Wrote a Song for Ev­ery­one

The Weekend Australian - Review - - Music Reviews - Steve Creedy

John Fogerty

Sony MOST peo­ple’s voices get rougher as they get older but John Fogerty seems to have lost, or at least tem­po­rar­ily mis­placed, some of the gravel edge of his Cree­dence Clear­wa­ter Re­vival days. How­ever, his dis­tinc­tive voice re­mains a pow­er­ful in­stru­ment and the change in no way de­tracts from this en­joy­able romp through his back cat­a­logue with a few mates, in­clud­ing Aus­tralia’s Keith Ur­ban. It lacks the raw­ness and en­ergy of CCR but the more mel­low treat­ments are for the most part in­ter­est­ing and, of course, ben­e­fit from su­pe­rior record­ing qual­ity. The first track is an ex­cep­tion to the en­ergy rule with a bril­liant, fiery ver­sion of

For­tu­nate Son with Foo Fight­ers. It is aptly fol­lowed by an in­spired duet with Ur­ban on Al­most Satur­day

Night that high­lights the vo­cal abil­i­ties of both singers. Fogerty pro­duces some nice gui­tar licks on Mys­tic High­way and puts in an­other fine solo ef­fort on Train of Fools. There’s a nice coun­tri­fied ver­sion of Bad Moon Ris­ing with the Zac Brown Band as well as a good, rolling ren­di­tion of Born on the Bayou with Kid Rock. An in­sipid ver­sion of

Long as I Can I See the Light with My Morn­ing Jacket is the weak­est track on the al­bum, while a fas­ci­nat­ing meet­ing of styles with Bob Seger on

Who’ll Stop the Rain is more Sil­ver Bul­let Band than CCR. The al­bum ends with a com­bi­na­tion of Louisiana gospel and brass as Fogerty teams with Allen Tous­saint and the Re­birth Brass Band on a ver­sion of Proud Mary that is en­joy­able but still leaves Ike and Tina Turner reign­ing supreme.

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