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Fortunate Son: My Life, My Music
The long-awaited memoir from John Fogerty, the legendary singer-songwriter and creative force behind Creedence Clearwater Revival .
Creedence Clearwater Revival is one of the most important and beloved bands in the history of rock, and John Fogerty wrote, sang, and produced their instantly recognizable "Proud Mary," "Bad Moon Rising," "Born on the Bayou," and more. Now he reveals how he brought CCR to number one in the world, eclipsing even the Beatles in 1969. By the next year, though, Creedence was falling apart; their amazing, enduring success exploded and faded in just a few short years.
Fortunate Son takes readers from Fogerty's Northern California roots, through Creedence's success and the retreat from music and public life, to his hard-won revival as a solo artist who finally found love.
Creedence Clearwater Revival is one of the most important and beloved bands in the history of rock, and John Fogerty wrote, sang, and produced their instantly recognizable "Proud Mary," "Bad Moon Rising," "Born on the Bayou," and more. Now he reveals how he brought CCR to number one in the world, eclipsing even the Beatles in 1969. By the next year, though, Creedence was falling apart; their amazing, enduring success exploded and faded in just a few short years.
Fortunate Son takes readers from Fogerty's Northern California roots, through Creedence's success and the retreat from music and public life, to his hard-won revival as a solo artist who finally found love.
406 pages, Hardcover
First published October 6, 2015
About the author
John Fogerty
31 books64 followersJohn Cameron Fogerty is an American rock singer, songwriter, and guitarist, best known for his time with the swamp rock/roots rock band Creedence Clearwater Revival.
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Displaying 1 - 30 of 285 reviews
August 27, 2018
Having grown up during this era, and having had a garage band where one of the first songs we played was Born on the Bayou, I was a huge Creedence Clearwater Revival fan, and had all their LP's as I recall. Yet, I never was aware of the things going on behind the scenes except some of the stuff about Fantasy Records giving them the shaft by owning John's copyrights. Wow. To learn about all that background stuff was eye-opening and heart-wrenching at the same time. However, that is not what I loved about this book (actually, I got the audio edition with John reading it himself).
I absolutely loved this work. This had to be heart-wrenching for John Fogerty to even put it all down on paper, but I so appreciate that he did. I learned so much about him and he brought me into his life for a while. I listened to this over the period of about a month, savoring the little sessions I had while traveling. I couldn't wait to get back in my truck and head out somewhere.
I was fascinated by John's early recollections of how music touched him and how one led to another to another. I was amazed at how he and later his band members were playing very cheap instruments, yet making things work--trying to make the best out of what they had to work with. It helped me relate to the first two guitars I ever owned and how hard they were to play and would even be hard to play today.
I related to his early childhood because I have lived in nearby areas and so as he would say them, I knew where they were, even though many are no longer. I related to the high school scene, the high school bands, and all of that music busting out time with The Beatles bursting on the scene and the so-called British Invasion of bands, along with the San Francisco bay area bands coming up.
I related to John's naivete, and how somehow poor choices haunted him and the band, and yet at the same time, the growth of an artist and world-class songwriter emerging from the cocoon of much diversity and pain. I related to the anger and bitterness of continually focusing on the past and trying to drown it in alcohol, and other distractions. I had a hard time relating to how long he went through this period of distraction, but his principles wouldn't let go and he was more determined than anyone I've ever known to take care of it, face it, deal with it, overcome it. And he has. In spite of it, and because of it, and at the same time, learning how to put it all into perspective--a perspective of acceptance and renewal.
I related to the songwriting as I have been a songwriter. His process, focus, and influences touched that part of me. I related to his commitment to his craft and to learning to create and play music. I thoroughly enjoyed his explanation of songs he wrote and new things he tried in making music and especially his focus on improving his level of performance on stage, and improving his vocal approach to his songs in his own unique way. It is that unique voice, and unique approach to songwriting that made his and CCR's success.
There were times I would bust out laughing at some remark or something he did, and in the last third of the book, I cried so often. It's a good thing it was an audiobook as I wouldn't have been able to read with so many tears flowing. And, it wasn't the pain that I was being sympathetic to, but his coming through the fog still standing beginning a renewed life and learning how to grasp it and hold on to it. His relationship with Julie and a new family, his coming back to music after leaving it for dead, and yet at the same time, writing new great songs. It was like birth, pain, death, and rebirth in one lifetime.
This has been one of the most powerful books I have ever read and I know that I will listen to it again. Because I could relate to John and his story, I found renewed life in me. I found myself changed by this work and I am ever so grateful to John and Julie for going through the long process required to produce this delightful and encouraging review of the life and music of John Fogerty. Thank you, John and Julie for this offering. I am blessed by it.
I absolutely loved this work. This had to be heart-wrenching for John Fogerty to even put it all down on paper, but I so appreciate that he did. I learned so much about him and he brought me into his life for a while. I listened to this over the period of about a month, savoring the little sessions I had while traveling. I couldn't wait to get back in my truck and head out somewhere.
I was fascinated by John's early recollections of how music touched him and how one led to another to another. I was amazed at how he and later his band members were playing very cheap instruments, yet making things work--trying to make the best out of what they had to work with. It helped me relate to the first two guitars I ever owned and how hard they were to play and would even be hard to play today.
I related to his early childhood because I have lived in nearby areas and so as he would say them, I knew where they were, even though many are no longer. I related to the high school scene, the high school bands, and all of that music busting out time with The Beatles bursting on the scene and the so-called British Invasion of bands, along with the San Francisco bay area bands coming up.
I related to John's naivete, and how somehow poor choices haunted him and the band, and yet at the same time, the growth of an artist and world-class songwriter emerging from the cocoon of much diversity and pain. I related to the anger and bitterness of continually focusing on the past and trying to drown it in alcohol, and other distractions. I had a hard time relating to how long he went through this period of distraction, but his principles wouldn't let go and he was more determined than anyone I've ever known to take care of it, face it, deal with it, overcome it. And he has. In spite of it, and because of it, and at the same time, learning how to put it all into perspective--a perspective of acceptance and renewal.
I related to the songwriting as I have been a songwriter. His process, focus, and influences touched that part of me. I related to his commitment to his craft and to learning to create and play music. I thoroughly enjoyed his explanation of songs he wrote and new things he tried in making music and especially his focus on improving his level of performance on stage, and improving his vocal approach to his songs in his own unique way. It is that unique voice, and unique approach to songwriting that made his and CCR's success.
There were times I would bust out laughing at some remark or something he did, and in the last third of the book, I cried so often. It's a good thing it was an audiobook as I wouldn't have been able to read with so many tears flowing. And, it wasn't the pain that I was being sympathetic to, but his coming through the fog still standing beginning a renewed life and learning how to grasp it and hold on to it. His relationship with Julie and a new family, his coming back to music after leaving it for dead, and yet at the same time, writing new great songs. It was like birth, pain, death, and rebirth in one lifetime.
This has been one of the most powerful books I have ever read and I know that I will listen to it again. Because I could relate to John and his story, I found renewed life in me. I found myself changed by this work and I am ever so grateful to John and Julie for going through the long process required to produce this delightful and encouraging review of the life and music of John Fogerty. Thank you, John and Julie for this offering. I am blessed by it.
May 4, 2016
I've always felt bad for Fogerty and how he was cheated out of his own music for years. However, after reading this, I felt that maybe it was a little bit of karma.
He came across as arrogant, especially when talking about how the band knew nothing and he had to teach them all everything about music. I'm sure they knew something or they wouldn't have been playing instruments prior to meeting him.
I got so irritated with his "Me! Me! Me!" attitude that I skimmed the rest and still didn't care much.
He came across as arrogant, especially when talking about how the band knew nothing and he had to teach them all everything about music. I'm sure they knew something or they wouldn't have been playing instruments prior to meeting him.
I got so irritated with his "Me! Me! Me!" attitude that I skimmed the rest and still didn't care much.
December 28, 2015
I grabbed this audiobook from the library because I was most interested in hearing Fogerty’s story about his song rights and record label woes. At the same time, I figured it would be cool to learn more about him, his life, and CCR.
I was able to accomplish all of these things. The book certainly provided an avenue for me to become interested in checking out more of Fogerty’s music, both CCR and his solo work.
But the story of CCR and Fantasy Records is without a doubt the highlight of this autobiography. I knew it was bad. I didn’t know it was THAT bad. What’s sad is that the entire thing could’ve been avoided were it not for the band’s ignorance when they were offered a record contract by Saul Zaentz and Fantasy Records in the late 60s. Young people are naïve, and the band’s efforts to have the contract examined were not thorough. They all signed it, but it affected Fogerty the most…and still is affecting him.
It’s a crying shame that someone can get screwed like that for a lifetime. But it happened. There will always be people out there just like Zaentz who don’t care one iota about a person’s feelings or artistic integrity. Why? Because it’s a business. As soon as you start making money from your art it becomes a business. And as soon as you start involving other people in your art…band members, managers, lawyers, agents, labels…it’s ALL about the money.
What’s funny is how the word “business” is rarely used in this book.
Please don’t misunderstand me. None of this makes any of what happened okay. In fact, not owning his songs is only one of the horrible and ridiculous things that happened to John Fogerty over the years. Arguably, his band mates caused even more grief and heartache than Saul Zaentz. Even his BROTHER for crying out loud!
It didn’t surprise me at all that Tom, Doug, and Stu wound up jealous of John early and often during the CCR days. Ultimately, they destroyed the band. It happens a lot in the music industry. Honestly, here’s that word again…it happens in BUSINESS a lot. Sadly, that’s life.
One thing I have to mention – when was it, exactly, that Creedence Clearwater Revival was known as the “Number 1 Band in the World?” Look, I was born right before CCR broke up. But I’m pretty sure…umm…well, you see where I’m going.
I think it’s clear this book was written as more of a therapy session than anything. And that’s fine. My only complaint is Fogerty and his co-writer did not “timeline” the book very well, at all. It was maddeningly confusing at times for me, as the context would jump forward and backward. I mean, there WAS an overall timeline – the book started when he was born and ended at present day. But there was also so much back and forth. Maybe it’s the product of listening to an audiobook, but I have a feeling it’s not. I listened to Don Felder’s autobiography on audiobook and had no problems following the progression of his life, growth, heartache, feelings, marriages, children, etc. It’s very hard to explain, but Fogerty’s book is OFF in this regard.
But I still enjoyed it. I learned a lot, discovered more great music, and have a new respect for Fogerty because of what he’s been through.
I’d give it 3 ½ Stars if possible but because I can’t, I’m giving old John 4 Stars. He probably deserves it, right?
P.S. – I’m not touching his views on war with a 10-foot pole.
I was able to accomplish all of these things. The book certainly provided an avenue for me to become interested in checking out more of Fogerty’s music, both CCR and his solo work.
But the story of CCR and Fantasy Records is without a doubt the highlight of this autobiography. I knew it was bad. I didn’t know it was THAT bad. What’s sad is that the entire thing could’ve been avoided were it not for the band’s ignorance when they were offered a record contract by Saul Zaentz and Fantasy Records in the late 60s. Young people are naïve, and the band’s efforts to have the contract examined were not thorough. They all signed it, but it affected Fogerty the most…and still is affecting him.
It’s a crying shame that someone can get screwed like that for a lifetime. But it happened. There will always be people out there just like Zaentz who don’t care one iota about a person’s feelings or artistic integrity. Why? Because it’s a business. As soon as you start making money from your art it becomes a business. And as soon as you start involving other people in your art…band members, managers, lawyers, agents, labels…it’s ALL about the money.
What’s funny is how the word “business” is rarely used in this book.
Please don’t misunderstand me. None of this makes any of what happened okay. In fact, not owning his songs is only one of the horrible and ridiculous things that happened to John Fogerty over the years. Arguably, his band mates caused even more grief and heartache than Saul Zaentz. Even his BROTHER for crying out loud!
It didn’t surprise me at all that Tom, Doug, and Stu wound up jealous of John early and often during the CCR days. Ultimately, they destroyed the band. It happens a lot in the music industry. Honestly, here’s that word again…it happens in BUSINESS a lot. Sadly, that’s life.
One thing I have to mention – when was it, exactly, that Creedence Clearwater Revival was known as the “Number 1 Band in the World?” Look, I was born right before CCR broke up. But I’m pretty sure…umm…well, you see where I’m going.
I think it’s clear this book was written as more of a therapy session than anything. And that’s fine. My only complaint is Fogerty and his co-writer did not “timeline” the book very well, at all. It was maddeningly confusing at times for me, as the context would jump forward and backward. I mean, there WAS an overall timeline – the book started when he was born and ended at present day. But there was also so much back and forth. Maybe it’s the product of listening to an audiobook, but I have a feeling it’s not. I listened to Don Felder’s autobiography on audiobook and had no problems following the progression of his life, growth, heartache, feelings, marriages, children, etc. It’s very hard to explain, but Fogerty’s book is OFF in this regard.
But I still enjoyed it. I learned a lot, discovered more great music, and have a new respect for Fogerty because of what he’s been through.
I’d give it 3 ½ Stars if possible but because I can’t, I’m giving old John 4 Stars. He probably deserves it, right?
P.S. – I’m not touching his views on war with a 10-foot pole.
January 24, 2019
I've always been a huge Creedence Clearwater Revival fan. So much so that in my first erotic romance for Blushing Books, HOUSE ARREST, the sinister Nokichi actually "outs" himself as an evil character by laughing at John Fogerty and his music! ("Jim Morrison . . . samurai! John Fogerty . . . ham on rye!")
Unfortunately, this lengthy first-person autobiography by Creedence song writer and lead singer John Fogerty really brought out my inner Nokichi. Like big brother Alfred in LEGENDS OF THE FALL, John Fogerty is one of these people who follows all the rules ("man's rules, and God's rules") but still makes you glad the bad guys won. I mean, he's probably right that he was smarter and more talented than the other guys in Creedence, but it's really clear that he let them know it. A lot. And then when he gets outsmarted by the record label and loses all his money, he's like, "Why didn't those guys stand up for me? Why? After all the work I did for them, teaching them how to do exactly what I said on every song, making sure they didn't embarrass themselves, using my genius and superior work ethic to make them stars in spite of their own incompetence and mediocrity, still for some reason they resented me! Why, why, why?"
What makes this even funnier is that the Sixties have been over for almost fifty years and he still has the same simplistic, self-serving views on Nixon and Vietnam he had at the time. "That mean bad Nixon, he just wouldn't listen! We told him the war was stinky-poo, and he just laughed at us and said the little children had to do what the grown ups said! That's why I put that song on Willie and the Poor Boys, 'Kill The Big Bad Ogre In the Castle!' Because Nixon was the ogre, man. Always shutting the doors on his people. Always calling us bums, always telling us what to do! Man, I had to knock myself out getting the drum part just right on Ogre. And the bass part too. Doug and Stu, what a couple of bums. I had to show them every part note by note!"
Now you can't help but admire this man's street-level empathy for veterans. His sincerity about that shines through everything else. But what John Fogerty never figured out . . .
Well, put it this way.
When Kurt Cobain wrote "Smells Like Teen Spirit" he didn't want jocks and cheerleaders to like it. But of course they loved it, and it drove him crazy. But with John Fogerty, bless his innocent born-on-the-bayou soul, it's totally different. Even after forty years, he still hasn't figured out that the people who really loved "Fortunate Son" were precisely the people least likely to serve in Vietnam. That simplistic, self-pitying, poor-boy vs. the big-bad-government rhetoric he invented (with the best of intentions, I'm sure) was appropriated literally overnight by millions of affluent college kids who had nothing to fear from the draft board, and who had nothing but class-based contempt for the troops in Vietnam. And ultimately what you got twenty years down the road was a rich white feminist like Anna Quindlen (the scrappy little underdog with the Ivy League degree) waving a soiled and tattered anti-war flag while sneering that the troops in Desert Storm were "not smart, not rich, not directed enough for college." She ain't no fortunate son either, John!
This is a guy who wrote some of the most poignant, understated songs in rock history, but when it comes to his own life he has no sense of humor and no sense of irony. And it's so bizarre how I reacted to his story. All my life I've read about guys like Kurt Cobain and Jim Morrison, and I've daydreamed about how wonderful it would have been if they could have been sober, responsible, hard working guys. But now that I've read this book, I'm glad they weren't.
Jim Morrison . . . samurai! John Fogerty . . . ham on rye!
Unfortunately, this lengthy first-person autobiography by Creedence song writer and lead singer John Fogerty really brought out my inner Nokichi. Like big brother Alfred in LEGENDS OF THE FALL, John Fogerty is one of these people who follows all the rules ("man's rules, and God's rules") but still makes you glad the bad guys won. I mean, he's probably right that he was smarter and more talented than the other guys in Creedence, but it's really clear that he let them know it. A lot. And then when he gets outsmarted by the record label and loses all his money, he's like, "Why didn't those guys stand up for me? Why? After all the work I did for them, teaching them how to do exactly what I said on every song, making sure they didn't embarrass themselves, using my genius and superior work ethic to make them stars in spite of their own incompetence and mediocrity, still for some reason they resented me! Why, why, why?"
What makes this even funnier is that the Sixties have been over for almost fifty years and he still has the same simplistic, self-serving views on Nixon and Vietnam he had at the time. "That mean bad Nixon, he just wouldn't listen! We told him the war was stinky-poo, and he just laughed at us and said the little children had to do what the grown ups said! That's why I put that song on Willie and the Poor Boys, 'Kill The Big Bad Ogre In the Castle!' Because Nixon was the ogre, man. Always shutting the doors on his people. Always calling us bums, always telling us what to do! Man, I had to knock myself out getting the drum part just right on Ogre. And the bass part too. Doug and Stu, what a couple of bums. I had to show them every part note by note!"
Now you can't help but admire this man's street-level empathy for veterans. His sincerity about that shines through everything else. But what John Fogerty never figured out . . .
Well, put it this way.
When Kurt Cobain wrote "Smells Like Teen Spirit" he didn't want jocks and cheerleaders to like it. But of course they loved it, and it drove him crazy. But with John Fogerty, bless his innocent born-on-the-bayou soul, it's totally different. Even after forty years, he still hasn't figured out that the people who really loved "Fortunate Son" were precisely the people least likely to serve in Vietnam. That simplistic, self-pitying, poor-boy vs. the big-bad-government rhetoric he invented (with the best of intentions, I'm sure) was appropriated literally overnight by millions of affluent college kids who had nothing to fear from the draft board, and who had nothing but class-based contempt for the troops in Vietnam. And ultimately what you got twenty years down the road was a rich white feminist like Anna Quindlen (the scrappy little underdog with the Ivy League degree) waving a soiled and tattered anti-war flag while sneering that the troops in Desert Storm were "not smart, not rich, not directed enough for college." She ain't no fortunate son either, John!
This is a guy who wrote some of the most poignant, understated songs in rock history, but when it comes to his own life he has no sense of humor and no sense of irony. And it's so bizarre how I reacted to his story. All my life I've read about guys like Kurt Cobain and Jim Morrison, and I've daydreamed about how wonderful it would have been if they could have been sober, responsible, hard working guys. But now that I've read this book, I'm glad they weren't.
Jim Morrison . . . samurai! John Fogerty . . . ham on rye!
October 14, 2015
I think I would've liked the book better if I had read it instead of opting to listen to the audiobook. I was excited to hear Fogerty himself share his story, but he struggles to make it sound conversational, usually coming off like he's reading, and it's (at times) painfully obvious. I knew Fogerty was bitter about how badly he'd been screwed by Fantasy Records and Saul Zaentz, but I was surprised just how much of his life was colored by the fallout - and how little credit he gives to the other guys in CCR for the band's success. It's likely true, but gets a bit wearying.
More enjoyable are stories of how he came up with some of his best songs: "Proud Mary", "Bad Moon Rising", "Centerfield", "Born on the Bayou", "Down on the Corner" and others. Those sections of the book shine the brightest.
I recommend this for hardcore fans of Fogerty and CCR, but get the hardcover, not the audiobook.
More enjoyable are stories of how he came up with some of his best songs: "Proud Mary", "Bad Moon Rising", "Centerfield", "Born on the Bayou", "Down on the Corner" and others. Those sections of the book shine the brightest.
I recommend this for hardcore fans of Fogerty and CCR, but get the hardcover, not the audiobook.
October 29, 2015
I know I sometimes succumb to my own hyperbole, but this is one of the best music autobiographies ever written. It's right up there with Patti Smith's JUST KIDS--though from a different genre, of course. Here we have a story that NEEDED telling; the record had to be set straight. Aside from the indescribable evil of Saul Zaentz--there is the triumph of love and John's epic artistic and personal integrity. Plus amazing anecdotes about writing and performing. This is a fair telling of what happened and does not come off as self-serving in any way. Had the pleasure of buying John and Julie a cup of coffee about a week before this book hit the streets. Since then I find myself playing an extended medley of John's songs on the guitar every day--it puts me right where I need to be. Thanks, John.
May 16, 2019
A fascinating read. Despite loving all those gutsy CCR songs, I had no knowledge of the shit John went through to try and protect his own art from con artist record label execs, his band mates and even his brother. Years upon years of legal battles over royalties. Craziness. Now.. to check out his solo albums.
June 29, 2022
I love these bios from '60s/70s musicians...but only reading the '60s/70s period parts. By the '80s and '90s they're either washed up, hooked on some form of junk, drinking themselves to death, or etc etc. This one went with the drink AND endless lawsuits. The first half was an amazingly great read! The second half not so much. However, there is a reprieve toward the end when things turn right side up again for John, so that was nice.
October 14, 2015
One of the world’s most renown singer/song-writers, first in his quite hugely popular Swamp Rock band, Creedence Clearwater Revival, and then the solo years after the band’s untimely breakup at the height of fame, John Fogerty has finally come out with this memoir of life before, during, and well after CCR.
Major betrayal, heartbreak and many lost years at the hands of trusted people who turned around and took Fogerty on a long rude emotional road, through a world of depression, despair and hopelessness due to heinous greed from every angle unimaginable. Greedy weasels abounded (even his own older brother, Tom) until John finally was able to crawl out from under the constant and continual personal and utter fiscal chaos with the help of his loving wife, muse, and emotional solid ground, Julie. That particular past trodden road has been a very long nightmare of uncertainty and self-doubt for someone who should had been vastly rewarded with the efforts he has given and that was very much well deserved.
The simplicity and some of the jargon of the writing can be irritating at times, especially where Fogerty comes across as too much of a perfectionist and a bit anal with the ramblings of having to have things just right or it was dropped and his gifted talent stalled and/or wasted. The bitterness can truly be fully read between the prose presented within the rantings and recollections; but to finally learn what went on behind the scenes causing the many, many problems inflicted by Fantasy Records’ owner, Saul Zaentz, the ruthlessly dishonest legal staff that worked for Fantasy, and (the final nail) the other members of CCR when everything for John was spiralling to creative and monetary hell. He had to deal quite alone with the grief and frustrations unfairly bestowed.
Now having read Fortunate Son, I felt the sorrow for him, and also joy, for John Fogerty has gotten things off his chest with the release of this book and he has become happy after all the pain of the past.
Keep On Chooglin’ John and Julie Fogerty.
*My thanks to the Publisher, and, of course, Goodreads for this free ARC as picked for the opportunity as a First Reader.
Major betrayal, heartbreak and many lost years at the hands of trusted people who turned around and took Fogerty on a long rude emotional road, through a world of depression, despair and hopelessness due to heinous greed from every angle unimaginable. Greedy weasels abounded (even his own older brother, Tom) until John finally was able to crawl out from under the constant and continual personal and utter fiscal chaos with the help of his loving wife, muse, and emotional solid ground, Julie. That particular past trodden road has been a very long nightmare of uncertainty and self-doubt for someone who should had been vastly rewarded with the efforts he has given and that was very much well deserved.
The simplicity and some of the jargon of the writing can be irritating at times, especially where Fogerty comes across as too much of a perfectionist and a bit anal with the ramblings of having to have things just right or it was dropped and his gifted talent stalled and/or wasted. The bitterness can truly be fully read between the prose presented within the rantings and recollections; but to finally learn what went on behind the scenes causing the many, many problems inflicted by Fantasy Records’ owner, Saul Zaentz, the ruthlessly dishonest legal staff that worked for Fantasy, and (the final nail) the other members of CCR when everything for John was spiralling to creative and monetary hell. He had to deal quite alone with the grief and frustrations unfairly bestowed.
Now having read Fortunate Son, I felt the sorrow for him, and also joy, for John Fogerty has gotten things off his chest with the release of this book and he has become happy after all the pain of the past.
Keep On Chooglin’ John and Julie Fogerty.
*My thanks to the Publisher, and, of course, Goodreads for this free ARC as picked for the opportunity as a First Reader.
November 3, 2015
If you are like me and believe that Creedence was the great American band, then parts of this book will be a dream come true. His description of the process of writing and performing Proud Mary is the clearest picture of how a song comes to be born. If you love their music, there is a lot of music in this book.
But there is the guy who had the brains to get his first song copyrighted but not have his contract examined by a lawyer, and the consequences of that take more room than the music. When he finally lets go, you are happy for him but pretty happier for yourself that you don't have to hear about it anymore.
So happy he is sober and married to a good person, so sad the books ends with the crappy duets album he made. There is still great music in this guy; sorry it took so long to get his head clear. But the best of CCR is as good as it gets; never write off John Fogerty.
But there is the guy who had the brains to get his first song copyrighted but not have his contract examined by a lawyer, and the consequences of that take more room than the music. When he finally lets go, you are happy for him but pretty happier for yourself that you don't have to hear about it anymore.
So happy he is sober and married to a good person, so sad the books ends with the crappy duets album he made. There is still great music in this guy; sorry it took so long to get his head clear. But the best of CCR is as good as it gets; never write off John Fogerty.
October 17, 2015
I won this Free book from Goodreads First-reads. Thank you goodreads for picking my name. A very interesting story of John Fogerty. His love of music from a very young age to finding his signature sound. He formed a band which included his older brother Tom. They suffered under a corrupt manager and record company. He tells of his personal life too, his two wives and children. He is happiest now. His present wife knows how to bring out the best in John.
August 6, 2015
Curious about the backstory of how and why songs by Creedence Clearwater Revival were written? John Fogerty writes in a clear voice about the influences and reasons for songs such as Proud Mary, Run Through the Jungle and Looking Out My Back Door. This book will surprise even the most jaded.
August 23, 2024
I was a big fan of CCR. The first half of this book, makes you think that Fogerty is the only one in the band. He produces, writes the songs and has the final say on the finished product. Fantasy Records was always in a court battle with Forgerty, over who owned the rights to his songs. It got so bad, that the other members of CCR were suing him also. They were just looking for the money!
March 20, 2018
I actually finished this book over a month ago. I felt so conflicted after I read it that I could not bring myself to write a review. Even now, I'm sitting here, forcing myself to write. I don't want to dis John Fogerty.
I like John Fogerty. Maybe, I like him even more after reading his book. I really enjoyed the beginning part, where he outlined his musical journey. This part reminded me very much of Keith Richard's book "Life". John clearly loved music at an early age and quickly listened and learned all the technical aspects that made him a great songwriter. He honed his craft and was tough with his band mates so he could record the greatest songs. This part of the book was fantastic.
One thing that gets me down about this book is the blaming. John clearly was dealt a bad hand by his record company. He signed a horrible contract. He doesn't own his early catalog now. That sucks and would embitter anyone. I understand that. But, John blames everyone but himself. All his band mates including his own brother turned against him. John feels that he was the only talent musician in Creedence Clearwater Revival and is 100% responsible for their success. Perhaps, but I feel there must be more than one side to this story.
The other thing that bugged me about this book was his second wife. Now, I suspect this is the aspect that kept me from writing this review. The book is set up so we're introduced to John's wife as his savior at the beginning of the story. Since he portrays her as a true angel in the introductory chapters, I was confused when he explained how he met her at a bar while on tour. Their early courtship didn't play out romantically. It was written as if a famous drunken musician exploited a beautiful, very young girl. I'm sure his wife is a wonderful person which makes me reluctant to point out that his description of her during his courtship and marriage doesn't mesh with the gushing portrayal he sets up early on. I am glad that John found true love with his second wife and that they both are so happy. I feel that the book would have seemed more authentic if it had been structured differently, perhaps leaving off the descriptions of his current wife in the first chapter.
I also noticed that he doesn't say anything about the child he had with his first wife in the latter part of the book. He does enthusiastically speak of his new children and how he enjoyed raising them. Again, I'm sure that his first wife and child would have their own story to tell.
I like John Fogerty. Maybe, I like him even more after reading his book. I really enjoyed the beginning part, where he outlined his musical journey. This part reminded me very much of Keith Richard's book "Life". John clearly loved music at an early age and quickly listened and learned all the technical aspects that made him a great songwriter. He honed his craft and was tough with his band mates so he could record the greatest songs. This part of the book was fantastic.
One thing that gets me down about this book is the blaming. John clearly was dealt a bad hand by his record company. He signed a horrible contract. He doesn't own his early catalog now. That sucks and would embitter anyone. I understand that. But, John blames everyone but himself. All his band mates including his own brother turned against him. John feels that he was the only talent musician in Creedence Clearwater Revival and is 100% responsible for their success. Perhaps, but I feel there must be more than one side to this story.
The other thing that bugged me about this book was his second wife. Now, I suspect this is the aspect that kept me from writing this review. The book is set up so we're introduced to John's wife as his savior at the beginning of the story. Since he portrays her as a true angel in the introductory chapters, I was confused when he explained how he met her at a bar while on tour. Their early courtship didn't play out romantically. It was written as if a famous drunken musician exploited a beautiful, very young girl. I'm sure his wife is a wonderful person which makes me reluctant to point out that his description of her during his courtship and marriage doesn't mesh with the gushing portrayal he sets up early on. I am glad that John found true love with his second wife and that they both are so happy. I feel that the book would have seemed more authentic if it had been structured differently, perhaps leaving off the descriptions of his current wife in the first chapter.
I also noticed that he doesn't say anything about the child he had with his first wife in the latter part of the book. He does enthusiastically speak of his new children and how he enjoyed raising them. Again, I'm sure that his first wife and child would have their own story to tell.
November 13, 2015
Rock and roll is simple music. John Fogerty tells his story fairly simply: I loved music, I wrote songs, I learned to play, I formed a group, and we became one of the best bands ever in the history of rock and roll, and we were cheated out of our rights and royalties. Simple.
But John takes too long to tell the tale and tells it too many times. That Saul Zaentz was one of the biggest scoundrels in the history of music, there is no doubt, Creedence made him a millionaire many times over. That he stole their earnings is fully documented. That he continued his vendetta against John for almost twenty years is true. But Fogerty hurts and must write about it compulsively as well as the perfidy of his band mates including his brother Tom who were part of this conspiracy.
In between are many loving sections on music and John’s influences over the years. Unfortunately we are also treated to track by track analyses of John’s solo career. If you love CCR –and I do—you’ll enjoy this work. No, it’s not a My Life like Keith Richards’ book. And it’s tedious and overly wrought at times. But with all of his great music, we can cut John some slack in his regenerative tale.
But John takes too long to tell the tale and tells it too many times. That Saul Zaentz was one of the biggest scoundrels in the history of music, there is no doubt, Creedence made him a millionaire many times over. That he stole their earnings is fully documented. That he continued his vendetta against John for almost twenty years is true. But Fogerty hurts and must write about it compulsively as well as the perfidy of his band mates including his brother Tom who were part of this conspiracy.
In between are many loving sections on music and John’s influences over the years. Unfortunately we are also treated to track by track analyses of John’s solo career. If you love CCR –and I do—you’ll enjoy this work. No, it’s not a My Life like Keith Richards’ book. And it’s tedious and overly wrought at times. But with all of his great music, we can cut John some slack in his regenerative tale.
December 14, 2022
An easy read about music from a musician that I like. Some repetition, which is to be expected. If you're a Grateful Dead fan, then this isn't the book for you due to the contrast Fogerty likes to bring out between CCR and them. Much about guitars and amps and strings that's good to read; a lot about lawsuits and misery, and his overly-perfectionist self and his reliance, at times, on alcohol; much about his second wife, Julie. Told well enough.
June 16, 2021
First half of this was pretty good. I always enjoy the "getting the band together/getting successful" parts of music memoirs. The second half falls apart entirely with just a bunch of bitter rants about legal battles and band feuds. I've seen people write books about their bands and their breakups/legal troubles with much less time to process that came across much less bitter and angry than John does here. It's been almost 50 years, maybe you don't have to "get over it", but you should be able to talk about it with less ire. Really ruined this read for me, he didn't come across well at all during the second half.
July 28, 2024
As a big CCR fan both growing up and now, I bought this book after watching a documentary on CCR. I loved every page. It was so great to see what was behind every album and song. I never realized what the cause of the band members real falling out. It was deeper than just the others wanting more control in songs. This book also shows how the record companies do not care for the music or fans. After reading Leon Russell’s biography and this, I see why musicians music changes later and how they do music with more intimate methods.
This is a great book for all fans old and young. Lots of heart felt moments.
This is a great book for all fans old and young. Lots of heart felt moments.
November 8, 2015
I bought every CCR and John Fogerty record. One Christmas long ago, my parents gave me a small stereo record player where the speakers folded out from the base. Another gift that night was CCR's "Bayou Country".
I asked my dad for one of his old flannel shirts, because if a "rock star" I respected could dress in basic clothes, it was good enough for me.
It was thrill to read about how those records were made and the motivation behind keeping the music simple and direct. It hadn't occurred to me that the label, Fantasy Records, was an independent company, much smaller than the majors. So resources were limited, in a good way. As a kid, I looked for print interviews with the band to no avail. It was as if they avoided the press. I especially enjoyed his account of the transition from the pre - Creedence band The Golliwogs, to being drafted and coming out the other side with a political awareness. At midpoint in the book, Creedence breaks up.
The second half of the book addresses his solo career, his wonderful second marriage and the ups and downs of creativity. Then, the details of the incredible legal entanglements with Fantasy Records owner Saul Zaentz and the other band members. In this regard, like many rock memoirs, the author has a score to settle.
John grew up and lived in El Cerrito, CA for many years even when CCR was at its peak. I lived in the next towns south, Albany and Berkeley in the 70's/80's. It was a treat to visualize his stomping grounds (he lists the street names).If you are a big Creedence fan, this is well worth reading- there are spoilers but I'll refrain...
I asked my dad for one of his old flannel shirts, because if a "rock star" I respected could dress in basic clothes, it was good enough for me.
It was thrill to read about how those records were made and the motivation behind keeping the music simple and direct. It hadn't occurred to me that the label, Fantasy Records, was an independent company, much smaller than the majors. So resources were limited, in a good way. As a kid, I looked for print interviews with the band to no avail. It was as if they avoided the press. I especially enjoyed his account of the transition from the pre - Creedence band The Golliwogs, to being drafted and coming out the other side with a political awareness. At midpoint in the book, Creedence breaks up.
The second half of the book addresses his solo career, his wonderful second marriage and the ups and downs of creativity. Then, the details of the incredible legal entanglements with Fantasy Records owner Saul Zaentz and the other band members. In this regard, like many rock memoirs, the author has a score to settle.
John grew up and lived in El Cerrito, CA for many years even when CCR was at its peak. I lived in the next towns south, Albany and Berkeley in the 70's/80's. It was a treat to visualize his stomping grounds (he lists the street names).If you are a big Creedence fan, this is well worth reading- there are spoilers but I'll refrain...
November 11, 2015
I've loved John Fogerty's music since the first Creedence Clearwater Revival record album. We went to see him in concert when he toured with his great solo CD, Blue Moon Swamp, and started finally singing Creedence songs again. The quality of his voice after all these years surprised me and his joy in finally being happy again came across to the audience. After reading this book, I understand why.
However, my favorite parts of it were when he wrote about all the music that he has loved and been influenced by over the years. The range of it may surprise you. One of my favorite personal moments was when, early in the book, he talked about discovering really good country when he bought Great Balls of Fire by Jerry Lee Lewis, flipped over to the B side and found "... a version of 'You Win Again' that is for the ages." The next step was seeing Hank Williams name under the title and tracking down more greats. I had the same reaction to it as a kid and have been telling people about that recording since.
I also loved his descriptions of the process of songwriting. He really takes the reader inside the recording studio as well.
As good as he is as a songwriter, he's not a great writer of prose. There are clunky and repetitive sections that made me put it down for a while. However, in the end, I settled into his conversational style and just enjoyed the chance to spend time with him.
However, my favorite parts of it were when he wrote about all the music that he has loved and been influenced by over the years. The range of it may surprise you. One of my favorite personal moments was when, early in the book, he talked about discovering really good country when he bought Great Balls of Fire by Jerry Lee Lewis, flipped over to the B side and found "... a version of 'You Win Again' that is for the ages." The next step was seeing Hank Williams name under the title and tracking down more greats. I had the same reaction to it as a kid and have been telling people about that recording since.
I also loved his descriptions of the process of songwriting. He really takes the reader inside the recording studio as well.
As good as he is as a songwriter, he's not a great writer of prose. There are clunky and repetitive sections that made me put it down for a while. However, in the end, I settled into his conversational style and just enjoyed the chance to spend time with him.
July 7, 2023
So glad I read this book to prepare me for a John Fogerty concert I’ll be attending this weekend. I was in my pre- junior-high years when CCR was at it’s peak. I had lots of their 45s and always loved the raspy, raw tone of their voices- only to find out it was all John’s voice. I enjoyed hearing of his passion and knack for all things music at such an early age. And I really knew nothing of his life post CCR. I guess I was just too young to think about it. Anyway it was great to hear stories of all of the musicians who influenced his sound. CCR had musicians who could play their instruments and follow directions but I don’t think they were as creative as Fogerty; their passion was not equal to his. It was very sad to hear how his years after CCR were filled with such challenges and disappointments. I’m glad he is once again doing what makes him happy. Looking forward to his Ravinia concert on Sunday!
November 1, 2015
I grew up listening to CCR, so I had always been intrigued to what went so wrong in that relationship.
I knew that John wrote, played lead and sang all their hit songs and I saw when CCR was inducted in to the RRHF, but I had no idea all the troubles and tribulations that John had gone through.
My admiration for him grew even more after reading his book, that’s all I am going to say to avoid ruining a well told rock and roll story.
I knew that John wrote, played lead and sang all their hit songs and I saw when CCR was inducted in to the RRHF, but I had no idea all the troubles and tribulations that John had gone through.
My admiration for him grew even more after reading his book, that’s all I am going to say to avoid ruining a well told rock and roll story.
August 9, 2024
I would have been 14 years old when I took some of my paper-route money to buy Creedence Clearwater Revival’s Cosmo’s Factory LP in 1970. It was impossible not to love this album, with its six hit singles, all coming on the heels of three (!) top-10 albums released by the band in 1969.
With their “swamp rock” sound on such titles as “Bad Moon Rising” and “Born on the Bayou,” I lumped CCR in with such great Southern bands as the Allman Brothers. I had no idea back then that their scratchy-voiced frontman, John Fogerty, and his bandmates actually hailed from small-town El Cerito, Calif., in the suburbs of greater San Fran.
That’s something I only recently learned by reading Fogerty’s fantastic memoir, which takes its title from one of his biggest protest hits, “Fortunate Son.”
I also learned that Fogerty, like me, bought up albums as a kid from money he earned on his paper route; that he was the primary songwriter, arranger and producer for the band; and that friction and hurt feelings about his leadership role is what led to the band’s break-up, just a couple of years after they were outselling The Beatles.
As for Cosmo’s Factory, I learned that “Cosmo” was a nickname that bassist Stu Cook had given drummer Doug Clifford. “Factory” was the name given to the Berkeley warehouse where they practiced, so named because workhorse Fogerty insisted they do so every day. (Fogerty’s older brother, Tom, was the band’s rhythm guitarist.)
(While Cosmo’s Factory feels like a compendium of John Fogerty hit compositions, my favorite track is the band’s long-play cover of “I Heard It Through the Grapevine,” a song they made their own by replacing the piano riff found in Marvin Gaye’s classic version with a guitar riff. This is the song that my daughter and I listened to religiously in my pickup as I drove her to her cross-town school in second grade.)
In his post-CCR years, Fogerty battled with alcoholism, depression and plenty of anger, much of it tied to the ugly lawsuits between him, his former bandmates and especially his former producers, who had contractual rights to all of Fogerty’s music. Among his strategies for rebuilding his life, he turned to running, and hunting, and a rural refuge he built along the banks of the Grande Ronde River near Troy, Ore. His life arguably didn’t really turn around until he met his current wife, Julie; he turns over many pages late in the book to her, so that she can say in her own words how they met, struggled and fell in love. She ultimately became his manager.
Fogerty wrote this memoir back in 2015, but I just now got to it because I only recently was handed a ticket to finally hear him in concert later this month! He is now 79 years young.
Fogerty comes off in his memoir as an aw-shucks kind of guy, down to earth, a musical perfectionist and genius, a political leftist, well-intended but often messed up, at once abrasive and considerate. In its totality, his songwriting, both the music and the lyrics, is quite impressive.
Which brings me to a favorite anecdote, with which Fogerty begins his book: When he was not quite 4 years old, his mom bought him a children’s 45 record, with “Oh Susanna” on one side and “Camptown Races” on the other. Toddler John was quite taken by the music and words. His mom explained to him that both songs were written by a famous composer of folk songs by the name of Stephen Foster. And that’s how John Fogerty learned that a person could grow up to one day become something called a “songwriter.”
With their “swamp rock” sound on such titles as “Bad Moon Rising” and “Born on the Bayou,” I lumped CCR in with such great Southern bands as the Allman Brothers. I had no idea back then that their scratchy-voiced frontman, John Fogerty, and his bandmates actually hailed from small-town El Cerito, Calif., in the suburbs of greater San Fran.
That’s something I only recently learned by reading Fogerty’s fantastic memoir, which takes its title from one of his biggest protest hits, “Fortunate Son.”
I also learned that Fogerty, like me, bought up albums as a kid from money he earned on his paper route; that he was the primary songwriter, arranger and producer for the band; and that friction and hurt feelings about his leadership role is what led to the band’s break-up, just a couple of years after they were outselling The Beatles.
As for Cosmo’s Factory, I learned that “Cosmo” was a nickname that bassist Stu Cook had given drummer Doug Clifford. “Factory” was the name given to the Berkeley warehouse where they practiced, so named because workhorse Fogerty insisted they do so every day. (Fogerty’s older brother, Tom, was the band’s rhythm guitarist.)
(While Cosmo’s Factory feels like a compendium of John Fogerty hit compositions, my favorite track is the band’s long-play cover of “I Heard It Through the Grapevine,” a song they made their own by replacing the piano riff found in Marvin Gaye’s classic version with a guitar riff. This is the song that my daughter and I listened to religiously in my pickup as I drove her to her cross-town school in second grade.)
In his post-CCR years, Fogerty battled with alcoholism, depression and plenty of anger, much of it tied to the ugly lawsuits between him, his former bandmates and especially his former producers, who had contractual rights to all of Fogerty’s music. Among his strategies for rebuilding his life, he turned to running, and hunting, and a rural refuge he built along the banks of the Grande Ronde River near Troy, Ore. His life arguably didn’t really turn around until he met his current wife, Julie; he turns over many pages late in the book to her, so that she can say in her own words how they met, struggled and fell in love. She ultimately became his manager.
Fogerty wrote this memoir back in 2015, but I just now got to it because I only recently was handed a ticket to finally hear him in concert later this month! He is now 79 years young.
Fogerty comes off in his memoir as an aw-shucks kind of guy, down to earth, a musical perfectionist and genius, a political leftist, well-intended but often messed up, at once abrasive and considerate. In its totality, his songwriting, both the music and the lyrics, is quite impressive.
Which brings me to a favorite anecdote, with which Fogerty begins his book: When he was not quite 4 years old, his mom bought him a children’s 45 record, with “Oh Susanna” on one side and “Camptown Races” on the other. Toddler John was quite taken by the music and words. His mom explained to him that both songs were written by a famous composer of folk songs by the name of Stephen Foster. And that’s how John Fogerty learned that a person could grow up to one day become something called a “songwriter.”
February 20, 2018
John Fogerty remembers being about four or five and listening to records of “Oh! Susanna” and “Camp town Races” by Stephen Foster. Mavis Staples and Mary J. Blige do blistering versions of Foster’s “Hard Times Come around Here No More.” John has excellent taste in songwriters. He was born in a small California town in 1945, with an ice cream parlor and barber shop nearby. I had a similar experience as a boy in Ossining, NY in the 1960’s. He was one of five boys, and remembers being baptized a Catholic at the age of two. One year at the School of the Madeline, under the thumb of Sister Damien was not a fun time for little Johnny. Second grade at a public school was a vast improvement. From an early age, music was vital, most especially black music. The Staples Singers and Bo Didley, with “I’m a Man,” were personal favorites. Elvis was young and cool in 1956, As soon as Fogerty saw him on television, it was want he wanted to be. He loved Elvis for the attitude, but Carl Perkins and Hank Williams made him become a songwriter. His vocals were influenced by Howlin’ Wolf, Muddy Waters, John Lee Hooker, Bo Didley and Little Richard. His guitar hero was Freddie King. I have some King on vinyl. Pete Seeger taught him how to be genuine and be a consummate entertainer. We need Pete’s voice, especially in our current state, led by an orange haired, tweeting lunatic. By the eighth grade, John was learning to play piano and guitar by listening to records and imitating what he heard. At 14, he formed the Blue Velvets with Stu Cook and Doug Clifford, two high school classmates. At sixteen, he recorded music in a small studio and later experimented with a small Sony tape recorder. He was possessed by music. His band mates were not. In 1964, John headed to San Francisco and met with Max Weiss, one of the owners of Fantasy records. The Beatles had the #1-#5 singles and John realized that he needed to add vocals to the instrumentals he had written. The early years were a warm up for the big time. John taught his brother Tom to play guitar and Stu Cook the bass. Small clubs were basically their minor league. In 1964, Fantasy released a single and crowned the band the Golliwogs with a bizarre explanation having to do with British history. It was at the time of Beatlemania. John got married at twenty and drafted into the army in 1966. He instead joined the Army Reserve and fasted to get out. He received a medical discharge in 1968. Saul Zaentz bought Fantasy records the same year. John explains the origin of the name CCR. The original contract gave the band a 10% net royalty rate, with Zaentz owning all the publishing rights. Basically, Fogerty was royally screwed. The first hit single was a cover version of Dale Hawkin’s “Susie Q.” John sang it through a mike used earlier in then day by Bing Crosby. The acrimony began in earnest at the recording session for “Proud Mary.” Fogerty was not pleased with his band mates backing vocals and redid them by dubbing only his voice. The envy only worsened over the next three years. “Proud Mary” put them on the map and he followed it with my personal favorite, “Lodi.” His inspiration was Steinbeck’s “Grapes of Wrath,” my #1 pick for greatest American novel. The first three albums were made for a total of $5,000 and finished in weeks. I recall Fleetwood Mac’s “Tusk” with the USC marching band costing $1 million. The business aspect of the record industry is notorious, and Fogerty’s epic battle with Zaentz resulted in an ulcer at twenty four. John was the star and touring only worsened the band’s chemistry. He wrote all of the songs and Tom, Stu, and Clifford were filled with resentment. After five hit albums, John’s brother Tom left the band to pursue a solo career. The man was delusional. All four Beatles had success after their breakup, but Tom vanished into obscurity. John took a sabbatical and lived in Denmark for a year. He returned to the U.S. after one year and lived unhappily with his first wife for the next fourteen years. The final album, “Mardi Gras” contained three songs each from Stu, Doug, and John. “Someday Never Comes” was the one hit song, but the rest was panned universally by critics. It was the end of CCR. Fantasy kept John under contract and released the other three. Fogerty put out a few solo records under the Asylum label after Fantasy sold them the rights. Meanwhile, John was broke due to a complicated tax haven scheme run by a Fantasy board member. Lawsuits followed with CCR receiving an insurance settlement of $8 million. The IRS took most of it for back taxes on royalties never paid by Fantasy. After a prolonged writers block of eight years, John wrote his next hit, “Centerfield.” He played all of the instruments and it was made for $35,000. Paul McCartney did the same on his first solo album. Saul Zaentz filed more lawsuits against him, and John drank in order to face his anger. The drinking continued even after he married his second wife, Julie. They blamed the ongoing legal battles. Zaentz actually sued Fogerty for plagiarizing himself, because a new song sounded similar to an older one owned by Fantasy. The company mouthpiece, Malcolm Bernstein, was the lead shark, or, attorney, in the suit. Fogerty demonstrated in the courtroom, the difference between his two songs. The books title should have been, John Fogerty, Defendant, and Saul Zaentz was a shmuck. John stopped playing for several years, and by the early 90’s took up the dobro, which he used on the album, Blue Moon Swamp. Julie gave birth to two boys and a girl. The music man had started another family at 46. I wonder how the first set of kids felt. The album took ten years to complete and was released in 1997. Tom Fogerty died of AIDS in September of 1990. They had not reconciled. S*** happens and life goes on. The album, “I Wrote a Song for Everyone” closes the book. He was happy with it and I listened to it recently, and, overall, it works. Fortunate Son is written in an easy going, conversational tone. Listen to the album, “Chronicle” to better appreciate and understand the book.
March 7, 2021
Since CCR is my favorite band, I was really excited to read this book and am glad that I did read it because it gave me more insight into their story. I loved the parts where he explained the meaning behind his songs and the moments where he got inspiration. It was really interesting to hear about his experience and views of the Vietnam War too. However, I thought that he spent way too many pages talking about intricate details of the music business and guitar work which was difficult for me to enjoy since I have no background in it. He also described in detail the arguments he had with the band and there was general tone of annoyance and complaining. I am still happy I read it though.
June 13, 2021
Wonderfull book.
John is not a saint for sure, he is such a perfecionist and this is his side of the story of Credence. Is sad how one of the best bands end in that way, cheated by the label and in a forever fight between members.
John have a dark period in his life, but he found her angel in Julie and in not easy way, wake from the ashes and start to do music again and feel fun in this.
He is now a happy married man, and his family help in his music, as we can see in his last album Fogerty Factory.
A must read.
John is not a saint for sure, he is such a perfecionist and this is his side of the story of Credence. Is sad how one of the best bands end in that way, cheated by the label and in a forever fight between members.
John have a dark period in his life, but he found her angel in Julie and in not easy way, wake from the ashes and start to do music again and feel fun in this.
He is now a happy married man, and his family help in his music, as we can see in his last album Fogerty Factory.
A must read.
June 6, 2024
I enjoyed the technical side of the book - reading about how recordings were done in that era is fascinating.
I don't understand why John chose the guys he did for his bandmates. He describes them as inept players....why start a band with people who can't play?
I don't understand why John chose the guys he did for his bandmates. He describes them as inept players....why start a band with people who can't play?
March 10, 2018
A decent read. I may have given it a higher rating if I hadn't read it right after Levon Helm's outstanding autobiography. If you liked John's music then by all means read this. It's good, just not great.
July 9, 2024
I was dying to read this after reading A Song for Everyone earlier this year. I know there's a lot of what Fogerty says vs. what the other three CCR members say going on, but I wanted to hear it all from Fogerty's perspective since he really was the driving force behind that band.
The first half of the book is decent. He talks a lot about his influences and specific songs and albums that made a mark on him, which is cool. If you had the time, it'd be great to go through everything he talks about. The writing, however, is mostly pretty poor. The chronology is also a little too choppy when it doesn't need to be. He says he got married too young, but stayed with his first wife for a long time and had three children with her. He has basically nothing to say about any of them. He also doesn't paint a clear picture of the relationship between him and his brothers.
The highlight of the first half is of course the CCR years. Fogerty talks about how he came up with certain songs, and how his playing developed. This is the kind of insight you want, so it was great. But this is also where Fogerty's personality starts coming through. He gives the impression that he was the only competent one in the band - the other three never even came up with their own parts to play; that was all John telling them what to do. None of the other three cared about the band like he did. They didn't have the drive. He was always the smartest, always the only one who knew what to do.
But even the CCR years aren't super clear. He talks a little about Woodstock, or performing on a TV show, but only mentions touring in passing. So you don't actually get the impression that CCR were on the road much, even if they were. There are no good stories from this time, either. Did any of them ever have fun together? Doesn't seem like it, according to Fogerty. He also repeatedly calls CCR the biggest band in the world, but were they?
The second half is a real slog. It's just lawsuits and more complaining and bitterness. He definitely got screwed over and I can understand where his feelings are coming from, but it's been decades. I like that he was very honest in assessing his post-CCR albums, and how they often weren't up to his standard. He at least has enough self-awareness for that. But there was nothing too interesting in the whole second half. And all the stuff about his second wife comes across really cringey. There's also, throughout the whole book, long passages that appear in quotations. Kinda seems like he's just putting words in other people's mouths, and his own!
Fortunate Son is a very run of the mill autobiography. There's some good insight into Fogerty's writing, playing and influences. But the writing borders on being straight up bad. There are lots of questionable 'quotes' that appear, and in general just so much bitterness. The first half is definitely better than the second, and is worth a read if you can get this from your library. I could never recommend this, though.
The first half of the book is decent. He talks a lot about his influences and specific songs and albums that made a mark on him, which is cool. If you had the time, it'd be great to go through everything he talks about. The writing, however, is mostly pretty poor. The chronology is also a little too choppy when it doesn't need to be. He says he got married too young, but stayed with his first wife for a long time and had three children with her. He has basically nothing to say about any of them. He also doesn't paint a clear picture of the relationship between him and his brothers.
The highlight of the first half is of course the CCR years. Fogerty talks about how he came up with certain songs, and how his playing developed. This is the kind of insight you want, so it was great. But this is also where Fogerty's personality starts coming through. He gives the impression that he was the only competent one in the band - the other three never even came up with their own parts to play; that was all John telling them what to do. None of the other three cared about the band like he did. They didn't have the drive. He was always the smartest, always the only one who knew what to do.
But even the CCR years aren't super clear. He talks a little about Woodstock, or performing on a TV show, but only mentions touring in passing. So you don't actually get the impression that CCR were on the road much, even if they were. There are no good stories from this time, either. Did any of them ever have fun together? Doesn't seem like it, according to Fogerty. He also repeatedly calls CCR the biggest band in the world, but were they?
The second half is a real slog. It's just lawsuits and more complaining and bitterness. He definitely got screwed over and I can understand where his feelings are coming from, but it's been decades. I like that he was very honest in assessing his post-CCR albums, and how they often weren't up to his standard. He at least has enough self-awareness for that. But there was nothing too interesting in the whole second half. And all the stuff about his second wife comes across really cringey. There's also, throughout the whole book, long passages that appear in quotations. Kinda seems like he's just putting words in other people's mouths, and his own!
Fortunate Son is a very run of the mill autobiography. There's some good insight into Fogerty's writing, playing and influences. But the writing borders on being straight up bad. There are lots of questionable 'quotes' that appear, and in general just so much bitterness. The first half is definitely better than the second, and is worth a read if you can get this from your library. I could never recommend this, though.
May 4, 2016
I wonder if John Fogerty employed the services of a ghost writer? Although this was enjoyable, I think the telling of his story would have benefited from someone like Neil Strauss (who wrote one of the best books ever about Motley Crue, a band whose music I really can't stand). Then again, the story of Creedence Clearwater Revival may not be the sort of tale that would make for laugh-out-loud-reading. Fogerty has too much integrity and he mostly lives up to his image as a simple unpretentious sort who did not indulge in the sort of backstage antics the rest of the band did.
On the other hand, he did seem to suffer bouts of depression as a result of his parents' divorce, marrying too young and problems with his band mates, one of whom was his brother Tom (well that explains it!). Fogerty -- who, let's face it, seemed to possess the best ear and talent for arrangement and writing -- constantly vents his frustration at them for not taking the music seriously and following his direction. In about 1972, the band imploded after he relented and let the others write three songs apiece. Though I have not heard those songs, the reviews at the time noted a decline in quality. Therefore, it seems he was right. They would have been smart to stay on the gravy train. At one point he says "Maybe I should have been like Ray Davies and bashed my brother on the head with a cymbal."
That's all bad enough, but most harrowing part of the story is that all too familiar one where an evil record label convinces a group of naive teenagers to sign away rights to their material in perpetuity. (Though Saul Zaentz, owner of Factory Records, did say "If you boys do sell a lot of records, I will rip up this old contract"....NOT!!) I'm not sure which band had the worst contract, Creedence or The Stone Roses. It's hard to tell because Creedence sold millions more albums and were nowhere near being millionaires themselves even if they were certainly better off than they were pumping gas (while Fogerty wrote the material, he agreed to split royalties with the band to keep the peace). What money they earned they did not even get to keep because, you guessed it, their shady management persuaded the band to put all their money in a suspicious sounding bank in the Bahamas. Too bad Eric Burden and Badfinger were not there to advise against that. (Folks: if you are in a band and your manager mentions an "offshore tax haven in the Bahamas," run like hell.)
Anyway, it took about "twenty years of frustration" but he finally did get partial vindication in the form of another hit ("Centerfield"), entry into the Rock N Roll Hall of Fame (that's another story of acrimony) and a whole new family. What he still doesn't have are the copyrights of his Creedence songs. The story of how he ALMOST got them back is far too long for this review, but it will make you mad.
On the other hand, he did seem to suffer bouts of depression as a result of his parents' divorce, marrying too young and problems with his band mates, one of whom was his brother Tom (well that explains it!). Fogerty -- who, let's face it, seemed to possess the best ear and talent for arrangement and writing -- constantly vents his frustration at them for not taking the music seriously and following his direction. In about 1972, the band imploded after he relented and let the others write three songs apiece. Though I have not heard those songs, the reviews at the time noted a decline in quality. Therefore, it seems he was right. They would have been smart to stay on the gravy train. At one point he says "Maybe I should have been like Ray Davies and bashed my brother on the head with a cymbal."
That's all bad enough, but most harrowing part of the story is that all too familiar one where an evil record label convinces a group of naive teenagers to sign away rights to their material in perpetuity. (Though Saul Zaentz, owner of Factory Records, did say "If you boys do sell a lot of records, I will rip up this old contract"....NOT!!) I'm not sure which band had the worst contract, Creedence or The Stone Roses. It's hard to tell because Creedence sold millions more albums and were nowhere near being millionaires themselves even if they were certainly better off than they were pumping gas (while Fogerty wrote the material, he agreed to split royalties with the band to keep the peace). What money they earned they did not even get to keep because, you guessed it, their shady management persuaded the band to put all their money in a suspicious sounding bank in the Bahamas. Too bad Eric Burden and Badfinger were not there to advise against that. (Folks: if you are in a band and your manager mentions an "offshore tax haven in the Bahamas," run like hell.)
Anyway, it took about "twenty years of frustration" but he finally did get partial vindication in the form of another hit ("Centerfield"), entry into the Rock N Roll Hall of Fame (that's another story of acrimony) and a whole new family. What he still doesn't have are the copyrights of his Creedence songs. The story of how he ALMOST got them back is far too long for this review, but it will make you mad.
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