IN: Fogerty was born in Berkeley, California, and grew up in El Cerrito, California, one of five sons born to Galen Robert and Edith Lucile Fogerty. His father, Galen Fogerty, was a native of South Dakota and worked as a Linotype operator for the Berkeley Gazette. Lucile Fogerty was from Great Falls, Montana. When John was two years old his parents both converted to Catholicism.

As CCR was coming to an end, Fogerty began working on a solo album of country & western covers, on which he produced, arranged, and played all of the instruments. Despite the solo nature of the recordings, however, Fogerty elected to credit the album to The Blue Ridge Rangers--a band of which he was the only member. The eponymous The Blue Ridge Rangers was released in 1973; it spun off the Top 20 hit "Jambalaya", as well as a lesser hit in "Heart Of Stone". Fogerty, still using "The Blue Ridge Rangers" name, then released a self-penned rock & roll single": "You Don't Owe Me" b/w "Back in the Hills" (Fantasy F-710). It was a commercial flop, failing to make the Hot 100 in the U.S. Fogerty thereafter abandoned the "Blue Ridge Rangers" identity, and released all his subsequent work under his own name. In early 1974, Fogerty released "Comin' Down The Road"--backed with the instrumental "Ricochet". His first official solo album, John Fogerty, was released in 1975. Sales were slim and legal problems delayed a followup, though it yielded "Rockin' All Over the World", a #27 hit for Fogerty in the United States. In 1977, British boogie rockers Status Quo recorded their version of "Rockin' All Over the World", which became a huge hit and made the song world-famous. Status Quo played it at the opening of the 1985 Live Aid concert. In 1976, Fogerty finished an album called Hoodoo. A single, "You Got The Magic" backed with "Evil Thing", preceded the album's release, but it performed poorly. The album, for which covers had already been printed, was rejected by Asylum Records a couple of weeks before its scheduled release, and Fogerty agreed that it was not up to his usual high standards. Fogerty told Asylum Records to destroy the master tapes for Hoodoo sometime in the 1980s.
QUESTION: did he put out more solo albums?
IN: Caesar was the youngest of three sons born to Jewish immigrants living in Yonkers, New York. His father was Max Ziser (1874-1946) and his mother was Ida (nee Raphael) (1887-1975). They likely were from Dabrowa Tarnowska, Poland. Reports state that the surname "Caesar" was given to Max, as a child, by an immigration official at Ellis Island.

After graduating from Yonkers High School in 1939, Caesar left home, intent on a musical career. He arrived in Manhattan and worked as an usher and then a doorman at the Capitol Theater there. He was ineligible to join the musicians' union in New York City until he established residency, but he found work as a saxophonist at the Vacationland Hotel, a resort located in the Catskill Mountains of Sullivan County, New York. Mentored by Don Appel, the resort's social director, Caesar played in the dance band and learned to perform comedy, doing three shows a week. He audited classes in clarinet and saxophone at the Juilliard School of Music. In 1939, he enlisted in the United States Coast Guard, and was stationed in Brooklyn, New York, where he played in military revues and shows. Vernon Duke, the composer of Autumn in New York, April in Paris, and Taking a Chance on Love, was at the same base and collaborated with Caesar on musical revues. During the summer of 1942, Caesar met his future wife, Florence Levy, at the Avon Lodge in the Catskills village of Woodridge, New York. They were married on July 17, 1943, and had three children: Michele, Rick and Karen. After joining the musicians' union, he briefly played with Shep Fields, Claude Thornhill, Charlie Spivak, Art Mooney and Benny Goodman. Later in his career, he performed "Sing, Sing, Sing" with Goodman for a TV performance. Still in the service, Caesar was ordered to Palm Beach, Florida, where Vernon Duke and Howard Dietz were putting together a service revue called Tars and Spars. There he met the civilian director of the show, Max Liebman. When Caesar's comedy got bigger applause than the musical numbers, Liebman asked him to do stand-up bits between the songs. Tars and Spars toured nationally, and became Caesar's first major gig as a comedian. Liebman later produced Caesar's first television series. After the war, the Caesars moved to Hollywood. In 1946, Columbia Pictures produced a film version of Tars and Spars in which Caesar reprised his role. The next year, he acted in The Guilt of Janet Ames. He turned down the lead of The Jolson Story as he did not want to be known as an impersonator, and turned down several other offers to play sidekick roles. He soon returned to New York, where he became the opening act for Joe E. Lewis at the Copacabana nightclub. He reunited with Liebman, who guided his stage material and presentation. That job led to a contract with the William Morris Agency and a nationwide tour. Caesar also performed in a Broadway revue, Make Mine Manhattan, which featured The Five Dollar Date--one of his first original pieces, in which he sang, acted, double-talked, pantomimed, and wrote the music. He won a 1948 Donaldson Award for his contributions to the musical.
QUESTION:
What did he start with