Draft, weight loss, and marijuana story
Fogerty clarifies a long-running story about losing weight and smoking marijuana around an Army medical visit. He says the elements are partly true but the timeline and intent have been oversimplified.
#2485 - John Fogerty
Source description
John Fogerty is a Grammy-winning solo musician, former leader of Creedence Clearwater Revival, and an inductee of the Rock & Roll Hall of Fame and the Songwriters Hall of Fame. His latest album is “Legacy: The Creedence Clearwater Revival …
John Fogerty is a Grammy-winning solo musician, former leader of Creedence Clearwater Revival, and an inductee of the Rock & Roll Hall of Fame and the Songwriters Hall of Fame. His latest album is “Legacy: The Creedence Clearwater Revival Years.”www.concordrecords.com/collections/john-fogerty/products/legacy-the-creedence-clearwater-revival-years-liberty-2lp-vinylwww.youtube.com/johnfogertywww.johnfogerty.com Learn more about your ad choices. Visit podcastchoices.com/adchoices
Key Topics
- Draft, weight loss, and marijuana story
- Being sued for sounding like himself
- Creedence internal betrayal and label conflict
- Changing “Zan Can’t Dance” to “Vance”
- Music industry exploitation and artist rights
- Depression, alcohol, and meeting Julie
- Offshore tax scheme and Castle Bank collapse
- Recovering losses through lawsuits and settlements
- Creativity, faith, and the golden rule
- Catholic school trauma and rethinking religion
- Early musical influences at home
- Elvis and the decision to pursue music
- Childhood fantasies and baseball dreams
- First songwriting memory: “Wash Day Blues”
- Riff-first writing and the “Old Man Down the Road” origin
- Mysterious titles that appeared and vanished
- The muse and disciplined daily work
- Writing “Fortunate Son” from draft-era anger
- Fogerty’s role as arranger and band driver
- “Proud Mary” and the honorable discharge moment
- Band name changes and “The Golliwogs” discovery
- Creedence’s last album and forced “democracy”
- Woodstock set and refusing the film footage
- Life after Creedence and avoiding CCR songs
- Playing with his children and a stable band dynamic
- Rock star image versus authenticity
- “Eye of the Zombie” as delayed trauma response
- “Suzie Q” strategy and breaking through radio
Being sued for sounding like himself
Fogerty recounts a lawsuit claiming his solo song “The Old Man Down the Road” copied Creedence’s sound. He describes years of legal stress and the larger principle that an artist’s style should not be owned by others.
Creedence internal betrayal and label conflict
He says the lawsuit was encouraged by a former bandmate who urged Fantasy Records to sue. Fogerty frames it as a bitter betrayal given his role in shaping the band’s arrangements and parts.
Changing “Zan Can’t Dance” to “Vance”
Fogerty explains why he changed the song title after pressure from Warner Bros. He describes it as part of a broader pattern of record-business intimidation and control over artists’ work.
Music industry exploitation and artist rights
Rogan and Fogerty discuss how labels can control catalogs, publishing, and likeness. They compare Fogerty’s experience to other artists like Prince and the broader need for young musicians to understand contracts.
Depression, alcohol, and meeting Julie
Fogerty describes a period of self-destructive drinking and bitterness that he links to legal battles and band conflicts. He credits his wife Julie with helping him survive, regain stability, and reconnect with joy.
Offshore tax scheme and Castle Bank collapse
He details an offshore tax plan tied to Castle Bank in the Bahamas that ultimately collapsed, wiping out funds. Fogerty describes fear, confusion, and how the situation contributed to years of distrust and stress.
Recovering losses through lawsuits and settlements
Fogerty says he pursued legal action when others did not, and later they sought to join after deadlines passed. He describes an eventual recovery that came via insurers and legal settlements rather than the bank itself.
Creativity, faith, and the golden rule
Fogerty talks about living as if God is real and using the golden rule as a practical guide. He argues that exploitative behavior harms relationships and that long-term consequences catch up with “evil” conduct.
Catholic school trauma and rethinking religion
Fogerty shares a childhood story of harsh Catholic school discipline and humiliation that shaped him. Rogan relates similar experiences and they distinguish personal spirituality from flawed human institutions.
Early musical influences at home
Fogerty recalls his parents harmonizing in the car and his mother’s piano style as formative memories. He describes early exposure to instruments like snare drum, harmonica, and a tough old acoustic guitar.
Elvis and the decision to pursue music
He describes hearing an Elvis record on a jukebox around age 10 and feeling an immediate calling. He highlights Scotty Moore’s guitar as a revelation that made him think, “That’s what I want to do.”
Childhood fantasies and baseball dreams
Fogerty jokes about imagining a doo-wop group persona and also wanting to be a baseball player. He connects those aspirations to writing “Center Field” and the satisfaction of contributing to baseball culture through music.
First songwriting memory: “Wash Day Blues”
Fogerty says he began writing songs as a child and remembers a blues-inspired idea sparked by a laundry commercial. He frames it as an early example of combining everyday phrases with musical patterns he loved.
Riff-first writing and the “Old Man Down the Road” origin
He describes discovering the song’s signature riff before turning on his recording gear. Fogerty explains how he built the track through repetition, improvisation, and a later title change that sharpened the concept.
Mysterious titles that appeared and vanished
Fogerty tells stories of finding inspiring phrases in his notebook that later were not actually written there. He treats it as a playful metaphor for the muse and the strange, unreliable way ideas surface.
The muse and disciplined daily work
Both discuss how ideas often feel received rather than invented. Fogerty emphasizes showing up consistently, being receptive, and then doing the hard work to develop inspiration into finished songs.
Writing “Fortunate Son” from draft-era anger
Fogerty explains the song’s roots in Vietnam-era unfairness and seeing privileged people avoid service. He describes writing lyrics quickly after the band had rehearsed the instrumental framework.
Fogerty’s role as arranger and band driver
He says Creedence learned songs as instrumentals while he developed vocals and additional parts later in the studio. Fogerty describes pushing rehearsal structure and taking responsibility when others did not bring material.
“Proud Mary” and the honorable discharge moment
Fogerty recounts receiving his honorable discharge and immediately writing “Proud Mary” in a burst of relief and inspiration. He describes recognizing it as a leap forward in his songwriting and identity.
Band name changes and “The Golliwogs” discovery
Fogerty describes how Fantasy Records renamed the band without consent, including the offensive “Golliwogs” name. He explains learning much later about its racist associations and the power imbalance behind such decisions.
Creedence’s last album and forced “democracy”
He says other members demanded equal songwriting and singing despite limited experience, leading to the album “Mardi Gras.” Fogerty describes critical backlash and claims that others later blamed him for the outcome.
Woodstock set and refusing the film footage
Fogerty recalls playing late at Woodstock after the Grateful Dead’s long set and seeing a largely exhausted crowd. He explains declining the film use of their performance and later reconsidering whether that was a mistake.
Life after Creedence and avoiding CCR songs
He describes touring in 1986 with hired musicians while refusing to play Creedence songs due to anger over rights and past conflicts. Fogerty later contrasts that era with a healthier present-day setup.
Playing with his children and a stable band dynamic
Fogerty says his current band includes his sons and peers their age, reducing ego conflicts. He describes it as joyful and free of the careerist tension he experienced in earlier band configurations.
Rock star image versus authenticity
They discuss the stereotype of dark, self-destructive rock personas and the pressure to maintain a costume. Fogerty argues he preferred being a normal dad and that authenticity produces better art than chasing an image.
“Eye of the Zombie” as delayed trauma response
Fogerty frames the darker album as a reaction to suppressed anger after the success of “Center Field.” He compares it to walking free from prison and then turning back to rage at what happened, and says meeting Julie helped him recover.
“Suzie Q” strategy and breaking through radio
Fogerty explains using an established song to reduce pressure and showcase creative arranging. He describes getting a long version played heavily on an underground station, which helped launch the band’s momentum.