How about this: You're more the John Fogerty, the Creedence Clearwater Revival, of today?

Well, I was a kid and very much into music when Creedence was popular on the radio. Critics tore those guys up. They tore poor John Fogerty up.

Because he wrote pop singles.

Yep. The rock critics were so mean to that guy. I never really understood it.

If you look back now, the Creedence catalog is just amazing.

There's just one great song after another.

But with Creedence, there's a much closer fit with you, right? Very roots -- there's something uniquely American about that sound.

John Fogerty was an American original, no question about it. But in the moment of the late '60s, he just didn't fit. But now you listen to those records, like "Fortunate Son" -- there was a guy who was saying something, saying it plainly. It was plainly played. Very American. People just didn't get it.

Do you think that comparison could apply to your career?

I don't know. I just don't even want to think about it, because if I start thinking about it I'll get pissed off. See, that's what happened to John. John Fogerty, through a long list of reasons, got so mad that he really couldn't make records anymore. He just got so sick and tired of everything, and when you get sick and tired of everything you can't put things in a way where you're trying to learn.

I heard that not long ago you added "Gimme Shelter" to your playlist. What's that about?

Yeah, a couple tours ago I was starting the show with that. I don't really know why I did that. I just like playing the song, I guess. I really don't think much of the Rolling Stones these days. I don't mean to come off sounding pompous but I just think, I don't know, some of the stuff the Rolling Stones say and stand for today is a little too corporate for me.

What do they stand for, do you think?

I don't think they stand for anything. Being the oldest rock band, I guess. And, "Man, didn't we write some great songs when we were kids." But there's too much American Express. Too corporate. Listen, I got nothing against people making money, don't misunderstand me. If you can make money, go make it.

Do advertisers even bother calling you to ask about using your songs in commercials?

Sometimes we still get calls. Tim [White] and I used to fight about it, too. Because there have been some offers over the years I've almost done, big money. I remember once I said, "Tim, goddamn, this is a song, why are we being so precious about it?" I was so close to taking the money, and he said, "If you fucking do this I'll never speak to you again." [Laughs.] I hung up the phone and told my wife, "I can't do this." I decided my relationship with Tim was more important than that.

Are there any songs of yours where you think, "I don't want to play them this year?"

I don't want to play "The Authority Song."

Why not?

It just seems a little juvenile. Don't get me wrong, I've got a lot of fucking juvenile songs: "Hurt So Good." Mike Wanchic, who is my guitar player and public conscience, he'll actually stand there and argue with me about it:

"What do you mean we're not playing 'The Authority Song'?"

"Mike, I don't want to play that song."

"But do you see the audience, do you see what happens when we start in on that song?"

"Yeah, but I don't care. They're fucking perking up and I want to throw up."

One of the biggest changes in the music business over the last five years has been the massive consolidation of the companies that own radio stations and control the tour business. A few weeks ago the FCC voted to allow major TV and newspaper owners to consolidate.

Now you know why Fox was so supportive of the war.

You think there was a connection there?

I don't think, I know.

What's your take on Clear Channel Communications and its influence on the radio and concert business?

I'm not going to single out Clear Channel, but I just think that when you control so much ... When a person owns the horse, the track and the other horses in the race, it's probably not going to be a fair race.

Another topic that's come up lately is pay-for-play in the radio business -- the way artists and labels actually get songs on the radio by paying indie middlemen. I was just wondering if you had any thoughts about that process.

You might be surprised about how I feel about that: That's the way it's supposed to be.

In what sense?

That's the way the music business has always been. And to take that away from a business that has never really operated aboveboard? [Laughs.] Listen, there is no way that you can devise it so that people are not going to figure out how to get around it.

When it comes to getting songs on the radio?

Sure. There is no way it can be done. Look, in the '80s when people were paying openly to get songs on the radio, here's the way it worked. "We want you to play this record and we're going to give you a spiff [kickback] of $100 to get it on the radio." OK, the guy plays it for a week and says, "I've been playing the song for a week and nobody likes it." "Well, here's $200 to play it next week." They've been playing the song for two weeks and nobody likes it. Guess what, they're done paying. It's over at that point. You cannot pay your way into having a hit. It won't happen. The only thing you can pay your way into is having the opportunity to have a hit. If you don't pay, you don't even have the opportunity. That's the way it should be done.

What about the folks who can't afford to have an opportunity?

I hate to be cruel about it, but that's the way it's always been. Look, you're talking to a guy right now who doesn't have a chance [of getting on FM rock radio]. What am I going to do about it? What's Tom Petty going to do about it? We could write "God Bless America" and nobody wants to play it. It doesn't matter what we do.

You've always been pretty upfront about the fact that you were playing this game to be on Top-40 radio, to have hits. Meaning if you're going to put time into a project, you might as well have as many people hear it as possible.

You're right. I always said there's no reason to make these records if nobody's going to hear them. What's the point, unless you can do something positive with the song, or entertain people? These things are too hard to make, they take too long, they cost too much money and there's no reason to make them unless the record company is going to support you and try to sell the fucking thing.

Is this your last album?

I don't know. Listen, I never planned anything in my life. It depends what comes my way. I'm not out looking for a record deal. I'm not calling anybody up. I don't have anybody who represents me calling people up. But I would imagine I'd make another record.

You've been doing this for a long time. If you do leave the stage, do you think it's not a bad time to do it, considering all those things you just said?

Look, my reward for "Trouble No More" has already happened. The fact we had so much fun making that record. It was challenging. It was interesting. That was reward enough. It would be like my painting. I don't paint for anything other than enjoyment. I look at other artists like Neil Young, that's the way he lives. I admire the guy. I don't know what goes on in his private conversations with his manager, but I see Neil and he doesn't care. He doesn't go on television. He doesn't promote these records. If they sell half a million or they sell 3 million, it's all the same to Neil.

You're not there, though, mentally?

I'm not there yet, but that doesn't mean I won't get there. Let's not forget I'm the luckiest guy in the world.

So you've had a good time?

Did I have fun in the music business? Are you kidding me? More fun than most guys deserve to have in their life. I have laughed so hard at myself that I couldn't get up off the floor.

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