The Unyielding Pulse of Life: A Testament to Unstoppable Rhythm
In the vast and resonant archives of rock and roll, certain tracks emerge not as mere songs, but as profound declarations of existence. Such is the case with “Born To Move” by Creedence Clearwater Revival. Released on December 9, 1970, as the opening track of the B-side to their sixth studio album, “Pendulum”, this often-overlooked gem showcases a remarkable departure from the band’s signature swamp rock sound, delving into a more expansive, almost jazzy territory. While “Pendulum” itself was a commercial success, charting within the top 10 in ten countries and peaking at number 5 on the Billboard 200, “Born To Move” was not released as a single and therefore did not see the widespread chart performance of its album mates like “Have You Ever Seen the Rain” or “Hey Tonight”. Nevertheless, its inclusion on the album underscores Creedence Clearwater Revival’s willingness to explore new sonic landscapes, a testament to their artistic ambition during a period of immense creative output.
“Born To Move” stands as a vibrant, almost visceral embodiment of the sheer, irrepressible urge to live, to feel, and to dance. It’s a track that pulses with an energy that transcends mere musicality, becoming a philosophical statement on the human condition. The lyrics, simple yet profoundly effective, speak to an innate, almost primal desire for motion and joy: “Ev’ry day I’m gonna strut that stuff / When the music’s loud I can’t get enough”. This isn’t a song born of complex narratives or intricate allegories, but rather a direct channeling of an essential human impulse. In an era often fraught with social and political upheaval, “Born To Move” offered a reprieve, an invitation to shed the weight of the world and simply move. The repeated refrain, “Come on feet, teach yourself to move” and “Come on people, teach yourself to move,” serves as both a gentle coaxing and an undeniable command, urging listeners to surrender to the rhythm and embrace the liberation of movement.
Musically, “Born To Move” is a fascinating anomaly in the Creedence Clearwater Revival canon. While John Fogerty’s songwriting prowess and distinctive vocal delivery are unmistakable, the arrangement stretches the band’s boundaries, incorporating elements of jazz and R&B, notably influenced by the Stax sound. The track features an intriguing guitar solo by Fogerty, along with his sax riffing, a bass solo from Stu Cook, and a lengthy organ solo, again by Fogerty. This layered instrumentation, particularly the prominent organ and saxophone, lends the song a rich, almost improvisational feel, distinguishing it from the more stripped-down, roots-rock approach for which Creedence Clearwater Revival was renowned. Critics of the time noted the band’s growth, with Roy Carr of The New Musical Express praising Fogerty’s sax work and Cook’s bass, and Jon Landau of Rolling Stone highlighting the “Booker T. styled organ” and the improved rhythm section of Cook and Doug Clifford. This willingness to experiment, to inject new textures and flavors into their established sound, speaks volumes about the band’s artistic ambition and their desire to evolve beyond perceived limitations.
Despite its infectious groove and celebratory message, “Born To Move” was notably absent from Creedence Clearwater Revival’s live performances, and John Fogerty has also refrained from performing it during his solo career. This curious omission from their live repertoire only adds to its mystique, making the studio recording a singular, cherished artifact for those who appreciate the band’s deeper cuts. It is a song that encapsulates a moment of creative adventurousness for Creedence Clearwater Revival, a sonic exploration that perhaps hinted at paths not fully taken. Yet, its enduring power lies in its universal message: a simple, unadulterated celebration of life’s inherent rhythm and the joy of simply being, moving, and feeling the music. It remains a vibrant testament to the band’s multifaceted talent and a reminder that even within a prolific and recognizable sound, there were always new avenues to explore, new emotions to evoke.