Five for Fighting - The Battle for Everything Songbook
Since then, his solo career has produced gems such as Centerfield and Blue Moon Swamp , both of which have demonstrated Fogerty's knack for concocting songs that are "about as contrived as the weather", as critic Greil Marcus put it.
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But a total of six albums in 27 years only five of them comprising new material seems a barely adequate return from so legendary a performer. For when Fogerty should have been in the studio, he was consulting lawyers or sitting in court. I spent more than three years trying to resolve these issues, but sadly it didn't work.
The label wouldn't have been able to bring the suit if Fogerty hadn't sold them the rights to his old material, something any aspiring pop star would be strenuously advised not to do in these more artist friendly days. While countless musicians, from George Michael to Spandau Ballet, have found themselves in litigation with managers, record companies or each other, they have eventually reached some sort of conclusion, even if they're not very happy with it. But Fogerty seems doomed never to achieve the outcome he thinks he deserves. The problems date right back to Creedence Clearwater's original contract with Fantasy.
We were selling almost We had signed a contract thinking we were all in it equally.
I thought we would share to a great degree in the company's success. But then it didn't happen. Fantasy own the songs and they're supposed to pay me as the songwriter, but I've had to fight to get royalties from and every year after that.
Basically, to get paid I had to sue them, that was their stance. After Creedence split, Fogerty found himself bound to Fantasy as a solo artist. His awareness that he was a bankable asset at the peak of his powers merely increased his sense of outrage. During the late 70s and early 80s, he grew so sick of it all that he abandoned music and lived with his family on a farm in Oregon.
Then in , he re-emerged with a new record deal with Warner Bros and the album Centerfield. It looked as if he'd turned a corner - until the plagiarism lawsuit came along.
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That was not the worst of it. In , his brother Tom died from respiratory failure following a long struggle with tuberculosis. The five Fogerty boys had been brought up by their single mother in California, and Tom had been Creedence's rhythm guitarist, but not even their family bond could survive John's feelings of betrayal. He may have spent the bulk of his career in the shadow of his friend Bono, but the Dubliner was touched by brilliance when this came out.
Five For Fighting Lyrics
Impassioned and romantic, with a wonderfully rousing coda, this is Bell X1 at their best. Paul Noonan wears his heart on his sleeve and he sings as though his life depends on it. The preeminent Irish female singer of her generation: One has to admire the chutzpah of Dave Couse to shoe-horn the names of key art figures into this marvellously arresting, singular song — although he was rightly chided for neglecting to include a single woman.
Dark lyrics about alcoholism aside, it remains one of the most euphoric up-tempo songs an Irish act has ever released — with a chorus so insidiously catchy I want to hear it again just typing these words. The giddy sax solo at the end is a delight. A stunning collision of punk and pop. This sublime eight-minute meditation on the fleeting nature of happiness and the passage of time is as haunting as it is lovely. Take away the glorious bombast of Thin Lizzy and you have this sweet gem. Judicious production and a breathless vocal delivery.
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Bruising and bruised, this brutally honest song lays bare relationship woes and domestic violence like few others: A captivating exercise in brevity. Clocking in at two minutes 17 seconds, the superb debut single from one of the great Irish bands of their era offers more giddy delights in its scant run-time than many bands do in a life-time. An uber-catchy statement of intent.
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Steve Wickham is from Dublin, so pipe down anyone who questions the inclusion of this song. The arrangements and production are machine-tooled for radio and her voice is, quite simply, stunning. A song that has lost its potency through over-exposure, but try to listen to it with fresh ears and its utopian ideals ring through loud and clear.
A song about unrequited love, its complex arrangements only serve to accentuate its enduring legacy.
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The defining moment from Phil Lynott and friends: Van was at the height of his creative talents while still in his early 20s and this evergreen masterpiece managed to fuse his avant-garde tendencies with an intuitive understanding of mass appeal. This is the benchmark: Pat Stacey Concert films are strange things.
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