John Fogerty

Then there’s a 1952 Gibson Southern Jumbo – the one with the P-90 on it. I actually acquired that one early on in my vintage collecting. It’s kind of a skinny P-90, but that’s what it is – which I don’t use at all. I used that guitar a lot on Blue Moon Swamp. It’s on “Southern Streamline,” a little bit on “110 In The Shade” – whenever I was using the kind of country-rhythm acoustic sound, I was using that guitar. It’s kind of dark and big sounding; it just sounded like a train to me. When I first strummed a chord, I went, “Oh, my God.” It just does that spooky, woody thing.

..."I got a black version of this guitar, I'd heard about all those guys in England Eric and Jimmy, and that other guy...Jeff, of course...the best of all of us...the guitar was black, I tuned it down because i'd learned a lesson from Lead Belly and all the old fashioned blues guys...The other night my wife surprised me again, on stage, and she said, " Well sweetheart, I've got one more guitar for ya'" and she came out and gave me* THIS THING!* It was made special for me...THANK YOU HONEY!! And I do believe its probably the only one like it... IN THE WHOLE WIDE WORLD!!

According to John Fogerty's guitar tech, the CCR guitarist uses those speakers for guitar.

At 18:41 of this video on Premier Guitar, John is using a rare Tremolo/Vibrato effects pedal.

In his setup, John also uses a MF delay pedal

On John's rack, one can clearly see that he is using a Surf Rider pedal.

Here, in a small but distinguishable picture, John is holding an LP Sunburst Junior.

With his interview with the Vintage Guitar, it is revealed that he has four Gibson Les Paul Juniors.

I used the ’57 Junior on the solo of “Blue Boy” on Blue Moon Swamp. I always think of Steve Cropper when I pick one up – with just a little bit more slinkiness, and a little darker. In fact, there was an old R&B record when I was a kid, called “Slummer The Slum” by the “5” Royales. I didn’t know who it was then, but the guy’s name in Lowman Pauling. The flipside was “Don’t Let It Be In Vain.” But on “Slummer The Slum,” he sounds like he’s got rubber bands on there or something. The tone is that Steve Cropper-ish sound. So every time I pick up the Junior, that’s what I picture myself playing.

Here, at a live performance, John can be seen using a PRS CE 24 standard

Here, John is seen with a Custom Singlecut PRS in a shimmery blue

In, his interview with Vintage Guitar Magazine, John stated that his first Les Paul Custom was damaged by the airlines while touring with Creedence Clearwater Revival, as the neck broke in March of 1969. He took it to Oakland luthier Hideo Kamamoto, and had the neck converted to 3/4 scale and added a Bigsby B5, during the recording sessions for the “Green River” album in early April 1969, he then bought a second Les Paul Custom to leave stock for D-Standard tuning. Fogerty immediately stopped using his Rickenbacker 325 in the studio for standard tuning following the release of the Green River, replaced the Rickenbacker with his newly Modified 3/4 scale Gibson Les Paul Custom with the Bigsby B5 vibrato bar, for E Standard tuning. From Willy & The Poor Boys and onwards he recorded exclusively with his two Les Paul Customs, as he grew extremely frustrated with Rickenbacker’s poor tuning stability with the Bigsby.

Is your Buck Owens model one of the red, white, and blue acoustics? Yeah. I treasure it. It’s a later one, I believe made by Sears. Buck gave it to me as a gift, around ’96. The early ones that he had were made by Gibson.

I bought a J-200 right around the early Creedence days, and that’s on “Green River” and some of the other ones where I’m strumming an acoustic. (...) I’m not a big fan of J-200s. They’re not mellow. I love Taylors. The strummy guitar on “Déjà Vu” is a Taylor.

According to an interview with Russ Gary, sound engineer of the studio where CCR recorded "Green River" in, he double-tracked this guitar.

I actually made a couple of my little recordings in those days with that guitar. And at some point I had the Val-Trol wooden model, basically like a Les Paul Custom. We were starting to tour as the Golliwogs, and Tom went somewhere and traded in two or three of those Supros and got me a 3/4-size Rickenbacker – the John Lennon model – with Rickenbacker’s whammy, which gave me two or three years of headaches [laughs].

My first guitar was a Sears Roebuck Silvertone, with the single lipstick-tube pickup – you know, a Danelectro – and I bought a cheap Supro with one bridge pickup. I believe the model was later called an Ozark – kind of a small-scale thing. Eventually I had the Res-O-Glas Supro, made out of fiberglass – white, with two pickups and some kind of bridge pickup.

In this photo, John is seen using the MS500 backstage at a concert. The guitar was given to him by The Wiggles, whose 2004 video "Santa's Rockin'!" John was a guest star in. It has a custom inlay of "The Wiggles" word mark written on the neck and is in a sparkle blue color.

According to John Fogerty's guitar tech in this Premier Guitar interview at (13:55). They "were modified from the factory to be...100 watt amps, because John prefers the sound of 100 watt amps. They sound amazing," his tech said.

Along with Dr. Z, he also uses this cabinet, according to Premier Guitar.com

Full article here

My first guitar was a Sears Roebuck Silvertone, with the single lipstick-tube pickup – you know, a Danelectro – and I bought a cheap Supro with one bridge pickup. I believe the model was later called an Ozark – kind of a small-scale thing. Eventually I had the Res-O-Glas Supro, made out of fiberglass – white, with two pickups and some kind of bridge pickup.

He used MF Delay on tour.

According to the Fulltone Website, John plays the Supa-Trem ST1.

According to this article on PremierGuitar.com, John Fogerty runs his Dr. Z amplifiers through a 2x12 Dr. Z cabinet.

According to Premier Guitar.com in this article John Fogerty runs his signal through 12" 65W Celestion Creamback speakers.

At 19:59 of this video, John's technician points out that for one song, John uses the Boss pedal.

John Fogerty has recently incorporated the Gibson Les Paul Custom Axcess (Ebony) with a Floyd Rose into his musical repertoire, a custom request he made to Gibson for use in performances requiring a whammy bar. This addition to his gear was showcased during his appearance at the Beach Life Festival, as documented in a video available on YouTube.

These Marshall JCM 800s and JMP 2203s were his main touring amps from 1985 until the early 2000s.

John Fogerty, renowned for his contributions to rock and folk music, revealed in an interview with Vintage Guitar Magazine that he customized his Gibson Les Paul Custom with a Bigsby whammy bar and a 3/4 scale neck after the original was damaged by airlines in February 1969. He also purchased a second Les Paul Custom for D-Standard and Drop D tuning in April of the same year. This modified Les Paul Custom, equipped with a Bigsby, became his primary guitar for E Standard tuning, replacing the Rickenbacker “ACME” 325 due to its poor tuning stability and unreliable wiring, from the "Willy & The Poor Boys" album onwards.

John Fogerty uses the Gibson Custom 1954 Les Paul Goldtop Reissue Electric Guitar as his main instrument for standard tuning, employing three or four of these since 1995. This information is detailed in his Premier Guitar Rig Rundown interview.

In his interview with Vintage Guitar Magazine, John Fogerty mentioned that after Creedence Clearwater Revival broke up in 1972, he replaced his old and worn-out Kustom Amps with the more modern Marshall JMP 2203 Master Lead and JMP 2104 Combos.

In his 1989 live performance at the Oakland Coliseum, titled "John Fogerty & Friends," John Fogerty and Jerry Garcia can both be seen using Seymour Duncan Convertible 100 amplifiers. John Fogerty also used the Convertible 100 combo to record the "Centerfield" album (source: YouTube).

In an interview with Vintage Guitar Magazine, John Fogerty mentioned that after Creedence Clearwater Revival broke up, he replaced his old and beaten Kustom Amps with more reliable Fender Silver Face Dual Showman Reverbs and Marshall JMP 2203 Heads for live performances. For studio work, he switched to Marshall 2104 Combos and Modded Silverface Fender Twin Reverbs for more gain.