'In other hands, this ersatz remembrance of the way things never were on riverboats might have seemed liked a case of overexposure to Life on the Mississippi especially given Fogerty's total immersion accent, which (in true New Orleans style, pretty rare for a California kid), transforms 'work' to 'woik' among other things.
Fogerty gets away with it, though, because he came up with a riff and a rhythm and a rhythm that rolls along as mighty as the Mississippi itself. The surging flood of guitar and drums, the bass line's undertow and the liquid guitar solo justify every vocal and lyrical affectation. By the end, the story seems natural and eternal, which maybe means that those studied qualities aren't just affectations, after all.'
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