Pagan Baby

Background

“Pagan Baby” is the opening track of the Pendulum album, the fifth by Creedence Clearwater Revival, released on 7th December 1970.

The title comes from childhood memories of John Fogerty when he attended Catholic school.  School kids were always having a collection for the pagan babies. There was a tin can bank in class, and you’d bring in change and drop it in for them. The phrase "pagan baby" was great, and Fogerty wanted to add some sarcasm to it and turn that into rock and roll, with implied sex and all the rest (John Fogerty, Fortunate Son, 2015).

The song was written and rehearsed during the course of one of the Pendulum sessions. It took one hour for the band to learn it, and the song was recorded in one take, giving it a vital rawness (Roy Carr, Interview with Creedence Clearwater Revival, The New Musical Express, 1970).  Maybe the rushed timetable is one of the reason's why Fogerty isn't completely happy with the number. He didn't have enough time to finish the song and make it better (John Fogerty, Fortunate Son, 2015).

Live versions

Creedence Clearwater performed the song live in their final concert tours in the USA, Europe, Australia and Japan in 1971-1972. It was performed as a 11-minute medley with “Keep on Chooglin' ”.

A live version of “Pagan Baby/Keep on Chooglin' “ medley also appears on the Live in Europe album.

John Fogerty hasn't performed “Pagan Baby” live during his solo years.  

Critical reception

"The album opens with a rather lame imitation of their own earlier work called "Pagan Woman" almost as if they didn't want to throw the new stuff at us too soon." -Jon Landau, The Rolling Stone, February 4th, 1971.

"--- the opening 'Pagan Baby' ends in an ear-splittering guitar marathon, and I do mean it literally: John makes his guitar sound as if he's running a race, jumping over barriers, splashing through puddles, and dropping down dead after arriving at the finish. I like it! I don't even pay attention to the dumb lyrics that are kinda low even for Fogerty's standards, and ol' John never been a terrific lyricist. But that instrumental section is definitely the last of the unforgettable 'CCR Trademark Instrumental Jams'." -George Starostin. 

 "Even though the Creedence history is littered with bitter acrimony and conflict, the band sounds as if it is having a blast ripping this six minute plus tune out." -R. David Smola, Bullz-eye, 2008.

"A churning, crunching riff meets a blistering Fogerty vocal on this underrated rocker." -Uncut, February 2012. 

Fans' views

"Has great riffs and the best Creedence song ending."

"The prime example of JCF's ability to arrange for maximum effect."

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