (1969) Willy and the Poor Boys (1969) Cosmo's Factory (1970) Pendulum (1970) Mardi Gras (1972) Live albums Live in Europe (1973) The Concert (1980) Compilations Creedence Gold (1971) More Creedence Gold (1973) Pre-Creedence (1975) Chronicle, Vol. 1 (1976) The Best of Creedence Clearwater Revival (1977) 20 Golden Greats (1979) Creedence Country (1981) Hits Album (1982) Chronicle, Vol. 2 (1986) Rollin' On the River (1988) Heartland Music Presents Creedence Clearwater Revival (1992) Keep On Chooglin' (1999) At the Movies (2000) Creedence Clearwater Revival: Box Set (2001) Bad Moon Rising: The Best of Creedence Clearwater Revival (2003) Platinum (2004) Creedence Clearwater Revival Covers the Classics (2009) Singles "Walking on the Water" "Porterville" "Suzie Q." "I Put a Spell on You"/"Walk on the Water" "Proud Mary"/"Born on the Bayou" "Bad Moon Rising"/"Lodi" "Green River"/"Commotion" "Down on the Corner"/"Fortunate Son" "Travelin' Band"/"Who'll Stop the Rain" "Run Through the Jungle"/"Up Around the Bend" "Lookin' Out My Back Door"/"Long As I Can See the Light" "Have You Ever Seen the Rain?"/"Hey Tonight" "Sweet Hitch-Hiker"/"Door to Door" "Someday Never Comes"/"Tearin' up the Country" "I Heard It Through the Grapevine" Related articles Discography The Golliwogs Creedence Clearwater Revisited Recollection Fogerty v. Fantasy Saul Zaentz Fantasy Records Book:Creedence Clearwater Revival

Emmylou Harris
Emmylou Harris at the Greenbelt Harvest Picnic, 2011
Background information
Born	(1947-04-02) April 2, 1947 (age 65) Birmingham, Alabama, U.S.
Genres	Folk, country rock, country, bluegrass, rock, pop, alt-country
Occupations	Singer-songwriter, musician
Instruments	Voice, guitar
Years active	1970–present
Labels	Jubilee, Reprise, Warner Bros., Elektra, Asylum, Rhino, Nonesuch
Associated acts	Ryan Adams The Band Bright Eyes James Burton Beth Neilsen Chapman Earl Thomas Conley Elvis Costello Rodney Crowell Iris Dement John Denver Dixie Chicks Bob Dylan Steve Earle Vern Gosdin Patty Griffin Arlo Guthrie Mark Knopfler Albert Lee Little Feat Dave Matthews Kate and Anna McGarrigle Willie Nelson Juice Newton Roy Orbison Gram Parsons Dolly Parton John Prine Linda Ronstadt Ricky Skaggs Bruce Springsteen Don Williams Lucinda Williams Neil Young Warren Zevon
Website	www.emmylouharris.com

Emmylou Harris (born April 2, 1947 in Birmingham, Alabama) is an American singer-songwriter and musician. She has released many chart-topping albums and singles over the course of her career, and has won 12 Grammys and numerous other awards.

In addition to her work as a solo artist and bandleader, both as an interpreter of other composers' works and as a singer-songwriter, she is a sought-after backing vocalist and duet partner, working with numerous other artists including Gram Parsons, The Band, Linda Ronstadt, Roy Orbison, Dolly Parton, Mark Knopfler, Guy Clark, Willie Nelson, Bob Dylan, Rodney Crowell, and Neil Young.

Biography[link]

Early years[link]

Emmylou Harris is the daughter of a career military family, her father, Walter Harris, was a military officer and her mother, Eugenia was a wartime military wife. Her father, a member of the Marine Corps, was reported missing in action in Korea in 1952 and spent ten months as a prisoner of war. Born in Birmingham, Alabama, Harris spent her childhood in North Carolina and Woodbridge, Virginia, where she graduated from Gar-Field Senior High School as class valedictorian. In high school she also won a drama scholarship to the University of North Carolina at Greensboro, where she began to study music seriously, learning to play the songs of Pete Seeger, Bob Dylan and Joan Baez on guitar. Leaving college to pursue her musical aspirations, she moved to New York, working as a waitress to support herself while performing folk songs in Greenwich Village coffeehouses. She married fellow songwriter Tom Slocum in 1969 and recorded her first album, Gliding Bird. Harris and Slocum soon divorced, and Harris and her newborn daughter Hallie moved in with her parents in the Maryland suburbs on the edge of Washington, D.C.^[1]

With Gram Parsons[link]

Harris soon returned to performing as part of a trio with Gerry Mule and Tom Guidera. One night in 1971, members of the country rock group The Flying Burrito Brothers happened to be in the audience. Former Byrds member Chris Hillman, who had taken over the band after the departure of its founder Gram Parsons, was so impressed by Harris that he briefly considered asking her to join the band. Instead, Hillman ended up recommending her to Parsons, who was looking for a female vocalist to work with on his first solo album, GP. Harris toured as a member of Parsons' band, The Fallen Angels, in 1973, and the couple shone during vocal harmonies and duets. Harris was quite pleased, and invested a lot emotionally in their relationship. Later that year, Parsons and Harris worked on a studio album, Grievous Angel. Parsons died in his motel room near what is now Joshua Tree National Park on September 19, 1973, from an accidental overdose of drugs and alcohol. Parsons's Grievous Angel was released posthumously in 1974, and three more tracks from his last sessions with Harris were included on another posthumous Parsons album, Sleepless Nights, in 1976. There was one more album of recorded material from that period of time that was packaged with the name, Live 1973, but was not released until 1982.

The working relationship between Harris and Parsons is of great importance in country and country-rock music history. Parsons offered Harris a study in true country music, introducing her to artists like The Louvin Brothers, and provided her with a musical identity; Harris's harmony and duet vocals, on the other hand, were lauded by those who heard them, and helped inspire Parsons' performances. His death left her devastated at an emotional and musical crossroads. She eventually carried on with her own version of Parsons' musical vision, and was instrumental in bringing attention to his achievements. Harris's earliest signature song, and arguably her most personal one, "Boulder to Birmingham", written shortly after Gram's death, showed the depth of her shock and pain at losing Parsons. It was, according to her best friend Linda Ronstadt, the beginning of a "lifetime effort to process what had happened", and was just the first of many songs written and/or performed by Harris about her life with (and without) Parsons.

I would rock my soul in the bosom of Abraham

I would hold my life in his saving grace.

I would walk all the way from Boulder to Birmingham

If I thought I could see, I could see your face.

  —"Boulder to Birmingham"

  lyrics by Emmylou Harris

The Hot Band[link]

Hot Band member James Burton

Warner Brothers A&R representative Mary Martin introduced Harris to Canadian producer Brian Ahern, who produced her major label debut album, Pieces of the Sky, released in 1975 on Reprise Records. The album was surprisingly eclectic, especially by Nashville standards, including cover versions of The Beatles' "For No One", Merle Haggard's "Tonight the Bottle Let Me Down" and The Louvin Brothers' "If I Could Only Win Your Love". It also featured "Bluebird Wine", a composition by young Texas songwriter Rodney Crowell, who was the first in a long line of songwriters whose talents Harris has championed. The record was one of the most expensive country records produced at the time, featuring the talents of James Burton, Glen Hardin, Ron Tutt, Ray Pohlman, and Bill Payne, as well as two tracks ("Before Believing" and "Queen of the Silver Dollar") that were cut with the Angel Band. Two singles were released: "Too Far Gone", which initially charted at #73 (a 1979 reissue hit #13), and Harris's first big hit, "If I Could Only Win Your Love", a duet with Herb Pedersen (later a founding member of The Desert Rose Band), which peaked at #4.

Executives of Warner Bros. Records (Reprise Records's parent company) told Harris they would agree to record her if she would "get a hot band". Harris did so, enlisting guitarist James Burton and pianist Glen Hardin, both of whom had played with Elvis Presley as well as Parsons. Burton was a renowned guitarist, starting in Ricky Nelson's band in the 1950s, and Hardin had been a member of The Crickets. Other Hot Band members were drummer John Ware, pedal steel guitarist Hank DeVito, and bassist Emory Gordy, Jr., with whom Harris had worked while performing with Parsons. Singer-songwriter Crowell was enlisted as a rhythm guitarist and duet partner.^[2] Harris's first tour schedule originally dovetailed around Presley's, owing to Burton and Hardin's continuing commitments to Presley's band. The Hot Band lived up to its name, with most of the members moving on with fresh talent replacing them as they continued on to solo careers of their own.

Elite Hotel, released in December 1975, established that the buzz created by Pieces of the Sky was well-founded. Unusual for country albums at the time, which largely revolved around a hit single, Harris's albums borrowed their approach from the album-oriented rock market. In terms of quality and artistic merit, tracks like "Sin City", "Wheels", and "Till I Gain Control Again", which weren't singles, easily stood against tracks like "Together Again", "Sweet Dreams", and "One of These Days", which were. While Elite Hotel was a #1 country album, the album did sufficiently well as a crossover success with the rock audience. Harris appealed to those who normally disapproved of the country market's pull toward crossover pop singles ("Together Again" and "Sweet Dreams" both topped the country charts). Elite Hotel won a Grammy in 1976 for Best Country Vocal Performance, Female.

Harris' reputation for guest work continued. Aside from contributing to albums by Linda Ronstadt, Guy Clark and Neil Young, Harris was tapped by Bob Dylan to perform on his Desire album, but entirely uncredited. Harris also filmed one of the studio sequences, owing to her touring schedule, in The Band's The Last Waltz, singing "Evangeline".

Burton left the Hot Band in 1976, choosing to remain with Elvis Presley's band, and was replaced by English guitarist Albert Lee. Harris's commercial apex was Luxury Liner, released in 1977, which remains one of her definitive records. On Luxury Liner, Harris's mix of songs from Chuck Berry ("(You Never Can Tell) C'est La Vie"), Gram Parsons (the title track and "She"), The Carter Family ("Hello Stranger") and Kitty Wells ("Making Believe") illustrate a continuity and artistic merit to country music often overlooked at the time. Despite Top Ten singles with "C'est La Vie" and "Making Believe", the album's best known track is the first recorded cover of Townes Van Zandt's classic "Pancho & Lefty", which would be a #1 hit for Willie Nelson and Merle Haggard in 1983. At the end of 1977, Crowell left the Hot Band to pursue a solo career; his replacement was bluegrass multi-instrumentalist and singer Ricky Skaggs.

Quarter Moon in a Ten Cent Town signaled a slight change of direction from Harris's previous three albums. Rather than mixing classic and contemporary, the album is made up largely of recently written songs, though from a wide variety of writers. "Two More Bottles of Wine", written by Delbert McClinton, became Harris's third #1 single, "To Daddy", written by Dolly Parton, went to #3, and a third single, "Easy From Now On", went Top Twenty. The album included two songs apiece from Crowell ("I Ain't Living Long Like This" and "Leaving Louisiana In The Broad Daylight") and songwriter Jesse Winchester ("Defying Gravity" and "My Songbird"), and Utah Phillips' "Green Rolling Hills".

The Roots Records[link]

In 1977 (January), Harris married Brian Ahern.^[3] Their (Harris' second) daughter, Meghann, was born in 1979. During this time, Harris cut three studio albums that reflected a shift toward traditional country (the industry, on the other hand, was about to embrace Urban Cowboy). The first key to the change in direction was her Grammy Award-winning 1979 album Blue Kentucky Girl. Apart from a cover of The Drifters' "Save The Last Dance For Me", the album was largely made up of classic-styled country material in the vein of Loretta Lynn and Kitty Wells. One of her best-loved albums, the record includes songs ranging from The Louvin Brothers' "Everytime You Leave" to Willie Nelson's "Sister's Coming Home" to Gram Parson's signature "Hickory Wind". Wesley Rose took special interest in Harris' recording of "Beneath Still Waters", which became a #1 smash.

A Christmas album, Light of the Stable, was released in 1979; its title track featured backing vocals by Dolly Parton, Linda Ronstadt and Neil Young, all three of whom Harris had been working with sporadically since the mid-1970s, and would continue to collaborate with through the 2000s. (Harris, Parton and Ronstadt began working on a planned trio album during this time, though it would remain unfinished for nearly a decade; a few of the tracks recorded for the project surfaced on the women's respective solo albums in the interim.) The album is largely acoustic, featuring readings of traditional fare such as "Silent Night", "O Little Town of Bethlehem" and "The First Noel".

In the 1980s, Harris pursued country music's history even further with the bluegrass-oriented recording of Roses in the Snow, featuring Ricky Skaggs, Tony Rice, Albert Lee, Emory Gordy Jr. and Jerry Douglas. Harris's versions of the traditional "Wayfaring Stranger" and Paul Simon's "The Boxer" were strong singles.

In 1980, Harris recorded "That Lovin' You Feelin' Again" with Roy Orbison. The duet was a Top 10 hit on both the Country and Adult Contemporary charts. They would win the Grammy Award for Best Country Vocal Performance by a Duo or Group. She would also be featured on Paul Kennerley's concept album The Legend of Jesse James, which also featured Levon Helm of The Band and Johnny Cash.

Pop-chart success, songwriting[link]

In 1981, Harris reached the Top 40 on the Billboard pop chart with a cover of "Mister Sandman"—again Top 10 Country as well as Adult Contemporary—from her Evangeline album. (The album version of the song was a track from the ill-fated Trio sessions with Dolly Parton and Linda Ronstadt, but neither Parton's nor Ronstadt's record companies would allow their artists' vocals to be used on the single, so Harris re-recorded the song, singing all three parts.)

Harris moved to Nashville in 1982. White Shoes in 1983 included an eclectic pairing of the rockish reading of "Diamonds Are a Girl's Best Friend" with a remake of the Donna Summer hit "On the Radio", as well as tracks from a diverse group of songwriters such as Hot Band member Crowell, Sandy Denny and T-Bone Burnett and was her last album produced by Brian Ahern until All I Intended to Be in 2008.

Harris's major-label releases thus far had included few self-penned songs, but in 1985 her songwriting skills were much in evidence with the release of a concept album The Ballad of Sally Rose, for which she co-wrote all of the songs. The album was semi-autobiographical in theme, based loosely on her relationship with Parsons. Harris described it as a "country opera", and a "huge commercial disaster".^[4] Her co-writer and producer on the album was English songwriter and musician Paul Kennerley, writer of the hit singles "Born to Run" (on Harris's 1981 Cimarron album) and "In My Dreams" (on White Shoes). Kennerley also produced her next album, Thirteen. They were married in 1985 and divorced in 1993.

In 1987, nearly a full decade after they'd first attempted to do so, Harris teamed up with Dolly Parton and Linda Ronstadt for their long-promised and much-anticipated Trio disc. The album was the biggest commercial success of Harris's career, spending five weeks at #1 on Billboard's Country Albums chart (also quickly reaching the Top 10 on the Pop Albums chart), sold several million copies and produced four Top 10 Country hits, including "To Know Him Is To Love Him", which hit #1. The disc was nominated for the coveted Album Of The Year Grammy award (given to U2 that year for The Joshua Tree) and the three women won the statuette for Best Country Vocal Performance by a Duo or Group with Vocal; the album's Linda Thompson-penned track "Telling Me Lies" reached #3 Country, #25 Adult Contemporary, and was also nominated for a Grammy as 1987's Best Country Song.

Harris also found time in 1987 to release a solo album, Angel Band, featuring traditional gospel songs, on which she worked with, among others, rising country star Vince Gill.

In 1989, she recorded two songs with the Nitty Gritty Dirt Band on their album, Will the Circle Be Unbroken: Volume II. In a snippet of studio chatter included on one of the tracks, she talked during the recording session about her beginnings and how music had changed:

Years ago I had the experience of sitting around in a living room with a bunch of people and singing and playing, and it was like a spiritual experience, it was wonderful. And I decided then that was what I was going to do with my life was play music, do music. In the making of records, I think over the years we've all gotten a little too technical, a little too hung up on getting things perfect. We've lost the living room. The living room has gone out of the music, but today I feel like we got it back.

Around 1991, she dissolved The Hot Band and formed a new band of acoustic musicians—Sam Bush on fiddle, mandolin and vocals, Roy Huskey, Jr. on bass and vocals, Larry Atamanuik on drums, Al Perkins on banjo, guitar, Dobro guitar and vocals, and Jon Randall on guitar, mandolin and vocals—which she named The Nash Ramblers. They recorded a Grammy Award-winning live album in 1992 at the Ryman Auditorium in Nashville, Tennessee, which led to the $8 million restoration of the facility into a premium concert and event venue. It was her last album with Reprise Records.

New directions[link]

By the 1990s, Harris started receiving less airplay as mainstream country stations began shifting their focus to the youth-oriented "new country" format. Harris's albums Bluebird and Brand New Dance (1989 and 1990, respectively) received ample critical acclaim and sold reasonably well, yet her chart success was on the wane. 1993's Cowgirl's Prayer—the first album since her switch to Elektra Records—was critically praised but received very little airplay,^[5] and its lead single, "High Powered Love" charted very low, peaking at #63, prompting her to shift her career in a new direction.

In 1995, Harris released one of the most critically acclaimed albums of the decade, Wrecking Ball, produced by Daniel Lanois, best known for his work with U2, Peter Gabriel and Bob Dylan. An experimental album for Harris, the record included Harris's rendition of the Neil Young-penned title track (Young himself provided guest vocals on two of the album's songs), Steve Earle's "Goodbye", Julie Miller's "All My Tears", Jimi Hendrix's "May This Be Love", Kate and Anna McGarrigle's "Goin' Back to Harlan" and Gillian Welch's "Orphan Girl". U2's Larry Mullen, Jr. showed up to play drums for the project. The album received virtually no country airplay whatsoever, but did bring Harris to the attention of alternative rock listeners, many of whom had never listened to her music before.

Harris then took her Wrecking Ball material on the road, releasing the live Spyboy in 1998, backed with a power trio comprising Nashville producer, songwriter and guitarist Buddy Miller and New Orleans musicians, drummer Brady Blade and bassist-vocalist-percussionist Daryl Johnson. In addition to performing songs from Wrecking Ball, the album updated many of Harris's career hits, including "Boulder to Birmingham".

Also in 1998, she appeared prominently on Willie Nelson's moody, instrumentally sparse Teatro album, produced by Wrecking Ball producer Lanois.^[6]

During the summer of 1997 and 1998, Harris joined Sarah McLachlan's all-woman musical touring festival, the Lilith Fair, where new artists like Patty Griffin could share new experiences and ideas with seasoned musicians like Harris and Bonnie Raitt.

In January 1999, Harris released Trio 2 with Parton and Ronstadt. Much of the album had actually been recorded in 1994, but remained unreleased for nearly five years because of record label and personnel disputes, conflicting schedules, and career priorities of the three artists. Trio 2 was much more contemporary-sounding than its predecessor and was certified Gold. It included their version of Neil Young's classic "After The Gold Rush", which became a popular music video and won another Grammy—this one for Best Country Collaboration with Vocals. Harris and Ronstadt then released a duet album, Western Wall: The Tucson Sessions, later the same year. The two superstars toured together during the fall months in support of the disc. Both albums made the Top 10 of Billboard's Country Albums chart and did well on the pop side as well.

Also in 1999, Harris paid tribute to her former singing partner Gram Parsons by co-executive producing Return of the Grievous Angel: A Tribute to Gram Parsons, an album that gathered together more than a dozen artists. Harris performed duets with Beck, Sheryl Crow and The Pretenders on this album's tracks.

In 2000, Harris released her solo follow-up to Wrecking Ball, Red Dirt Girl, produced by Lanois protégé Malcolm Burn. For the first time since The Ballad of Sally Rose, the album contained a number of Harris's own compositions. Like Wrecking Ball, the album's sound leaned more toward alternative rock than country. Nevertheless it reached #5 on Billboard's Country Albums chart as well as a healthy #54 on the pop side. It also won Harris another of her 12 Grammy awards, in the category of Best Contemporary Folk Album.

Harris also accompanied on alternative country singer Ryan Adams' solo debut Heartbreaker and on Tracy Chapman's fifth album Telling Stories.

Also in 2000, Harris joined an all-star group of traditional country, folk and blues artists for the T-Bone Burnett-produced soundtrack to the Coen Brothers film, O Brother, Where Art Thou? The soundtrack won multiple CMA, ACM and Grammy awards. A documentary/concert film, Down from the Mountain, featured the artists performing music from the film and other songs at the Ryman Auditorium. Harris and many of the same artists took their show on the road for the Down from the Mountain Tour in 2002. In 2003, Harris supplied the finishing touches in harmonizing with the Dixie Chicks on a song they were recording in the studio, "Godspeed".

Recent work[link]

Harris released Stumble into Grace, her follow-up to Red Dirt Girl, in 2003. Like its predecessor, it contained mostly self-penned material. In 2004, Harris led the Sweet Harmony Traveling Revue tour with Gillian Welch, David Rawlings, Buddy Miller and Patty Griffin. They performed singly and together and swapped instruments.

On September 9, 2005, Harris participated in "Shelter from the Storm: A Concert for the Gulf Coast", a series of concerts simulcast by most American television stations to raise money for victims of Hurricane Katrina and Hurricane Rita. She performed with Beth Neilsen Chapman and the Dixie Chicks, harmonizing on Patty Griffin's song, "Mary".