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DISCID=a509910c
DTITLE=John Fogerty / Revival
DYEAR=2007
DGENRE=Rock
TTITLE0=Don't You Wish It Was True
TTITLE1=Gunslinger
TTITLE2=Creedence Song
TTITLE3=Broken Down Cowboy
TTITLE4=River Is Waiting
TTITLE5=Long Dark Knight
TTITLE6=Summer Of Love
TTITLE7=Natural Thing
TTITLE8=It Ain't Right
TTITLE9=I Can't Take It No More
TTITLE10=Somebody Help Me
TTITLE11=Longshot
EXTD=Originally Released October 2, 2007\n\nAMG EXPERT REVIEW:  Not long after the 2004 release of his fifth solo album, Deja Vu All Over Again, John Fogerty parted ways with DreamWorks -- but perhapsa more important label development for the singer/songw
EXTD=riter wasthat his old home Fantasy Records, the place where he cut all his classic Creedence Clearwater Revival albums, was sold to Concord Records. He had a longstanding feud with Fantasy and its head,Saul Zaentz, but Concord sought to make amends w
EXTD=ith Fogerty, quickly signing him to the label. Just as rapidly, Fogerty finally embraced his CCR material, beginning to play it in concert and releasing a compilation called The Long Road Home, which blended hisCreedence hits with solo cuts, a welcom
EXTD=e return for all involved-- so welcome that Fogerty continued to push this re-acceptance of Creedence on his 2007 follow-up to Deja Vu, Revival. Its very title, of course, echoes CCR -- while its cover echoes Blue RidgeRangers and his eponymous debut
EXTD= -- and Fogerty goes out of his way to stoke those comparisons by writing "Creedence Song," but it's possible to oversell this return to the fold as a massive shiftin sound and aesthetic, when it's really an imperceptible change, at least in terms of
EXTD= pure sound. Fogerty may have shunned Creedence, but that is only in terms of songs: he never ran away fromthe sound. After all, this is a guy who was sued for plagiarizinghimself -- sure, it was a frivolous suit, but it's a pretty goodindication tha
EXTD=t his solo work sounded a lot like his classic stuff. So, anybody expecting Revival to be a big shift in directionwill be disappointed, because it has a similar feel to any of hisother records, along with a very relaxed vibe, not dissimilar toanythin
EXTD=g he's done after Eye of the Zombie. \n\nEven if the acceptance of Creedence hasn't made much of a difference in terms ofsound, it does have an effect on Fogerty as a writer, as he attempts to recapture the vibe of his '60s stuff, tapping into the ch
EXTD=arged political vibe of "Fortunate Son" and "Who'll Stop the Rain"in particular. Revival spills over with topical songs, both metaphorical ("Gunslinger") and thuddingly literal ("Long Dark Night," where George W., Rummy, and Dick Cheney are all calle
EXTD=d out by name). Sometimes Fogerty's missives lack grace -- impassioned though it is, the name-calling in "Long Dark Night" is clumsy -- butthere's a real fire to his writing here, turning Revival into a missive as immediate, effective, and telling as
EXTD= Neil Young's Living with War. Like that album, it does feel like the work of an oldpro, in how the music is lived-in and simple. Sometimes, this can veer into something that's just this side of stodgy -- "Don't You Wish It Was True" sounds like some
EXTD=thing to be played while swinging on the front porch -- and there's a crankiness that runs through this record that's kind of ingratiating. Fogerty is longingfor the past here -- crooning like Merle Haggard when he wondered if the good times were rea
EXTD=lly over -- but this isn't a new wrinkle; Fogerty has always been nostalgic. When he was a young man,he romanticized America's past, creating a world that likely didn't exist, but his visions were all the more alluring because of their fantasy. Perha
EXTD=ps it was inevitable that as he aged, he'd turn to romanticizing his own past, yet it's still odd to hear him embracing the "Summer of Love" when he never, ever was part of thescene in San Francisco; knowing this, it kind of gives away theartifice be
EXTD=hind his creation. Still, artifice can be a crucial part of art, and Fogerty is an uncannily sharp musician in how he can mold the past to fit his own world, which he does with "Summerof Love," turning it into a fuzz-toned choogle with a sly paraphra
EXTD=se of "Sunshine of Your Love." This is also true on "CreedenceSong," which is far from self-aggrandizing -- it's wryly funny and crackling with musical allusions to CCR songs, some so sly theypass by without notice. This is Revival at its most fun, b
EXTD=ut even if the world-weariness drags down some of the rest of the album, this is nevertheless h
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