MC: There are a lot of big names on the album. How did you go about pairing up the performers with the songs?
Fogerty: I knew, number one, that I wanted each artist to pick the song they wanted to do, because I wanted it to be something they knew and appreciated and that resonated with them. And I asked them, “Give me a fresh vision, some musical ideas. How would you do it?” These are people who write and arrange and produce their own songs, they know how all of that works, so I felt that they would be able to reimagine my song. I don’t know why no one had thought of going about making an album like this in this way.
MC: It’s ironic, but when Music Connection interviewed you in 1985, you stated “I can’t imagine ever producing anyone but myself.” Considering you’ve now produced so many other artists for this new album, including My Morning Jacket and Alan Jackson, what has changed?
Fogerty: Interesting that I said I couldn’t imagine producing someone other than myself… Well, I learned so much doing this record. I think I certainly was totally engaged as a producer, but I never felt I was just “the producer.” I was just so thrilled to be working with these people. I wanted to live up to each of my fellow artist’s greatness.
MC: How did all of that play out in the recording studio?
Fogerty: Best example is Miranda Lambert on the title song, “Wrote A Song For Everyone.” I totally love her voice. I love who she is. Miranda’s really downhome and straightforward. She put in a long day and worked hard on her vocal track. And as we were listening back, when it came to where the instrumental break would later be, she suddenly blurted out, “Face-melting guitar solo!” (laughs) I was surprised, I thought she was joking. I had envisioned a “hippie” kinda guitar solo there, but I didn’t like what I’d come up with and I wanted to live up to the level that Miranda is at. I said to myself, as a producer, “I really gotta get on my game here.” My role as a producer was suddenly on call and I needed to help this artist.
MC: It figures you would think of your producer role in an artist kind of way, because that’s what you know best. You’ve never had a producer helm any of your projects, right?
Fogerty: That’s true. All the way back to the beginning I always produced my own records, including Creedence. But now that I was in a quandary about that guitar solo, I remembered meeting Tom Morello at Madison Square Garden with Bruce Springsteen and I said, “Yeah!” I realized that bringing Tom in would be more interesting instead of me trying to imitate what he does. I mean, he wouldn’t be imitating, he would be playing himself.
MC: Nevertheless, you take a lot of pride in your own musicianship. You do most of the soloing at your shows. Looking back again to our 1985 MC interview, you stated that you were working to become not only a better guitar player, but a better drummer and bassist and even a sax player.
Fogerty: Well, I’ve given up the drums, the bass and the sax. (laughs) I made that decision somewhere about 20 years ago, basically, about when I discovered the dobro and Jerry Douglas—it transformed my musical life. Then one night when I was up at Kern River, listening to Jerry’s records to get inspired to write, I remembered a thought I’d had when I was about 14. I had made a promise to myself that I would grow up to be the greatest guitar player. At that time, it was Chet Atkins, the greatest of that time. But it was a shock to my psyche, this was around 1993, to realize that I had not become that! It was a “Crossroads” kinda moment, y’know? “Oh my god, I didn’t become that guy! I gotta get busy!”
But y’know what––it takes a lifetime to become world class on one instrument. It really does. The people I know who are truly great play just one instrument. Meanwhile, I have improved, but I keep finding new places where I’m lacking. (laughs)
