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Time - 44:55
The only post-Creedence album by Tom Fogerty available to my knowledge, this album was recorded at the Fantasy studios in Berkeley, CA, in 1988. But it was not released until 1992, two years after Tom's death (he died of respiratory failure on September 6, 1990, a few months shy of his 49th birthday). Tom sang lead vocals and played rhythm guitars; his "sidekick," Randy Oda, played lead guitars and keyboards; Tom's son Jeff sang background vocals and played bass; and Randy's brother Kevin played drums and percussion. Tom's voice was more smooth and mellow than the voice of his brother, Creedence lead singer John Fogerty. It's a pity Tom never had a chance to use his voice while with Creedence.
All songs were written by Tom Fogerty and Randy Oda unless otherwise noted.
Rainbow Carousel (7:41) - The sounds of children playing fill the first 14 seconds. In some parts of the song, the tempo is slow and a bell-like instrument plays, representing a moving merry-go-round. In other parts of the song, the tempo is somewhat faster, and this time drums play. I suppose Tom was right that "everything happened for a reason." It's just that in some cases one must look hard to find the reason. And yes, each of us has our own destination in life.
Money Buys It (Funky Side of Town) (3:01) - The song starts off with a single, long drum beat that does the reverse of fading. The rhythm is moderate and catchy. Tom's voice fades out before the song does. A drum solo fills the last, fading seconds of the song. As for the lyrics, I suppose Tom meant that on the "funky side of town," women would fall in love only with men who had a lot of money. And the Beatles said money couldn't buy THEM love!
Video Girl (4:41) - The narrator praises his Video Girl, saying she is "one in a million." The tempo is slow, with the loudest drumbeats occurring at the third beat of each measure. At the part where Tom sings, "She can change my channel with a flick of her finger," the word "finger" echoes.
Woman of the Year (4:13) - Like "Video Girl," this song is a tribute to the woman the narrator loves. An echo or two occurs on this song also. What I like most about this song is the chorus, in which Tom spells out, "W-O-M-A-N."
Clearwater Rain (3:03) - In the only instrumental track on the album, the rhythm is moderately slow, and the keyboards sound serene and almost like bells. Imagine catching a gentle rain shower of clear, fresh water.
Teardrops (4:03) - Another song in which echo effects are used, this song has a moderate beat that contrasts with the sad mood of the lyrics.
We've Been Here Before (4:26) - This song has the same tempo as "Clearwater Rain." The narrator and the woman to whom he is singing apparently contemplated falling in love before, and now the desire to fall in love is stronger than before.
Sometimes (4:42) - Here Tom evokes a nostalgia for the '60s. In the first verse the narrator complains that all he hears about is the Iran-Contra affair (which was definitely major news in the late '80s). In the second verse he reminisces on his younger days as a protester against the Vietnam War. But Tom's most important message is in the chorus: We can't go back to the '60s, "but we'd better make sure that we never forget."
Sloop John B (arranged by Brian Wilson) (4:41) - This is my favorite song both by the Beach Boys and by Tom and Randy. Tom and Randy's version starts off with a slow keyboard solo. Then the tempo accelerates to moderate. After the chorus is sung the second time, the key shifts from C to D. After singing the final verse, Tom repeats the first two lines of the song, and sound effects appear: harbor bells ringing, water rippling, and seagulls chirping. Tom's voice fades out several seconds before the sound effects do. I can relate very well to this song; after a long day at school, I feel just like the narrator: "I feel so broke up, I wanna go home."
Unbearable Lightness of Being (Tom Fogerty) (4:03) - What I like best about this song is the facts of life it states: "There can be no day without a night / And there can be no left without a right." Such is life; some things cannot exist without their opposites. The next best thing is the whistling at the start, at the end, and between verses (in the end Tom "da-da-da's" along with the whistling). Here is yet another song in which echoing occurs: every time Tom sings the title, the word "being" echoes. My mom told me once that there's a movie with the same title. I've never seen it, so I don't know whether this song is on it.