"Epic album-closer warning of revolution and apocalypse with savagely exciting guitar solo from Fogerty." -Uncut, February 2012.I Heard It Through The Grapevine Have You Ever Seen The Rain Proud Mary Green River Down On The Corner Suzie Q Someday Never Comes Travelin' Band Lookin' Out My Back Door Fortunate Son Who'll Stop The Rain Commotion Lodi Bootleg Poorboy Shuffle Sailor's Lament Chameleon Feelin' Blue Ramble Tamble Effigy Gloomy The Working Man Sinister Purpose Graveyard Train Penthouse Pauper Porterville 45 Revolutions Per Minute, Pt. "One of John Fogerty's most haunting numbers." -Thomas Erlewine, All Music Guide. Though “Effigy” is quite a departure from the rest of the album (which also contains “Down on the Corner,” “Fortunate Son,” and “The Midnight Special”), it is a rich piece that reflects that turbulent time and yet still unsettles listeners today." -Jerry Dynes, Blogcritics, March 5th, 2010. The minor key blues, the sparse twang of the bass, and Fogerty’s blistering guitar solos all contribute to an atmosphere that is haunting, probably more so than any other Fogerty song. "Regardless of the true meaning, the song itself sounds eerie and, despite limited lyrics, is able to stretch out its themes over six minutes. The lyrics tell a very interesting tale of revolution.
The tone of John’s guitar is more ragged-sounding, like Neil Young, and Doug’s drums are more prominent. "It sounds more like the music coming out of the San Francisco scene at the time. It makes the riff more memorable and fits the mood of the song melodically and lyrically." - Jimmy, Sputnik Music, April 19th, 2006. It seems to be a normal chord progression until out of nowhere a louder note gives the riff dissonance. The main guitar riff has a wonderful surprise that makes me smile every time I hear it. It is more downcast and haunting than Fortunate Son is. ""Effigy" is the other politically charged song on the album. "- another political song whose lyrics aren't quite as good as the previously recorded "Bad Moon Rising," but whose catchy circular chord progression concludes the album on a can't-get-out-of-your-head note." -Ed Ward, liner notes of the 1989 CD release of Willy and the Poor Boys. A true tour-de-force to close a classic Creedence album. The song drips with angst and emotion, nowhere more so that in the passionate guitar solo passages, which again feature Fogerty harmonising with himself at times via a second guitar track. "Effigy" has a number of classic Fogerty trademarks in the arrangement, but one seldom used is the use of a harmony vocal track throughout the entire song behind the lead vocal, using his own voice. The song also illustrates John' Fogerty's affinity for "spooky"-themed songs. Gleason, Interview with John Fogerty, The Rolling Stone, February 21st, 1970). He had the idea for "Effigy" already in 1967 (Ralph L. It took 2-3 years for John Fogerty to assemble the song. The phrase "silent majority" was most likely borrowed from labor leader George Meany who in 1967 asserted that those labour unionists (such as himself) who supported the Vietnam War were "the vast, silent majority in the nation" or vice-president candidate Spiro Agnew who said "It is time for America's silent majority to stand up for its rights -" on May 9, 1969.
The lyrics refer to the old practice of burning likenesses of community figures or leaders to express displeasure. The 6-minute composition is a commentary about the political environment of the late 60's. “Effigy” finishes the B-side of the Willy and the Poor Boys album by Creedence Clearwater Revival.
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