As a songwriter, sometimes the creative journey takes unexpected turns. Take for instance, the track “Train of Fools” from my album, Wrote a Song for Everyone. The genesis of that song was quite a ride, and it really showcases how sometimes the initial idea is just a starting point. When the concept for “Train of Fools” first sparked, the song that emerged was… well, let’s just say it was a far cry from the version you know. In fact, the first iteration, also called “Train of Fools,” had a completely different vibe – almost like a “fat Elvis” kind of tune, you know, [sings] “hoo-a hoo-a train of fools.”
I was under pressure to deliver a song quickly, facing a tight 24-hour deadline because studio time with the band was booked just 48 hours away. I managed to cobble together this first version, but deep down, I knew it wasn’t hitting the mark. It simply wasn’t good enough. So, I made a crucial decision: I scrapped it and started over, remarkably sticking with the same title, “Train of Fools.” Usually, when you have a false start like that, the title feels tainted, and you need to shelve it for a while.
But the core idea of the “train of fools” itself felt potent, really solid. I knew there was something there. That’s when I began to flesh out the concept with characters, giving them backstories and motivations. It started to feel like a morality play, almost allegorical. Years after the album came out, the best way I could describe it was like an episode of Twilight Zone. I could almost hear Rod Serling’s voice introducing these characters: “Here’s the gambler, and here’s the loser, and here’s the pretty maiden who’s deceitful.”
The song structure and narrative were coming together, and we even went into the studio and recorded it with the band. But even then, something felt missing. While it told a story, taking the listener on a journey describing these characters, it lacked a true sense of resolution. It didn’t have a satisfying conclusion. I knew it needed more, even though we already had a recorded version. I was ready to discard what we had and keep digging.
Working on “Train of Fools,” I had already written the lines, “One will be addicted / Chained to the devil’s cross / That one’s going to die before he’s old.” That was the original ending point, leading back into the chorus.
Then, I started to think about the idea of a child, and that’s when the lines came: “This one is a victim / A lost and broken child / Soon enough he’ll be a man to hate.” I thought, “Okay, this is getting somewhere, pretty good.” But I still needed rhyming lines to complete that section. I began thinking about societal judgment, how people often stand in judgment of others, feeling superior and faultless. That led to the next line: “Those that point their finger / Will also share the blame.” That felt strong.
Then, over a few days, that little gap in the song started to fill in, and suddenly the final, powerful line emerged: “Those that point their finger / Will also share the blame / No one leaves this train to judgment day.” That was it. That was the conclusion the song needed, giving it that final, impactful message. It’s a reminder that songwriting, especially when crafting John Fogerty Songs, is often about persistence, refinement, and being willing to push beyond the first idea to find the true heart of the song.
