John Fogerty
Blue Moon Swamp

John Fogerty has had a scattered career, but the quality of his work has always seemed to measure up with the time he spends on it. Since his days with Creedence Clearwater Revival, which came to a sceeching halt in and around 1971, his overall output has been minimal. This was partially due to his bitterness toward his former record company, who, he claimed, robbed him of the rampant royalties to such radio tender as "Proud Mary," "Down on the Corner" and "Who'll Stop The Rain."

After drifting off with the BLUE RIDGE RANGERS, he spent a good 10 years putting together 1985's CENTERFOLD -- an album reminiscent of the CCR sound, however, true to the man largely responsible for that sound. It went straight to number one, spawned a number of singles and accompanying videos, and re-introduced the world to the talents of John Fogerty. Two years later, he followed it up with a surreal EYE OF THE ZOMBIE, a dodgy attempt to incorporate himself within the 80's slipstream, ala Winwood, Clapton and Joe Cocker.

To promote the album, Fogerty hit the road for the first time in some 15 years -- supported by a group of uninspired studio hacks, withholding any and all Creedence tunes (he didn't want to pay for the performance rights). Somehow, it seemed like a missed opportunity, and a daunting disappointment to the fans who put him back on the charts. After the tour, he fell out of the ranks, confining himself to a state of rock and roll celibacy, occasionally surfacing for jam sessions at Hall of Fame induction dinners and Hollywood underground raves.

The issue of Creedence Clearwater Revival ever reassembling was clearly put to rest when the band was, itself, inducted at one such dinner in 1994. Blowing off bassist Stu Cook and drummer Doug Clifford, Fogerty went on to kick in with Bruce Springsteen and Robbie Robertson. He probably would have allowed his brother Tom to sit in, but he's been conveniently dead for the past 5 years.

This year, both Fogerty and his former CCR cohorts have headed back into the spotlight. Cook and Clifford are now touring the country under the name Creedence Clearwater Revisited -- playing fairs, Vegas, Bar Mitzvahs and anywhere else in need of a reasonably decent CCR copy band. How pathetic can you get! Meanwhile Fogerty has hit the jackpot with what may well be his best album of the 90's. But then again, it's his only album of the 90's.

BLUE MOON SWAMP is soaking wet with years of labor and intensive care. Fogerty has reached in and pulled out a plum -- an ace from up his sleeve on each every cut -- and redeemed himself in this painlessly non-descript era of ear candy. The generous offering of country licks ("Southern Streamline" and "Blue Moon Nights") should bring back the yahoos who migrated to Garth Brooks. Fogerty indulges himself with bluesy numbers like "Joy of My Life" and "A Hundred And Ten In The Shade." And on swamp rockers like "Rattlesnack Highway" and "Walking In a Hurricane," his familiar growl and enduring guitar work demonstrate a glorious and contemporary strain -- something even the kids can relate to.

During Fogerty's 80's comeback, Sal Zantz -- the contempuous CEO of Fantasy Records, CCR's label -- apparantly brought suit against Fogerty for ripping off his own songs and putting them on CENTERFIELD (specifically the first single, "Old Man Is Down The Road"). Zantz lost.

There are a few moments on this new collection that suggest Fogerty may unconsciously cop his own licks, but Zantz' greed could hardly stand up in storm of sampling and reworked references. I have to agree with the local assessment: the guy can only sound like himself, unless he consciously makes the effort not to. And that can sometimes end careers. So what's a man to do?

For better or worse, BLUE MOON SWAMP shows the guy still has a spark for an economical melody. The voice is as sweet as honey pie. The playing is top-notch. Best of all, Fogerty has gone back out on the road mixing his solo cuts with vintage CCR material. Back to back appearances on Late Night with David Letterman indicate that the man who originally counted on flannel shirts and jeans for stage apparel hasn't lost his edge. And BLUE MOON SWAMP is representative of his ability to still write, sing and play good old, down-in-the-mud, swamp rock.

Shawn Perry

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