John Fogerty will simultaneously look back and charge ahead on his forthcoming studio project Wrote a Song for Everyone, due this fall from Vanguard Records.
The project is expected to include classic songs and deep cuts from his time with Creedence Clearwater Revival, and his solo work, alongside new songs that will feature guest turns by the likes of the Foo Fighters, My Morning Jacket, Dawes, Miranda Lambert, Bob Seger and others. The complete listing of tracks and guest artists is yet to come.
Fogerty is currently on tour in Australia, where he has been performing a pair Creedence albums in their entirety each night. In Melbourne, it was Cosmo’s Factory; in Adelaide, he performed Green River — calling it his “favorite album of that time.” Fogerty heads to Sydney tonight, where he’ll again play Green River.
1969’s Green River, CCR’s third release, included “Bad Moon Rising,” the title track and “Lodi,” spending three weeks atop the Billboard 200. 1970’s Cosmo’s Factory would go four-time platinum on the strength of songs like “Travelin’ Band,” “Who’ll Stop The Rain,” “Run Through The Jungle,” “Up Around The Bend,” “Lookin’ Out My Back Door” and the band’s epic reworking of the Motown favorite “I Heard It Through The Grapevine.”
Here’s a look back at our recent thoughts on John Fogerty, My Morning Jacket and the Foo Fighters. Click through the titles for more:
“LONG DARK NIGHT,” (REVIVAL, 2007): Slowly but surely — quite literally, as we found out — John Fogerty has been rebuilding his hall of fame legacy as the chief architect of the Creedence Clearwater Revival sound. After spending a lengthy period away from music, and running through a truly amazing number of drummers, Fogerty finally settled on Kenny Aronoff — and the two have worked together through six albums (four of them studio efforts) since 1997. Fogerty even tried to learn the drums himself, practicing “for 10 years, four hours a day,” Aronoff says, “before he realized that he couldn’t do it all — and that’s why he hired someone like me.” They share a raging passion for music, down to the very last detail. That translates into marathon recording sessions, as Fogerty takes his band through take after take after take until the sound is just right. Those long dark nights eventually paid off, as Revival earned a No. 11 nod in Rolling Stone’s list of the Top 50 albums of 2007 and a Grammy nomination for best rock album in the 2008.
SHOWS I’LL NEVER FORGET: MY MORNING JACKET, MAY 20, 2011: With the evening sun creeping downward into the Gulf, Jim James and company took the stage and opened with something that seemed unfamiliar to my ears. Slow chilling guitar turned to screaming vocals and riffs in “Victory Dance.” I have to admit at the time I didn’t really get it, but after the lead into “Circuital,” I felt this was genuine My Morning Jacket. Both of those opening tunes had not yet been released, as MMJ’s sixth album titled Circuital would come out the following Tuesday. “Circuital” creeps into your ears subtly, with a noticeable bass line — and the first verse is almost lightly hummed by James. But when it breaks, it’s as if the song takes flight and sends the listener soaring through a wormhole.
FOO FIGHTERS – WASTING LIGHT (2011): This is a big album. Foo Fighters blew up years ago, making themselves a household name, but for the first time it feels like maybe they’ve created something beyond themselves, something so surprisingly good that it should be almost a crime to dislike. Maybe that’s an overstatement, but this feels like reinvention of what the Foo Fighters are, and a triumphant one at that.
FORGOTTEN SERIES: MY MORNING JACKET – ACOUSTIC CITSUOCA EP (2004) If anything, this small collection of live recordings puts to rest the myth that My Morning Jacket’s enchanting sounds and melodies are a product of drowning reverb over James’ voice. While, of course, the band has used the technique on many of its tracks on past albums, there have been plenty of tunes in the past where James’ incredibly versatile range just made it appear to be tampered with too much. Despite one’s feelings on the band, this amazing acoustic collection in which James’ goes solo on three out of the six tracks has the listener in awe of the Kentucky kid’s falsetto.
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