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Rock - Released September 29, 1986 | BMG Rights Management (US) LLC

He may have taken a decade to cut his third album, but John Fogerty wasted no time in delivering a sequel to his blockbuster 1985 comeback Centerfield, rushing Eye of the Zombie into stores in 1986. Eye of the Zombie bears every mark of being a rush job from this notorious rock & roll perfectionist, containing only a couple of songs that rival those on Centerfield -- chief among them is the doomy groove “Change in the Weather,” a tune he later salvaged with a stripped down re-recording on 2009’s The Blue Ridge Rangers Rides Again -- but what really sinks the record is its absurdly synthesized production, a clanking, cavernous collection of keyboards, squealing controlled distortion, and conflicting drum programs. To a certain extent, this unpleasantness may be intentional because at its core Eye of the Zombie is a very angry album, finding Fogerty railing against all manners of ‘80s evils, whether it’s crass consumerism, blaring headlines, or the violent policies they chronicle. Instead of pairing this doom to some swampy choogle, Fogerty sets it to too-tight synth rhythms and encases it in glassy production that not only is the antithesis of his rage, it undoes otherwise amiable cuts like the seemingly sunny soul-pop “Knockin’ on Your Door.” Track for track, it’s a misfire of staggering proportions, one that halted Fogerty’s comeback and sent him back into seclusion for another decade. © Stephen Thomas Erlewine /TiVo
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Rock - Released November 8, 2019 | BMG Rights Management (US) LLC

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Rock - Released November 20, 2020 | BMG Rights Management (US) LLC

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Rock - Released June 29, 2010 | BMG Rights Management (US) LLC

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John Fogerty pulled himself out of the game sometime after his 1976 album Hoodoo failed to materialize and he sat on the bench for a full decade, returning in the thick of the Reagan era with Centerfield in 1985. For as knowingly nostalgic as Centerfield is, deliberately mining from Fogerty’s childhood memories and consciously referencing his older tunes, the album is steeped in the mid-‘80s, propelled too often by electronic drums -- the title track has a particularly egregious use of synthesized handclaps -- occasionally colored by synths and always relying on the wide-open production that characterized the ‘80s…plus, there’s no denying that this is the work of a middle-aged baby boomer, romanticizing TV, rockabilly, baseball, and rock & roll girls. Since Fogerty always romanticized a past he never lived, these sepia tones suit him but it also helps that he’s written a clutch of terrific songs: that giddy ode to his beloved game, the equally sunny rocker “Rock and Roll Girls,” the snappy Sun tribute “Big Train from Memphis,” the gently swaying “I Saw It on TV,” the rip-roaring “I Can’t Help Myself” (only slightly undone by its hyper-active drum programming) and, of course, “The Old Man Down the Road,” a callback to CCR’s spooky swamp rock so successful that Saul Zaentz, the then-president of Fogerty’s former label Fantasy, sued John for plagiarizing himself. Of course, Zaentz’s ire was likely piqued by Fogerty baiting the record label president on no less than two songs on this slim, nine-track LP: Fogerty howls against “Mr. Greed” and taunts that “Zanz Kant Danz but he’ll steal your money,” a potshot so direct he had to retitle it “Vanz Kant Danz” on subsequent pressings. Perhaps Fogerty’s anger is justified -- he had to give up his rights to CCR songs as a condition of leaving Fantasy -- but it’s not articulated well in song, adding a slight unwelcome sourness to an album that’s otherwise a cheerful, glorious comeback. © Stephen Thomas Erlewine /TiVo
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Rock - Released November 17, 2017 | BMG Rights Management (US) LLC

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Listening to the easy roots rock shuffle of Blue Moon Swamp, it's hard to believe that it took John Fogerty a full decade to write and record the album. It's not just because the album isn't a great stylistic departure from his past work, it's because Blue Moon Swamp sounds so natural and unforced. Nothing on the album sounds fussy, nor does it sound like a meticulous reconstruction of the past. Instead, Fogerty's songs and performances are richly evocative of tradition, but they're vibrant and living for the present, which makes the rockabilly, blues, country, and swampy rock & roll sound fresh. It's not as raw or as hooky as Creedence Clearwater Revival, nor as pop-oriented as Centerfield, but it's a warm, laid-back, and mature record of roots rock at its very best. © Stephen Thomas Erlewine /TiVo
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Rock - Released May 28, 2020 | BMG Rights Management (US) LLC

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Rock - Released November 8, 2019 | BMG Rights Management (US) LLC

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50 Year Trip: Live at Red Rocks is designed as a celebration of John Fogerty's life in music, its anniversary date pegged to the release of Creedence Clearwater Revival's first album in 1968. This specific album is tied to a concert film shot at the celebrated Colorado venue on June 20, 2019, and it features a strong set list covering all of his CCR and solo signatures. Fogerty is playing with a seasoned supporting band so the performance is tight; even when the group stretches out -- which they do on "The Old Man Down the Road," "I Heard It Through the Grapevine," and "Keep On Chooglin'," the latter being the lone surprise in the set -- they never miss a mark. The precision may mean 50 Year Trip: Live at Red Rocks lacks spontaneity, but the album does showcase Fogerty at the height of his showmanship. He performed at Red Rocks to entertain the crowd by playing the hits, and what worked in concert works on record, too. © Stephen Thomas Erlewine /TiVo
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Rock - Released June 9, 1998 | BMG Rights Management (US) LLC

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Upon its release in the spring of 1997, John Fogerty's long-awaited comeback album Blue Moon Swamp was lavished with praise -- it didn't become the crossover hit that Centerfield was, but it earned great reviews and a solid cult audience. Furthermore, his tour -- his first ever to feature classic Creedence material -- was, if anything, even better received than Blue Moon Swamp, so it made some sense that he quickly released Premonition, his first solo live album, in 1998. Premonition is frighteningly good -- Fogerty doesn't sound like a veteran rocker, he sounds nearly as powerful as he did on old Creedence live shows. He also sounds more mature, bringing increased depth to his older songs as he energizes recent material, from "The Old Man Down the Road" to "Swamp River Days." Premonition is essentially the province of dedicated Fogerty fans -- there's only one new song, and the differences in the live performances are things only the hardcore will spot -- but they'll be delighted with the quality of the music. © Stephen Thomas Erlewine /TiVo
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Rock - Released January 1, 2006 | Fantasy Records

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The Long Road Home: In Concert is a double-CD companion piece to the live DVD of the same name released in the summer of 2006. Appearing a couple months after the DVD, the CD has the same tracks in the same sequencing as the DVD, capturing the September 15, 2005, concert at the Wiltern Theatre in Los Angeles in its entirety. In either incarnation, this is one terrifically entertaining performance, a spirited stroll through Fogerty's back catalog inspired by his excellent 2005 compilation, The Long Road Home, which was the first collection to contain music from both his years as Creedence Clearwater Revival's leader and as a solo act. Although the original recordings, particularly the CCR sides, remain definitive, the concert in a way makes a stronger argument than the comp for the common threads within Fogerty's body of work, since the newer tunes sit side by side with the classics, all performed by his crackerjack band featuring guitarists Bob Britt and Billy Burnette. Here, recent songs like "Hot Rod Heart," "Rambunctious Boy," and "Déjà Vu (All Over Again)" fit comfortably alongside "Green River," "Lodi," "Centerfield," "Fortunate Son," and "Proud Mary," among other Fogerty standards, because there is no difference in the sound of the recordings; it's just this terrific band playing, and the crisp and muscular performances illustrate that there's not a great difference between the rockabilly of "Blue Moon Nights" and "Looking Out My Back Door." That small but important revelation is what makes The Long Road Home: In Concert, in either its video or audio incarnation, a cut above the average live album. © Stephen Thomas Erlewine /TiVo
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Rock - Released January 1, 1984 | Fantasy Records

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The Long Road Home: The Ultimate John Fogerty/Creedence Collection is the first compilation to feature both Fogerty's classic Creedence Clearwater Revival hits and his solo recordings of the '80s and '90s. This was released on the occasion of his return to Fantasy Records, the label where he began his career, in 2005. He may have started his recording career there, but he had a bitter falling out with the label's owner, Saul Zaentz, in the '70s, which lead to lawsuits -- most notably, Zaentz sued Fogerty for plagiarizing himself -- and a self-imposed embargo on Fogerty performing CCR material, since that music evoked too many bad memories. In 2005, Zaentz was no longer with Fantasy and the label courted Fogerty with an offer, which he eventually accepted, with The Long Road Home being the first release in the new contract. Weighing in at 25 songs, this has most, but not all, of the big CCR/Fogerty songs and most, but not all, are in their original studio hit versions. A handful of songs are presented in live versions -- "Almost Saturday Night" and "Rockin' All Over the World" from his 1975 solo debut, "Bootleg," "Hey Tonight," "Keep on Chooglin'," and "Fortunate Son" -- and some of these are quite good (particularly the recent 2005 recordings). Also, there are a couple of songs that are hard not to miss -- not album tracks like "It Came out of the Sky," but charting singles like "Commotion," "Long as I Can See the Light," and "Rock & Roll Girls." That said, all these complaints amount to nitpicking, since this does have the great majority of Fogerty's best and biggest songs, and the collection is enormously entertaining. It's not just a good summary and introduction, but it's proof positive that Fogerty is one of the greatest songwriters of the rock & roll era. © Stephen Thomas Erlewine /TiVo
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Rock - Released September 21, 2004 | BMG Rights Management (US) LLC

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John Fogerty is many things, but predictable is not one of them. His solo career has proceeded in fits and starts, with waits as long as a decade separating solo albums, and when the records did arrive, they could be as brilliant as Centerfield or as bewilderingly misdirected as Eye of the Zombie. There was no telling what a new Fogerty record would bring, but perhaps the strangest thing about his sixth studio album, 2004's Deja Vu All Over Again, is that it's the closest thing to an average, by-the-books John Fogerty album that he's released in his solo career. Unlike its immediate predecessor, the Southern-obsessed Blue Moon Swamp, there is no unifying lyrical or musical theme, nor was it released with the comeback fanfare of that 1997 affair. Instead, Deja Vu slipped into stores in September of 2004, and its sound was as low-key as its release. Fogerty handled the arrangements and production, and while it was recorded in a professional studio in L.A. with studio veterans like drummer Kenny Aronoff and mixed by Bob Clearmountain, the album retains a homemade feel, largely because the songs are so simple and modest. Deja Vu has a little bit of everything that fits into Fogerty's signature style -- revamped rockabilly ("Honey Do," "Rhubarb Pie"), swamp rock ("Wicked Old Witch"), old-fashioned rock & roll ("Sugar-Sugar (In My Life)"), choogling minor-key jams ("In the Garden"), sweet country-tinged acoustic tunes ("I Will Walk With You"), even a protest song in the vein of "Have You Ever Seen the Rain" (the title track, a truly effective effort in drawing parallels between Vietnam and the Iraq war). While the sound on these is a little too polished, these are enjoyable songs which are somewhat undercut by a handful of cuts that recall the flailing cluelessness of Eye of the Zombie: the empty hard rocker "She's Got Baggage," the odd disco/new wave vibe of "Radar," and "Nobody's Here Anymore," where Fogerty sounds like an old fogy as he despairs about disconnected computer geeks with "a stash of Twinkies" and a bored kid in a classroom "listenin' to the rock star on a CD," when he'd be more likely to listen to rap on his iPod. These songs amount to minor bumps on a record that's otherwise pretty smooth sailing -- a relaxed, friendly collection of songs that reside comfortably within Fogerty's signature sound. At its core, it's more of a collection of songs than a unified album, and these songs are enjoyable, but modest. Apart from the title track, there are no major statements here, but there's enough craft and spirit to ensure that most Fogerty fans are bound to find several songs to actively enjoy on Deja Vu All Over Again. © Stephen Thomas Erlewine /TiVo
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Rock - Released January 1, 2013 | Vanguard Records

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For a good portion of his solo career, John Fogerty refused to play any of his old Creedence Clearwater Revival songs -- not because he hated them but because he was tied up in a nasty legal battle with Saul Zaentz, the head of his former record label Fantasy. After a few decades, Fogerty's position softened and he started playing the tunes in concert, then, after Concord purchased Fantasy in 2004, he celebrated CCR, first with a new hits compilation combining his old band and solo work, then eventually working his way around to Wrote a Song for Everyone, a 2013 album where he revisits many of his most popular songs with a little help from his superstar friends. Savvy guy that he is, Fogerty doesn't place all of his chips on one bet: he mixes up rock and country, old and new, dabbling just a bit in R&B and alternative folk, but preferring to stick to a tastefully weathered roots rock that suits him well. Curiously, there is very little swamp rock to be heard here -- Kid Rock yowls through "Born on the Bayou," but that only helps it sound like it's coming straight out of a trailer -- and the song choice, along with the guest list, skews toward country; with Bob Seger singing "Who'll Stop the Rain" and My Morning Jacket easing back on "Long as I Can See the Light," which leaves just the aforementioned son of Detroit stomping through the bayou, and the Foo Fighters lumbering through "Fortunate Son" as pure rock & roll. Heavy as they are -- and they are, substituting volume for swing -- they're overshadowed by never-ending country-rockers, some spirited enough to enliven familiar melodies, some so sober the whole proceeding winds up seeming a bit po-faced. At worst, this means Wrote a Song for Everyone is no better than generic -- it's hard to identify Keith Urban as the duet partner on a too-smooth "Almost Saturday Night" -- but a few of the guests stamp their own identity on the cover, whether it's Brad Paisley twisting "Hot Rod Heart" (the only cover here that can't be called a hit, as it's pulled off Fogerty's acclaimed 1997 LP Blue Moon Swamp) toward his twanging Telecaster territory, or Miranda Lambert stealing the title track from her host and guest guitarist Tom Morello. All of this is enjoyable but it's rarely compelling, as very few songs play with the original arrangement in any serious fashion (Zac Brown Band's untroubled "Bad Moon Rising" is the exception that proves the rule). It's telling that the lasting moments arrive either when Fogerty unveils two solid new solo songs -- "Mystic Highway" and "Train of Fools" -- or when he leads his sons through the terrific, bluesy choogle of "Lodi," turning the lament into a celebration. All three cuts prove that Fogerty, no matter how much fun he's having elsewhere on the record, doesn't need any guests to sound alive. © Stephen Thomas Erlewine /TiVo
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Rock - Released October 1, 2020 | BMG Rights Management (US) LLC

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Rock - Released October 23, 2020 | BMG Rights Management (US) LLC

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Rock - Released June 8, 2018 | BMG Rights Management (US) LLC

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Rock - Released November 13, 2020 | BMG Rights Management (US) LLC

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Blues - Released August 26, 2016 | Concord Records

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Rock - Released October 25, 2019 | BMG Rights Management (US) LLC

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Rock - Released October 25, 2019 | BMG Rights Management (US) LLC

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