When she became very famous, she had a very different voice than someone like Kitty Wells, a voice that was perhaps more built for opera or jazz. So many of the great artists break those barriers altogether. There are so many ways for an artist to be authentic and so many different ways for an artist to impact the genre or the style that they operate in. I have an interest in other people’s discussions about authenticity. To me as a writer, and a music fan, I don’t really have any interest in discussions about authenticity. That doesn’t even account for The British Invasion, what the Rolling Stones and the Beatles brought to their American influences and their audiences. Then we can say a young Jewish boy from Hibbing, Minnesota, can make some of the most meaningful contributions to folk and blues music that anyone did in the 20th century. and in a Black milieu, obviously created some of the greatest and most revered orchestrations in a mainstream orchestral sense that the United States has ever seen. We can say Duke Ellington, who grew up in poor Washington, D.C. I think we have examples from all genres of players who do not come directly or “authentically” from the traditions that they enter into, and end up making incredible, meaningful contributions to those traditions. He was also very much influenced by country music and singers there who clearly come out of a crooning type of background than a raspy howl like he was known for. It is shown by his immediate post-Creedence project, the Blue Ridge Rangers. It was about really a different kind of expression. It wasn’t about coming across as a Southerner or a Black singer or borrowing those fields. “A Song for Everyone” is so important to that because it was one of the first times he really slowed the tempo down and wrote truly about himself, and approached a more delicate tone.
But he was also in thrall to his older brother who loved those vocal groups, doo wop groups. That’s how he got the rasp and the howl that we think of. I think he was really indebted to Little Richard and James Brown. I think of his range as a reflection of his influences, which were, foremost as a singer, black singers. John Lingan: John Fogerty had an unbelievable range as a singer, and as a songwriter and guitar player. The musical historian pondered the perpetual motion of Creedence Clearwater Revival with Den of Geek, bringing more than a nickel’s worth of thoughts on why Willy, Blinky, Rooster, and Poor Boy still make you want to tap your feet.ĭen of Geek: The description in your book made me reevaluate the song “A Song for Everyone.” Most people think just of his rasp, but tell me about Fogerty’s range? Lingan also wrote Homeplace: A Southern Town, a Country Legend, and the Last Days of a Mountaintop Honky-Tonk, about the stable of musicians groomed in West Virginia’s Blue Ridge Mountains, and its breakout country music star Patsy Cline. In conversation, Lingan also enthusiastically cites Zach Schonfeld’s Pitchfork piece, “ How Creedence Clearwater Revival Became the Soundtrack to Every Vietnam Movie,” as almost mandatory reading. Other sources include Craig Wener’s Up Around the Bend (1999), Hank Bordowitz’s Bad Moon Rising (1998), as well as unpublished memoirs of band associates. John Fogerty did not respond to the interview requests, but had already gone over the material in his 2015 autobiography Fortunate Son: My Life, My Music. The author interviewed Cook and Clifford extensively.
“They make beautiful Clearwater music, they make good rock ‘n’ roll music.” You can hear that sound, live without overdubs, in the new documentary concert film, Travelin’ Band: Creedence Clearwater Revival at the Royal Albert Hall, which is now streaming on Netflix. “I like Creedence Clearwater,” John Lennon told Rolling Stone in 1970. Songwriting lead guitarist, vocalist, and sometime sax player, John Fogerty, his late rhythm-guitar playing brother Tom Fogerty, bassist Stu Cook, and drummer Doug Clifford condensed rock and roll, soul, rhythm and blues, and country into a unique sonic blend which has become iconic rock.
HANK MARVIN STRATOCASTER FULL
The newly published A Song for Everyone: The Story of Creedence Clearwater Revival from Hachette Books tells the full 13-year story, while putting the band into a larger historical perspective. They played all the local clubs, sock hops, and school dances as The Blue Velvets and signed to a record label as The Golliwogs, before changing the name and group dynamic. But the quartet had been jamming since meeting in middle school in 1959 in El Cerrito, California. Creedence Clearwater Revival released their debut album in 1968, running through the jungle of evolving radio with a steady barrage of hits until their breakup in 1972.
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