“It’s the economy, stupid”
That’s what political strategist and Bill Clinton campaign manager James Carville said when asked what made John Fogerty a great guitar player.*
Economy – that is to say, careful use of resources – is pretty much the defining characteristic of Fogerty’s Creedence-era music. In this, the band was utterly unlike its peers from across the bay (the Grateful Dead, Jefferson Airplane and so on), who lived to draw things out on stage, to explore their material from every angle over 10, 15, 20 minutes. Creedence on the whole got in and got out again quickly, and Fogerty was disinclined to include anything in a song that didn’t have to be there. OK, the band had their extended moments (most famously the 11-minute recording of I Heard it Through the Grapevine, but I think the 4-minute edit with only one solo is self-evidently superior), but Fogerty’s songs are largely pared down to the bone: 2- and 3-minute affairs with two verses and three choruses, usually without a middle eight, and an arrangement based on little more than two guitars, bass and drums.
Guitar solos, too, are rarer than you’d think in Creedence’s music, and often they’re just a few bars long. A couple of bars of through-composed melody (semi-chordal or pentatonic) to provide a change of feel or texture prior to the final verse or chorus.
A key solo in the Fogerty canon, partly because it was from a relatively early single and partly because it’s so illustrative of his style on so many CCR songs, is the solo from Proud Mary.
There’s a little lick that guitarists love. With your index finger, you play a triad on the same fret across the D, G and B strings (that is, the way you play an A chord), then add your middle finger on the one fret up on the B and your ring finger two frets up on the D. This gives you a triad a fourth above your base chord. You can use hammer-ons and pull-offs to give you all kinds of melodies – single note, double stop or triad- based. You can play this lick starting on any fret, so it works in any key. It’s in innumerable Keith Richards riffs. It’s the beginning of Robbie Robertson’s intro to The Weight. It’s the Rebel Rebel riff, the Block Buster riff. It’s everywhere.
Two thirds of the Proud Mary solo is just playing around with these ideas. The key isn’t the notes Fogerty plays, it’s the rhythm of them, especially when he plays melodic ornamentations like that sliding double stop and that delightful little hoppedy-skippedy tune that comprises the second half of the solo. He’s not just playing straight sixteenth notes or eighth notes with no swing or syncopation; Fogerty absorbed too much from Chuck Berry and Little Richard for that. With him, rhythm is always key, whether he’s soloing or not.
*I jest, of course. I’ve no idea what kind of music Carville is into. But he lives in New Orleans, so maybe he does like a bit of Creedence. After all, no band from California ever sounded more authentically Lousianian than CCR.