During the late 1960’s and early 70’s, John Fogerty was not only the voice of Creedence Clearwater Revival, he was the voice of a generation, laying out cryptic country blues that were interlaced with a brilliant rock sound that has never gone out of fashion, and is as instantly recognized today, as it was then. Though having said that, I’m not sure I need this grouping of songs, and even more-so, I’m not sure that I need this album artwork ... because the packaging pretty much says it all.John’s reached that age where people want to record with him, if for nothing else, than to say they have, and in that spirit I’m more than sure that John’s reaching for a younger generation who may find their way to him through the backdoor of their current country and rock heros. Some reviewers [Rolling Stone] have stated that John seems to be having a lot of fun, but to me this all sounds a bit like a karaoke script, where other artists step in at their appointed line and deliver just what they’re expected to deliver ... filling in the blanks, often sounding like they’re sleepwalking, and never finding the groove. And it’s this notion of “finding the groove,” that’s so important, because other than Bob Seger, none of these people were around when this grouping of songs first hit the radio, they have no personal connection to these songs or to the relevance these songs held for the times from which they blossomed.Just hearing Kid Rock using his voice modulator on “Born On The Bayou” was enough to make want to turn on my dusty boot heels and spit into the wind, while the Foo Fighters saturated “Fortunate Son” with their own brand of high octane that left me feeling a bit uncomfortable to say the least. I’ve been to Fogerty concerts, I’ve been to CCR shows, I’ve always been enchanted when someone who’s been hanging out backstage is asked to step up and splinter the floorboards with the band, where it actually did sound like the collaboration was fun, and the guests do rock back, breathing it all in like fine wine on the palette, morphing into something greater. But this is not great, it’s not even the less is more approach, and when the publication Country Weekly tries to insist that Wrote A Song For Everyone is somehow mesmerizing, where you can feel the mutual love and respect, that fact is, this is just flat, sad and boring ... pretty much as sad as the album jacket makes me feel.