on that.' It is a weird thing. It was greasy and we were right out of the clubs. That song had so much soul in it." Although not a concept album, Fogerty did acknowledge to Rolling Stone in 1993 that "Born on the Bayou" "is almost the Gordian knot or the key to what happened later. As I was writing it, it occurred to me that there was more power than just this one song. If there was a way to tie it all together on one album, kind of cross-fertilize, cross-relate the songs, you would have a much more interesting and maybe more powerful image. So that's what happened. 'Born on the Bayou' sort of relates to 'Proud Mary.' It certainly relates to 'Keep on Chooglin' and 'Graveyard Train.'" Some of the other Creedence members have taken exception to the notion that Fogerty was the sole creative force in the band, with Doug Clifford telling Gary James of classicbands.com, "We all jammed every day when we weren't on the road and actually when we were on the road. We'd play acoustically at night. Three to four hours every night we would work the songs out or songs would come out of that song pool. The rest of us didn't get any credit for anything that came out of it. That's okay. I'm not crying over spilled milk, but when you really look at how prolific John was in the 3½ years that we had our success and the major drought he's had as a solo artist, I think it adds a little more credence...to what we contributed to the band." The atmosphere behind the scenes was indeed worsening; in a 2012 article with Uncut's Tom Pinnock, Fogerty recalled, "We went into RCA in Hollywood, Studio A, to record Bayou Country in October. We had the music for “Proud Mary” recorded, and I knew what I wanted the backgrounds to sound like. I showed the other guys how to sing the backgrounds, having remembered what we'd sounded like on “Porterville”, which was very ragged, not melodious...And I heard our tape back, and I just went, “Nahhh, that’s not gonna work.” So we had a big fight over that...We literally coulda broke up right there." In addition to the Fogerty originals, Bayou Country also features a storming version of Little Richard's "Good Golly Miss Molly" with slightly changed lyrics; instead of