Tom Fogerty by Tom Fogerty: An Album Review by Tom Fogarty

I seldom critique albums. I used to do it fairly regularly several moons ago when I was a writer for PennyBlack Music, but apart from casting my critical eye over Daft Punk’s Random Access Memories in 2013 (which was a very lacklustre effort on my part, trying to be topical at the time), that’s about it. The reason for this is simple: although I love music and always have it on at home, being at concerts and experiencing it live is my thrill. And that’s what I like to write about.

I’ve made a rare exception, however, after discovering the existence of a very special album. After a 10-year hiatus, I’m going to break with tradition and retrospectively review an album from the 1970s. But not just any album. Oh no. This will be the eponymous debut of one of the founding members of none other than Creedence Clearwater Revival. Yes, in direct contravenence of Highlander’s dictum, “There can be only one,” you are about to read Tom Fogarty reviewing Tom Fogerty by Tom Fogerty.

Although it may sound like the concept for a Dadaist comedy of the absurd or the plot of a confusing avant-garde film noir by David Lynch, this isn’t some bizarre, self-absorbed, musical inception moment. It’s a real album by a real person, and I am also a real person who has the same name (almost) and is reviewing it. Really.

This could, in fact, be the highlight of my critical writing ability. But will the album prove to be the pinnacle of that other Tom Fogerty, too? You’ll have to read the next 800 words of so to find out.

But that’s enough hyperbole. Who is this imposter called Tom Fogerty?

Fogarty’s Fogerty: A Self-Titled Symphony of Sublime Sounds

Tom Fogerty was an American musician best known as the rhythm guitarist and a founding member of the rock band Creedence Clearwater Revival (CCR). Born on November 9, 1941, in Berkeley, California, Fogerty formed CCR in 1967 with his brother, John Fogerty, along with Doug Clifford and Stu Cook. Tom Fogerty contributed vocals and guitar to the band’s sound, helping to shape their signature swamp rock style.

Despite their immense success with hits like “Proud Mary,” “Bad Moon Rising,” and “Fortunate Son,” tensions arose within the band, particularly between Tom Fogerty and his brother John. Tom left CCR in 1971 after disputes over the band’s direction and management, leading to a solo career and occasional collaborations with other musicians.

Tragically, Tom Fogerty died on September 6, 1990, at the age of 48 due to complications from AIDS, which he contracted through a blood transfusion during back surgery. Though often overshadowed by his brother’s prominence in CCR, Tom Fogerty’s contributions to the band’s early success are significant, and his legacy as a musician remains notable in the history of rock music.

I’m no stranger to Tom Fogerty and Creedence Clearwater Revival (having written about them before, and indeed, having a tattoo dedicated to them), so it might surprise you to learn that I only recently discovered this solo effort existed by my near doppelgänger. On discovery, I was more excited than when I learned there is a book called The Story of Tom Fogarty: Autobiography of a Criminal or that you can buy Tom Fogarty wine (both of these facts are true; feel free to verify using a quick Google search if in doubt), which led to the opinion piece you are now reading.

Tom Fogarty: The Unexpected Masterpiece by That Other Tom Fogerty

Tom Fogerty’s self-titled solo album, released in 1972, is a departure from his work with Creedence Clearwater Revival. It showcases his growth as a songwriter and musician, with a mix of rock, country, and blues influences.

The opening track, “The Legend of Alcatraz,” sets the tone for the album with its upbeat tempo and catchy guitar riffs. The moment you drop the needle on this record, you’re hit with a wave of familiarity. And I mean that in the best possible way. It’s a rootsy, blues-infused introduction that feels like a nod to the musical heritage he comes from, but with a distinctive Tom Fogerty twist.

The voice might not have the gravelly growl of his brother John (neither does the voice of this Tom Fogarty, for that matter), but it’s got a charm of my own. It’s a bit like comparing a fine wine (Tom Fogarty wine?) to a well-aged single malt scotch – both delicious in their own right (if you have a taste for them). On tracks like “Wondering” and “My Pretty Boy,” the vocals might not soar to the heavens, but they navigate the musical landscape with a laid-back, easygoing finesse that’s hard to resist.

The album takes an unexpected turn with “Beauty is Under the Skin,” a track that encapsulates the essence of folk-rock with its catchy hooks and toe-tapping rhythm. It’s a feel-good anthem that makes you want to pack your bags, hit the open road, and chase the sunset. And if you listen closely, you’ll catch the subtle nod to Fogerty’s roots – a sprinkle of that CCR magic.

“Lady of Fatima” is a track that is testament to the storytelling prowess that runs in the Fogerty blood. The lyrics paint a vivid picture of mystery and intrigue, and the instrumentation is a symphony of slide guitars, pulsating baselines, and subtle percussion that elevates the song to another level. It’s a cinematic experience, and for a brief moment, you’re transported to a world where the Lady of Fatima herself takes centre stage. Or something like that.

Now, Tom wouldn’t be a true Fogerty if he didn’t throw in a bit of swampy blues, and “The Me Song” delivers just that. It’s gritty, it’s raw, and it’s a showcase of the musical diversity that defines the Fogerty legacy. The bluesy licks and soulful harmonica riffs create a swampy atmosphere that’ll have you tapping your foot and reaching for a harmonica of your own.

Closing out the album is “Here Stands the Clown,” a breezy, laid-back tune (despite what the title might suggest) that captures the essence of lazy evenings spent under the stars. It’s a fitting end to a journey that traverses through various genres while maintaining a cohesive thread of Tom Fogerty goodness.

Tom Fogarty on Tom Fogerty’s eponymous Album: A Musical Odyssey by the Other Fogerty You Never Knew You Needed

Overall, Tom Fogerty is a solid solo debut that showcases the artist’s growth and diversity as a songwriter and performer. While it may not have the commercial success of his work with Creedence Clearwater Revival, it’s a must-listen for fans of the band and for those looking for a taste of Tom Fogerty’s unique brand of Americana. I might as well point out at this juncture, that this is is quite a rare album and so, can be costly to buy. You can, however, listen to it on Spotify for free!

It’s a great album to listen to if you are a fan of CCR, as it has a lot of similarities in terms of the sound and style, but it also offers something new, as it showcases Tom’s versatility and maturity as an artist. He experiments with different genres and different sounds, and it’s clear that he was determined to make a mark as a solo artist.

The album has a great balance of rock, blues, and country, which makes it a great listening experience. The instrumentals are top-notch, and Tom’s vocals are as good as ever.

In the grand scheme of things, Tom Fogerty may not have stormed the charts or made the headlines like some of the other CCR or John Fogerty ventures, but it’s a hidden gem that deserves a moment in the spotlight. It’s a musical self-portrait that showcases a distinctive style, unburdened by the shadows of CCR. It’s obviously a must-listen for fans of CCR but also for those who appreciate a good mix of rock, blues, and country. The album is a great testament to Tom’s talents and his lasting legacy in the music world.

I’ll leave you with this thought. If someone called Tom Fogerty decides to make an album and name it after himself, it must surely be good. It’s a statement of intent, a signature that sums up who he is and makes the world aware of that fact. Or so you’d hope. But what if someone called Tom Fogarty then decides to write about it? What does this act in turn say about him?

Track Listing

The Legend of Alcatraz
Lady of Fatima
Beauty is Under the Skin
Wondering
My Pretty Boy
Train to Nowhere
Everyman
The Me Song
Cast the First Stone
Here Stands the Clown

Listen to Tom Fogerty by Tom Fogerty on Spotify.

Please note – some of the images included were found online and, in some cases, edited (badly) by me. If you are the owner of the original image, please contact me, and I will either credit you in the article or remove the image immediately. Thank you.

Related Articles

Bad Moon’s Still Rising: 35 Years Without Tom Fogertyy

Thomas J. Fogarty: An Obituary (And the Other Tom Fogarty’s Long SEO Nightmare)

What’s in a Name? The Trials and Tribulations of Being a Famous Tom Fogarty