John Fogerty (JOHN FOGERTY)

This material, including an interview with J. Fogerty magazine GuitarWorld, appeared in 1997 and was dedicated to his new (at that time) solo album Blue Moon Swamp.
So, Fogerty is back. Album Blue Moon Swamp (1997, . Warner Bros.), . released after the previous poluprovalnogo Eye of the Zombie, . should restore the reputation of a musician in the eyes of his incorrigible fans, . are proud, . that flannel shirts in vogue is not in Seattle, . and not by Neil Young, . and with a light hand (or, . more precisely, . back) man, . who sang "Born on the Bayou, . "" Proud Mary "and" Green River. ",

. Blue Moon Swamp will not disappoint loyal fans Fogerty
. 52-year-old rocker has not lost its former primer - the new album contains all the much-loved by many features of style Fogerty - energy of his music, . manifested in such things, . as "Southern Streamline" and "Bring It Down to Jelly Roll, . "Short and meaningful solos, . and of course, . least a few softened, . but painfully familiar husky vocals John,
.

But first, a brief solo career about the whole J. Fogerty, which began after the collapse of Creedence. In general we can say that it continued in the same direction as it was in CCR. In 1973 Fogerty released his first solo album, The Blue Ridge Rangers - album in country style that consists entirely of cover versions, where John played all the instruments. In the commercial for this work, had no success. Two years later, on Asylum Records, he released his self-titled album, John Fogerty (1975), again, performing all the parts on it. Although the album had two really shock hit, "Almost Saturday Night" and "Rockin 'All Over The World," and he failed. Nevertheless, the commercial aspect of the matter is not to say the music quality of these works.

Then came the first of a series of great periods of silence John Fogerty. It took ten years for his return to creativity, however, is very impressive - in 1985 with the album Centerfield, dispersed two million copies. Manifestation of true generosity to his fans can see the release of John Fogerty's next album "only" a year. This is the Eye of the Zombie (1986). Unfortunately, the album did not have a clear focus, and was poor in the catchy guitar parts, so characteristic of Fogerty. He also mastered the failure, and the next has already become only Blue Moon Swamp.

However, after the release of Eye of the Zombie Fogerty first time in many years, went on tour. But, unfortunately, it is not included in any of the things Creedence. This was explained by the fact that in 1975, to move to another label, he had to abandon all income on copyrights, leaving them for Fantasy. Such were the appalling conditions of thirty years of the contract, which the president Fantasy, Saul Zaentz, forced the group back when they were nobody knows. And though no one to execute the things prohibited Fogerty Creedence, brought him worldwide fame, he did not do so for reasons of hostility to the current owners of the rights to them.

But time heals wounds, and after more than a decade, touring is in support of the Blue Moon Swamp, Fogerty once again performed his famous things, and on the basis of these performances was released a live album Premonition.

INTERVIEWS

GW: How did your new album had to wait eleven letN

Fogerty: I want to ask you: Who said that the need to produce discs chascheN (laughs) In fact, it has been a lot of time. But this time I was distracted by a lot of work - both associated with the music, and other things. Releasing Eye of the Zombie (1986), I decided to tackle all outstanding issues between me and Fantasy Records, me and the rest of the Creedence. I spent a good three years to this venture, but to no avail.

GW: It was legal voprosyN

Fogerty: Yes. I wanted to Saul Zaentz sat behind me at the table and we settled our differences. His broker I chose promoter Bill Graham. Both sides were very lengthy and detailed discussions in the summer of '89. After this Bill for a long time discussing all telephone conversations, but in the end nothing came. All my efforts were in vain, and Saul Zaentz has reviewed all of what we have tentatively agreed. I gave him a large sum, and Bill was beside himself with this.

GW: That explains your silence of the time. Did you also dissatisfied with the music, which is composed or zapisyvalN

Fogerty: The trouble that happened with the '86 to '91, have complicated the process of writing songs. This is not a natural flow. During communication with Saul Zaentz, when I even regretted that call, there were days when I fell into a rage.

GW: What finally helped you get rid of etogoN

Fogerty: When still in progress, I had some reason to urgently go to Mississippi. I went there six times in '90 and '91.

GW: You ever been there ransheN

Fogerty: Never. When I was growing up, rock 'n' roll was not there, and I listened to two radio stations operating in the Bay area, San Francisco, which spun a lot of rhythm & blues, so I've heard in a large number of real blues - Muddy Waters, Howlin 'Wolf, Lightnin' Hopkins. I learned about the blues suschestovanii earlier than about any other music, perhaps only the exception of the classical. Then I became acquainted with country music - it was called "country-western-end", and with pop music, performed Patti Page and others. But the blues touched me the most, and I very much listened to him.

GW: What kind of insight you then felt and how it impacted on your return to muzykeN

Fogerty: Well, my knowledge of this music gradually evolved. There were so many names that I have not heard before, such as Charley Patton (the early Delta blues singer). I'm ashamed to admit this, but apparently, his records were not widely available. I first read about it, but a couple of months later learned that his records are preserved. For me, it was also incredibly, . as if Moses-read their scrolls of the Dead Sea on digital media or something like that! "So I can poslushatN About, . God! "And when I finally heard Patton, . He reminded me of Howlin 'Wolf, . which is strongly influenced me,
. For example, when I wrote "Run Through the Jungle," then imitated Hauling Wolfe, and Hauling Wolfe knew about Charlie Patton!

. GW: It's true that you worked hard on his game during the break between albums Eye of the Zombie and Blue Moon SwampN

. Fogerty: Yes
. This was facilitated by my trip to Mississippi. They spodvigli me to write the song "110 in the Shade." ( "110 degrees in the shade"). When I started recording the album, I was ready five songs. The sixth, "110:" I wrote two months later under the influence of his stay in Mississippi. Once I got there in the heat, it was about 110 degrees (F), and on me was a black clothes - and this song was born. When I completed it already here in southern California, I thought: "Damn, cool." But then I decided that requires there to be something else, namely botlnek. So I returned home a year all the time practicing the game with a slide. I tuned the guitar in D, and practiced, practiced and practiced. After a year where I have become pretty well, and I came to the studio and decided to try to play slide in this thing. But when I listened to myself, I thought: "This is not. I have heard in his head, another sound. "It turned out that what I heard, it sounds good guitar. So I put botlnek, took his old good, which is not touched for twenty-five years, and started as a madman.

I just zafanatel. I woke up three nights, went to his room and studied, worked and studied. I spent three years learning to play the way I wanted. I could not write "110 in the Shade", but the good has been instrumental in my return, in addition to its use in this song.

All these studies opened the door to me in undiscovered. When I was 14, . I looked with admiration on Chet Atkins, . Scotty Moore, . James Burton and said to himself: "When I Grow Up, . I want to be like them - very, . very good musician. "The problem was, . I became known earlier, . than a good guitarist,
. I paid more attention to songwriting than playing the instrument. Then came the trouble, and I lost my enthusiasm. I must admit that afterwards I do not progressed as a guitarist. I played the same thing, sometimes even a little worse, and did not learn anything new for almost twenty years - from 1970 to 1990.

GW: You also produced albums Creedence even when it was not commonplace - the artist producing their own records. How poluchilosN

Fogerty: We recorded at the tiny company, Fantasy Records, having no money, and it was necessary that someone did this work. I had to, otherwise it would be no one.

GW: At the time it was fashionable to release albums with a grandiose sound, the. However albums Creedence sound very simple. In the same spirit is made, and your new album Blue Moon Swamp. Do you like the producer has ever been tempted to make a feature-rich albomN

Fogerty: I even joked about it. I realized this syndrome early in our careers, when the "Suzie Q" and "I Put a Spell on You" became hits. When we came to the studio RCA, to record the Bayou Country, for us lay the burden of responsibility of the second step. You're in the spotlight, and a reputation to maintain, or permanently out of the game. Sometimes I think it's better to be unknown in the beginning of a career, then you at least have the opportunity to quietly develop. Once you know, and you begin to talk, you're lost. So I joked: "Well,. On the previous album, we played four musicians, so now there should be eight, and the next - sixteen!

All of these excesses in producing seems to me quite funny. That does not make the album better. With age, I am inclined to the more. Blue Moon Swamp is a confirmation of this idea. There is dominated by one line, which means that it must be correct, must be strong enough to keep the whole song. If you add, say, wind, it could dilute the effect of.

GW: Your solo Creedence differed economy and tunefulness.

Fogerty: Yes, they can even sing. Once Duane Eddy told me a story that I think it would be appropriate to bring, as he also likes to play very simple. It says the man who painted vases, drawing them all in one simple line. With it also worked the two young assistants, who drew a lot of lines on each vase. Once this master said: "Listen, your helpers should receive more because they draw more lines." But he replied: "No. My line has to be absolutely correct, since it is only one. And they have a lot of lines, and it is difficult to determine whether drawn each of them correctly. "We Duane laughed at such a comparison. Our game is so simple that it really pay attention, so much better that everything in it was correct. "

. On one particular play John Fogerty

. When it comes to playing the guitar with the system, lowered down to the tone or more, many are primarily associated with the modern styles of methyl
. Interestingly, the musician, whom he certainly can not be attributed to these styles, even thirty years ago, frequently used this setting. John Fogerty resorted to it, because he liked it more colorful sound descended open strings. He used this setting in many songs. In "Bad Moon Rising," for example, he plays fingerings peculiar tone E, while the other musicians of his team played in the D. This allowed Fogerty is more natural to play it solo in the second and third verses in the style of Scotty Moore, it would be difficult in a standard configuration.