John Fogerty will be playing at this year’s Bonnaroo Music Festival in Manchester, Tennessee, on the main stage on Sunday, June 13th.
John also has confirmed 3 shows in April in Florida, April 22 at Seminole Hard Rock Arena in Hollywood, FL, April 23 at Suwanee River Jam in Live Oak, FL and April 24 at Tropicana Field in St Petersburg, FL (After Tampa Rays Baseball Game).
What happens when one American legend takes on 12 American classics? If that legend is John Fogerty, the simple answer is musical magic. On The Blue Ridge Rangers Rides Again (released 8/2009), Fogerty reinvents such treasures as the Everly Bros.’ “When Will I Be Loved” (a stunning duet with fellow Rock & Roll Hall of Famer Bruce Springsteen), Rick Nelson’s “Garden Party” and John Denver’s “Back Home Again” with uncommon grace and unbridled zest.
As longtime Fogerty fans will recall, the Blue Ridge Rangers made their first appearance in 1973 when the Grammy® winner released an album of classic covers (including “Jambalaya” and “She Still Thinks I Care”) under that moniker. The name was deceptive: the Rangers were Fogerty and Fogerty alone. He played all the instruments including drums.
The thought of revisiting the Blue Ridge Rangers as a vehicle to create another set of beloved covers has never been far from Fogerty’s mind. “I thought about it at least once a month,” he says. “I told myself if I ever get to do this again, I’m going to have real guys playing; I’d find the best guys I could and have fun and so that’s what happened this time.”
Indeed, on The Blue Ridge Rangers Rides Again, Fogerty surrounds himself with such top-flight musicians as Buddy Miller (guitar), Greg Leisz (pedal and lap steel, mandolin and dobro), Jason Mowery (fiddle, mandolin and dobro) and Kenny Aronoff (drums). They circle and entwine each other in joyous musical call and responses (complete with hooting and hollering), weaving in and out of each song. Call it a country record if you must, but it’s really the sound of America. And the sound of Fogerty: real instruments, real talent. No artifice.
Fogerty, who arranged and produced the set, encouraged his fellow musicians to bring their own ideas to the songs. The album’s great live feel comes from the fact that the basic tracks were recorded in three or four takes over a seven-day period. Then, the players hung out in the studio during each other’s overdubs, egging on their compatriots. “It seemed to be a very rewarding way to make music,” Fogerty says. “I really believed in the songs and the vibe. There was not really a preconceived notion. There [was] an openness, but the thing has to ring true to how I feel.”