In the late ’60s and early ’70s, John Fogerty was rock & roll’s Voice of America. On the five Top 10 LPs and 7 straight Top Five singles that he wrote, sang and produced with Creedence Clearwater Revival from late ̵...
In the late ’60s and early ’70s, John Fogerty was rock & roll’s Voice of America. On the five Top 10 LPs and 7 straight Top Five singles that he wrote, sang and produced with Creedence Clearwater Revival from late ’68 to ’71, Fogerty recharged the scruffy, fundamental poetry of folk, country, blues & rockabilly with shredded-vocal passion, searing-guitar hooks and taut, incisive observations on the state of our democracy. The America in “Proud Mary,” “Lodi” and “Fortunate Son” was bloodied by inequity and rough justice, yet rich in promise and bound for glory, rendered by Fogerty with a reporter’s concision and a dreamer’s conviction.
Wrote a Song for Everyone is a testament to the continuing truth and power in Fogerty’s greatest hits. For this album, he has recut a dozen…
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…classics, most from the Creedence era, in dynamic collaborations with an astute cast of younger stars and kindred voices including Bob Seger, My Morning Jacket, Keith Urban, Miranda Lambert and Foo Fighters. The result is some of the best new music Fogerty has made since, well, Creedence. His singing is strong and engaged, even scalding when he goes up against Kid Rock in “Born on the Bayou,” and the current state of Fogerty’s guitar playing is summed up in his shootout with country picker Brad Paisley in “Hot Rod Heart,” from 1997′s Blue Moon Swamp. The twang flies clean and fast, as Fogerty answers Paisley’s staccato flash and whip-curl flourishes with a bracing-treble fusion of James Burton, Carl Perkins and George Harrison.
Looking back at these songs, in this company, has brought out a fire and nerve in Fogerty. He sounds as renewed in these performances as the ri ffs and stories. With the Foos, in a roaring “Fortunate Son,” Fogerty – who was drafted during the Vietnam War and spent time in the Army Reserve – trades verses with Dave Grohl with extra, howling ire, like he can’t believe the mess in Iraq and Afghanistan, made at the same dear cost. Fogerty revisits the country-dance party “Almost Saturday Night,” from 1975′s John Fogerty, with the real stuff: Urban’s tangy banjo work and saloon-brother harmonizing. And in a bold choice, Seventies-California revivalists Dawes help Fogerty resurrect a fine, lost ballad – “Someday Never Comes,” from Creedence’s last LP, 1972′s Mardi Gras – with a poignant twist. Fogerty based the song on a painful childhood conversation he had with his father. Here, in the opening verse, Dawes’ Taylor Goldsmith is the plaintive, questioning son; Fogerty plays the elder with the darker voice, dispensing the tough wisdom.
Most duet projects are awkward, unfulfilling affairs, as if the tunes and pairings were picked and cut at gunpoint. “Proud Mary” – too literally taken to New Orleans in an arrangement conducted by Allen Toussaint – is the only miscalculation here, and that’s because Ike and Tina Turner own the song’s mighty-water soul now. In fact, much of Wrote a Song is just a real good time, especially the country action: the Paisley and Urban tracks; the obvious fun Fogerty and Zac Brown Band have with the jaunty warning of “Bad Moon Rising.”
Fogerty, who arranged and produced the album, also has a sharp ear for emotional harmony. Seger’s appearance in “Who’ll Stop the Rain,” from 1970′s Cosmo’s Factory, is a revealing match. The two road soldiers share the chorus in weathered empathy, to a Silver Bullet Band-style arrangement that makes you wonder if Seger used to cover the song at Michigan club gigs. Fogerty lets My Morning Jacket bend another Cosmo‘s song, “Long as I Can See the Light,” to their drowsy-country ways – it fits them, and him, like a ranch hand’s glove.
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