Creedence Clearwater Revival Featuring John Fogerty – I Heard It Through The Grapevine (1976, Vinyl) - Discogs

About the Song

Creedence Clearwater Revival, often abbreviated as CCR, wasn’t known for sugary sweet love songs. Their signature sound was a swampy blend of rock and roll with roots in blues and country, often infused with a touch of rebellion. However, in 1969, they surprised audiences with the energetic and infectious “Good Golly Miss Molly.”

This wasn’t a ballad about heartbreak or social injustice. “Good Golly Miss Molly” is a pure celebration of the joy of rock and roll. The song explodes from the speakers with John Fogerty’s instantly recognizable, gravel-tinged vocals declaring his love for “Miss Molly,” a clear metaphor for the music itself.

The driving rhythm section, anchored by Doug Clifford’s pounding drums and Stu Cook’s thumping bass line, lays the foundation for Tom Fogerty’s scorching rhythm guitar work. John Fogerty’s lead guitar adds punctuating riffs and fills, keeping the energy high throughout.

The lyrics are simple but effective. Fogerty sings about being unable to resist the urge to dance when the music hits, even if it means tuning out his parents’ disapproval (“Momma, poppa told me: ‘son, you better watch your step'”). He’s determined to find Miss Molly, even if it means going to the “house of blue lights,” a not-so-subtle reference to a nightclub.

“Good Golly Miss Molly” is a testament to CCR’s ability to take a simple idea and turn it into a musical powerhouse. It’s a song that makes you want to tap your feet, clap your hands, and maybe even sing along (in your best Fogerty growl, of course). It’s a timeless reminder of the pure, unadulterated joy that rock and roll can bring.Good Golly Miss Molly by Creedence Clearwater Revival - Samples, Covers and Remixes | WhoSampled

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Lyrics: Good Golly Miss Molly

Good golly, Miss Molly
Sure like to ball
Good golly, Miss Molly
Sure like to ball
When you’re rockin’ and a-rollin’
Can’t hear your momma callFrom the early early mornin’ ’til the early early night
You can see Miss Molly rockin’ at the house of blue lightsGood golly, Miss Molly
Sure like to ball
When you’re rockin’ and a-rollin’
Can’t hear your momma callWell, now momma, poppa told me, “Son, you better watch your step.”
If I knew my momma, poppa, have to watch my pop myselfGood golly, Miss Molly
Sure like to ball
When you’re rockin’ and a-rollin’
Can’t hear your momma callWe’re going to the corner, gonna buy a diamond ring
Would you pardon me if it’s a nineteen-carat golden thing?

Good golly, Miss Molly
Sure like to ball
When you’re rockin’ and a-rollin’
Can’t hear your momma call

Good golly, Miss Molly
Sure like to ball
Good golly, Miss Molly
Sure like to ball
When you’re rockin’ and a-rollin’
Can’t hear your momma call

You Missed

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Before he ever stepped up to center stage under his own name, Cal Smith spent years standing quietly in the shadows as a sideman, playing guitar behind country legend Ernest Tubb. Born Calvin Shofner in Oklahoma and raised in California, he paid his dues in clubs and on radio before joining the Texas Troubadours in the early 1960s, watching other stars soak up the applause while his own solo ambitions moved at a crawl. By 1972, Smith was well into his late thirties with little more than modest chart placings to show for his efforts. Everything flipped when fellow songwriter Bill Anderson handed him “The Lord Knows I’m Drinking,” a sharp track about a man taking heat from a churchgoer whose own hands weren’t exactly clean. The single struck a nerve, shooting straight to No. 1. The true lightning strike arrived soon after. In December 1973, Smith walked into Bradley’s Barn to lay down Don Wayne’s “Country Bumpkin.” Tracing an ordinary man’s journey through marriage, children, and the devastating loss of his wife, the song packed an entire lifetime into a few poignant verses and climbed to the top of the charts in 1974. The accolades poured in, sweeping Single Record and Song of the Year at the ACM Awards, alongside a CMA Song of the Year honor for the writing. Smith quickly proved he wasn’t a one-hit wonder by following up with another chart-topper, “It’s Time to Pay the Fiddler.” After more than a decade of holding down the rhythm section for everyone else, Cal Smith’s long-delayed moment in the sun finally arrived—forever stamping his voice onto one of the defining country anthems of the 1970s.