A Song Hidden in Plain Sight
Before Creedence Clearwater Revival became one of the defining American bands of the late 1960s and early 1970s, John Fogerty and his bandmates were still searching for the sound, identity, and name that would carry them into music history. That transitional period produced a fascinating little recording called “Call It Pretending,” a song that began its life in disguise and quietly pointed toward the band’s future.
At first glance, “Call It Pretending” may seem like a minor entry in the Creedence Clearwater Revival catalog. It does not arrive with the force of “Proud Mary,” the swampy drama of “Born on the Bayou,” or the emotional weight of “Long as I Can See the Light.” Instead, it works through simplicity. Its bright chords, steady pulse, and understated attitude create the feeling of someone smiling while admitting something they have tried to hide. That restraint is part of its charm.
The song originally appeared as the B-side to “Porterville,” released in November 1967 under the group’s earlier name, the Golliwogs. Only a short time later, in January 1968, the single was reissued under the name Creedence Clearwater Revival. That change transformed the way listeners encountered the recording. A song that had initially belonged to an older version of the band suddenly became part of the opening chapter of one of rock music’s most important groups.
The Mystery Behind “T. Spicebush Swallowtail”
One of the most intriguing details surrounding “Call It Pretending” is its original disguise. The song was associated with the name “T. Spicebush Swallowtail,” an alias that sounds more like a cryptic character from a private joke than a conventional songwriting credit. The name effectively concealed John Fogerty, turning the song into something listeners might discover only by studying the fine print.
That hidden identity fits the spirit of the recording. “Call It Pretending” is a song about the moment when denial becomes impossible, when a carefully maintained performance begins to fall apart under the pressure of genuine feeling. Its title suggests an admission: perhaps the narrator has been acting, avoiding, or pretending, but the heart eventually demands an honest answer.
The alias adds another layer to that theme. At a time when the group was reinventing itself, even the songwriter’s name seemed to be in motion. The Golliwogs were becoming Creedence Clearwater Revival, and the music was moving toward a more focused, distinctly American style. “Call It Pretending” captures that period of change not through grand declarations, but through the tension between what is presented on the surface and what is happening underneath.
From the Golliwogs to Creedence Clearwater Revival
The reissue of “Porterville” in January 1968 marked an important turning point. The new Creedence Clearwater Revival name gave the band a stronger identity, one that suggested Southern atmosphere, spiritual depth, and a connection to American roots music. Although the members came from California, their music increasingly drew on blues, country, rockabilly, gospel, and the storytelling traditions of the American South.
That transformation did not happen overnight. The Golliwogs had spent years releasing singles and experimenting with different musical directions. The recordings from that period often reveal a band trying to find its voice while working within the conventions of mid-1960s pop and rock. “Call It Pretending” belongs to that searching phase, but it also contains qualities that would become central to Creedence Clearwater Revival: direct songwriting, memorable rhythmic movement, and a knack for making emotional conflict sound deceptively easygoing.
Recorded at Coast Recorders in San Francisco, the track reflects the practical, unfussy approach that would later define much of Creedence’s best work. There is no need for excessive ornamentation. The musical framework stays bright and controlled, leaving space for the song’s emotional suggestion to do the real work. That economy would become one of the band’s great strengths. Creedence could make a compact arrangement feel larger than it was because every part served the song.
A Review of the Song’s Sound
Musically, “Call It Pretending” is simple in the best possible sense. The chords have a lightness that contrasts with the uncertainty implied by the lyrics. Rather than turning the subject into a dramatic confession, the performance keeps moving forward with a steady, almost conversational confidence. The rhythm gives the song momentum, while the bright harmonic character creates an appealing sense of openness.
That contrast between the sound and the subject is what makes the recording memorable. A darker arrangement might have made the message too obvious. Instead, the song sounds like someone trying to maintain composure. The surface remains pleasant, but the words hint at an emotional reckoning. The result is sly rather than sorrowful, and that subtlety allows the track to grow more interesting with repeated listens.
For listeners familiar with John Fogerty’s later work, “Call It Pretending” is also valuable as an early glimpse of his songwriting instincts. Fogerty understood how to make a song feel immediate without overexplaining it. He could build character through a few plainspoken ideas and use rhythm as a form of emotional storytelling. Even before Creedence fully established its signature sound, those instincts were already visible.
Why the B-Side Deserves Another Listen
B-sides often live in the shadow of the songs they accompany, but they can reveal a great deal about an artist’s development. “Porterville” has its own importance as part of the band’s transition, yet “Call It Pretending” offers a different kind of insight. It shows a songwriter working with understatement and a band balancing pop accessibility with a more personal sense of atmosphere.
The track is especially appealing for fans who enjoy the rootsier edges of American rock and country music. It does not sound like a traditional country song, but it shares country music’s appreciation for direct emotional language and uncluttered storytelling. The song’s central idea is easy to understand: pretending can only last so long before the truth begins to demand attention. That emotional clarity gives the recording a timeless quality.
Its historical position also makes it compelling. Hearing the song under the Golliwogs name, then understanding that it was reissued as Creedence Clearwater Revival, turns the recording into a snapshot of a band changing in real time. The name on the label was changing, the songwriter was hiding behind an unusual alias, and the group’s artistic direction was becoming clearer. Few songs make that kind of transition feel so intimate.
The Lasting Appeal of a Quiet Confession
“Call It Pretending” may not be the first song most listeners name when discussing Creedence Clearwater Revival, but its modesty is precisely what gives it staying power. It is a small, clever, emotionally observant recording from a crucial moment in the band’s history. Beneath its bright chords and steady beat is the suggestion that every performance eventually ends, especially when the heart is ready to speak honestly.
For longtime Creedence fans, the song offers a rewarding look at John Fogerty’s early craft and the band’s evolution from the Golliwogs into a defining force in American music. For newer listeners, it provides an accessible entry point into the group’s formative years. The unusual “T. Spicebush Swallowtail” credit, the Coast Recorders session, and the 1967-to-1968 name change all add to its sense of mystery.
Ultimately, “Call It Pretending” is more than a forgotten B-side. It is a musical document of reinvention, delivered with a wink and a deceptively sunny arrangement. The song understands that honesty does not always arrive with thunder. Sometimes it appears in a bright chord, a steady pulse, and a quiet realization that pretending has finally run its course.