Week 1 Artist Management Case Study: Creedence Clearwater Revival

Week 1 Artist Management Case Study: Creedence Clearwater Revival
Zon D. Petilla
Full Sail University


Note Above: LOL, CCR's "Bad Moon Arising" with footage of "Dragon Ball Z and GT"



When I decided to start an art services business, I had to come to terms with the fact I less artistic and more analytic. My partner recognized my skills to make good sound business moves and my love for reading contracts and asking the right questions. On the on the other hand, she has the ability to create art people actually care about naturally. So we became partners in a current content market that is free and just about anyone can make money as an independent without having to deal with corporations controlling the distribution of content. However, bands dealing with prior industries without Internet distribution of the past such as the music industry needed music corporations for production and distribution outlets. In this sense, 1960’s bands like Credence Clearwater Revival ran right into an exploitive business model. Thus, John Fogerty’s creative vision made Credence Clearwater Revival very successful; however I contend that this direction led the band to bad music industry deals and infighting among the group.

John Forgerty was the lead singer and manager for the band. Doug Clifford the bands drummer had talked about how John Forgety managed the band through their tours and contacts (James, Credence Online, Lyrics Freak). In this sense, the Forgerty formula lead to success in concrete sales, appearances like Woodstock, and awards. Ultimately, this formula caught the eye of many record companies of the day such as Fantasy Records, Asylum Records, and Liberty/UA Records.


Forgerty controlled the brand and the direction when it came to the legal decisions with the contracts and agreements. For example, “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” (Lyrics Freak). Arguably a good move in the sense of branding the band, and the band members at time more than likely agreed with Forgety who was garnering them success. However, Fantasy Records' new owner Zaentz did not to give Forgety a better contract as promised. Stu Cook a former band member and who now holds a business degree recollects that Fogerty made bad deal and as a result Credence Clearwater Revival was signed into a terrible record deal.

Their peak success was from 1969 to 1970’s taken many live performances and selling records such as Bayou Country with "Bad Moon Rising" backed with "Lodi” being on top of the music charts top tens Bill Boards. While undertaking a steady string of live dates around the country to capitalize on their breakthrough, CCR also was hard at work on their second album Bayou Country at RCA Studios in Los Angeles. Released in January 1969 and becoming number seven platinum hit. They had continued with three years of record hits and singles while enjoying touring. Then in 1972, Rainbow Records under Zaentz decided to disband the band. Because of the agreements, Credence Clear water would now face further issues legal issues while Forgerty would try to scramble for a new record deal (James, Credence Online, Lyrics Freak).

Because of bad or unfinished deals and because of legal issues such as the one with Liberty/UA records( Billboard, 1970), in fighting among members started because Forgerty still was holding onto full creative control. Moreover, Forgety was fighting to keep everything as far as copyrights and royalties not just from the record companies but from his bandmates as well (Forgerty,2007). I contend that mistrust happened on two fronts. Forgety felt he did most of the work and deserved most of the ownership of the songs. However, the other band mates felt Forgety wasn’t doing a good enough job and causing more harm than good.

In conclusion, if I was the band’s manager, I'd break contract early, tell the band to release new music under a new name in order to clear the legal issues related to Rainbow Records new management. During this break, I would then publicized and publically blame Rainbow Records miss management and create a “us” versus them “mentality”. The band “Creedance Clearwater Revival”, might just be called “Revival”, and the new catalog of songs would be released under this new name. “Revival” could be easily repackaged for the 1970’s and early 1980’s rock movements. I would also create objective criteria for a real heart to heart session between all the band members. This would include creative say, negation of contracts, and distribution rights under ticket and record sales that would be more equal. The toughest part would be to claim the mistrust and egos of the band. If Negotiations fail, I would create a BATNA for all members before a complete fail that would bring in outside third parties such as attorneys or companies. In short, I would rebrand the band, publically denounce Rainbow Records, and market the hell out of the new rock band that would emerge from the legal ashes.

References:
Credence Online. Creedence Clearwater Revival. http://www.creedence-online.net/faq/

Fogerty, John, (2007)Reclaiming My Voice. Newsweek, Vol. 150, Issue 23 Academic Search Premier. Retrieved From: http://web.ebscohost.com/ehost/detail?hid=119&sid=48efed5f-d5ec-4964-ab06-8356b62ab607%40sessionmgr110&vid=3&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=aph&AN=27643174

James, Gary . Interview. Retrieved from: http://www.classicbands.com/CCRInterview.html
Lyrics Freak. Creedence Clearwater Revival Biography http://www.lyricsfreak.com/c/creedence+clearwater+revival/biography.html