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John Fogerty - Revival
| Allmusic |
| Not long after the 2004 release of his fifth solo album, Deja Vu All Over Again, John Fogerty parted ways with DreamWorks -- but perhaps a more important label development for the singer/songwriter was that his old home Fantasy Records, the place where he cut all his classic Creedence Clearwater Revival albums, was sold to Concord Records. He had a longstanding feud with Fantasy and its head, Saul Zaentz, but Concord sought to make amends with Fogerty, quickly signing him to the label....full text |
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| Boston.com |
| This album is not just a revival, but a complete rejuvenation for John Fogerty. It's easily his best solo record, and what makes it so special is that he embraces his swamp-rocking Creedence Clearwater Revival days. He's even back on Fantasy Records, which released the original CCR discs before Fogerty broke away after a nasty legal fight with them. Fogerty comes full circle in the telling "Creedence Song," where a fellow in a diner makes a jukebox request: "You can't go wrong if you play a little bit of that Creedence song." Fogerty is back on his game, whether it's his rockabilly licks on "It Ain't Right" (an attack on celebrity suck-ups) or the political fire of "I Can't Take It No More," where he rips George Bush's handling of Iraq. Fogerty also laments Hurricane Katrina relief efforts on "Long Dark Night," but expresses hope in the idealistic "Don't You Wish It Was True" and his hippie homage, "Summer of Love." It's a joy to see Fogerty this confident again. [Steve Morse}...full text |
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| Thephoenix |
| One of the longest-running feuds in rock-and-roll history — Fogerty’s battle over the ownership of his classic Creedence Clearwater Revival songs with the Fantasy label — came to an end in 2005. This is the first new album kindled by the reunion of the singer/guitarist and his old imprint, and it does fit the mold of great Creedence LPs like Green River, albeit without quite the terse energy. Fogerty’s pointed politics remained unchanged: “Gunslinger” and “Long Dark Night” tilt at American isolationism and the Bush regime, and his guitar chops rip to the fore in the roaring social critique “Summer of Love,” which nods to Cream....full text |
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