John Fogerty Quotes

When I choose material for an album all these songs I grew up with pour into my head.

'Gorilla Man' is a composite of a few individuals, but the song itself was actually inspired by James Taylor. I spied his 'Gorilla' album laying on my floor and in some altered state, instantly started singing the chorus. It was fun to write. There's an old notebook with at least three more verses in it somewhere.

I think the Beatles is one band that, if I'm working on a song arrangement or if I have some idea for a song, and there's a little bit of a Beatles quality to it, I never avoid that. I always will steer into it.

Sometimes I start with lyrics - rarely - but sometimes I might have an idea for some lyrics that I wanna say. I write them down and figure out how to use that in a melody to write a song.

Some of the songs come so fully, it's like they are pre-packaged. There have been a couple that came in the middle of the night. And I thought, jeez, I'll never forget that. And went back to sleep, and it was gone. You'll hear something years later that another songwriter that you respect writes, and you go, jeez, I think that was the remnants of that song that got sent to me.

It's more in retrospect as I've thought about it over the years and look back at what I wrote, how I wrote things - like there's a song that Ralph Stanley later recorded with me that he had guested on my record what was called "Travelers Lantern" that I wrote as basically, you know, a hymn.

I was sickly as a child and gravitated to books and drawing. During my early teen years, I spent hundreds of hours at my window, sketching neighborhood children at play. I sketched and listened, and those notebooks became the fertile field of my work later on. There is not a book I have written or a picture I have drawn that does not, in some way, owe them its existence.

Probably "Mrs. Potato Head" or "Training Wheels". "Mrs. Potato Head" because it was the hardest song to write and it took me a while to finish it and feel good about the lyrical content. But I've had that idea in my head for so long, especially the visuals - pulling apart a Mrs. Potato face and how that doubled as a meaning for plastic surgery. "Training Wheels" because it's the only love song on the album.

Like many composers, most of my compositions are influenced by the music I've listened to throughout my life.

As a songwriter, I don't rush. I may sit on lyrics for two years before the music hits.

Sometimes I'll hear a certain approach that kinda cathes my ear, like „It's kinda cool what that guy's doing there", or maybe an effect that somebody's using, or a guitar sound, or something that kinda makes me open up. But the funny thing is i realise over time how sort of traditional i am.

If it takes you three years to set up a studio, and you've made one track with that setup, then the logical thing to do is not change anything and just do another one using the same set of sounds.

It varies, I don't think there is any one set way of writing songs or coming up with ideas, it comes in so many ways you know.

She [then nine-year-old daughter Emily] grew up with 'The Rhythm is Gonna Get You,' Well . . . It got her!

You gleefully say, "I just thought of something!", when in fact your brain performed an enormous amount of work before your moment of genius struck. When an idea is served up from behind the scenes, your neural circuitry has been working on it for hours or days or years, consolidating information and trying out new combinations. But you take credit without further wonderment at the vast, hidden machinery behind the scenes.

With the new technology that keeps entering the media, film composers are constantly being placed in new learning situations. Acknowledging this and realizing that one must keep up, I maintain, nonetheless, that the real creative power is in the mind and heart of the composer.

I have always kept notebooks and I go back to them over and over. They are my compost pile of ideas.

Writin songs is like a mystery. The most difficult thing to do is have a good idea. If you have a decent idea, the songs are the easy part. Actually having something to say is the hard part. If you get an idea for a song, then it pulls you along. There are just some ideas that you get that are really hard to edit out; it's hard to stop thinking about some bad ideas. So you just finish it and you end up putting it on a record.

I have a structured songwriting process. I start with the music and try to come up with musical ideas, then the melody, then the hook, and the lyrics come last. Some people start with the lyrics first because they know what they want to talk about and they just write a whole bunch of lyrical ideas, but for me the music tells me what to talk about.

I always write the lyrics first. There are one or two exceptions over the years, but that's pretty much the way it's been. The process of applying music to words is a bit like scoring a film. You've got imagery.

I don't, consciously anyways, sort of listen to things with the idea of getting something from them that I can use.

I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.

In the Air Force, I had an old Wilcox Gay recorder, and I used to hear guitar runs on that recorder going (vocalizing) like the chords on "I Walk The Line." And I always wanted to write a love song using that theme, that tune.

I'm trying to get music ideas that come and keep them alive. It's like carrying water in your hands. I want to keep it all, and sometimes by the time you get to the studio you have nothing.