other Fogerty originals: "The Working Man", "Get Down Woman", and "Gloomy". Creedence Clearwater Revival is best remembered for the band's first hit single "Susie Q", which had been a hit for Dale Hawkins in 1957. It was released as a single version split into two parts, with the jam session during the coda on the A-side fading out with the guitar solo right before the coda which fades in part two on the B-side. Fogerty stated in a 1993 interview with Rolling Stone magazine that his purpose in recording "Susie Q" was to get the song played on KMPX, a funky progressive-rock radio station in San Francisco, which is why the song was extended to eight minutes in length. Susie Q' was designed to fit right in," he explained. "The eight-minute opus. Feedback. Like [the Paul Butterfield Blues Band's] 'East-West'. And especially the little effect, the little telephone-box [vocal] in the middle, which is the only part I regret now. It's just funny sounding. But, lo and behold, it worked!" Fogerty elaborated to Larry King in 1999, "We recorded an old Dale Hawkins song but I psychedelicized it to get it played on the local San Francisco underground radio station." The guitarist on the original Hawkins version, James Burton, would also exert a major influence on Fogerty, with the singer telling Lynne Margolis of American Songwriter, "James Burton was a huge influence on me going back to when I was a child, when I bought that record, 'Susie Q,' and that was James Burton playing that guitar—which I didn't know at the time, of course." Drummer Doug Clifford concurs to Jeb Wright on the Classic Rock Revisited website that he too tried to experiment with the tune, recalling Susie Q' was a rockabilly song that sounded like all of the other rockabilly songs. I came up with a quarter note idea and it made it harder edged and it gave it space and a totally different feel..." The Creedence version would reach #11 in the charts. In 2012 David Cavanagh of Uncut wrote, "For all his skepticism about long solos, Fogerty stretched out penetratingly on guitar while Creedence's rhythm trio laid down a sublime slow boogie." In 1998, Fogerty stated to Harold Steinblatt of Guitar World that the recording of "Susie Q" was "very pivotal" in another respect: it established how we would work for the next few years. After