OUT THROUGH THE IN DOOR

Dinosaurs cloning dinosaurs

A new studio album from Vanilla Fudge is something special as the heydays of the band were the late 60s. Then they were notorious for their cover versions of other people's songs, like 'You keep me hanging on', 'The season of the witch' and especially the Beatles' 'Ticket to ride' and 'Eleanor Rigby'. Their trick was to somehow distort and slow down the songs until you couldn't recognise them anymore. The result was stunning. Legend has it that George Harrison played their versions of above mentioned Beatles' tunes to everybody who came to his house, so excited he was of them. That was then.

Now is now. The original lineup, consisting of Tim Bogert, Carmine Appice, Mark Stein and Vince Martell decided for this album to do exclusively covers of one particular band, Led Zeppelin (hence the title of the album). To fully appreciate this you need to know that there is a special link between VF and LZ. When Zeps came to the States for the first time (very early in their career as the clear aim of the management was to firmly place them in the US market) they were true greenhorns, timid and shy and nothing like the rock superstars with all their allures they became later. They were to support Vanilla Fudge on a number of gigs and the Fudge, already established and older by a number of years, took them under their wings. When John Bonham died it was actually discussed that Carmine Appice should replace him, until Page/Plant decided that there would be no Led Zeppelin without Bonham.

We could indulge in these reminiscences forever, but this is all about music, isn't it? So what do we get here? A number of very well known tracks (to the Zeps fans anyway) which unfortunately stick closly to the original. It seems that over time they have lost some of their teeth. Don't get me wrong, they are expertly executed. But from this band I'd have wanted versions that sound like Vanilla Fudge and not like Led Zeppelin.

In conclusion it's a bit of a disappointment. Good songs, good interpretation. But more like a Led Zeppelin Remasters than like a Vanilla Fudge covers Led Zeppelin. Good but not essential. 3 stars.

What the heck does this mean ?

A cover album dedicated to Led Zep songs?

Just to complete Bungalow Bill's review, it is true that Led Zep did open some Fudge gigs in their first US tour. Let me just add that the audience was so thrilled about the Led Zep set that they were asking the latter to come back on stage after the Fudge concert. After a few of these ill-mannered acts, the Fudge will refuse Led Zep as opening act.

I guess that with all the fuss about a possible reunion (which took place as you might know since over TWENTY million people did apply to attend their London gig in December 2007-of which I belong) it was maybe a good idea for the Fudge to release a Led Zep cover album (tribute?).

When I listen to the first two numbers, I was going to throw this CD out of the window. A heavier and slower beat "Immigrant Song" with keyboards? Do you need this ? I DON'T.

The worse is being achieved with a disgusting version of "Ramble On". If ever you fancy a gospel version of this great hard-rock song, you might listen to this one. In my case, it is the last thing on earth I would have expected. Press next or as in my case, quickly run to the toilets.

The first good song here is a cover of a cover. "Dazed & Confused" was a complete stolen track from Jake Holmes. I am not even talking about "inspiring" riff or so, no : completely stolen from and credited to Page. Shame on you Jimmy! And don't get me wrong, I am a passionate fan of Led Zep (you can notice this while reading my Led Zep reviews).

Do you fancy more covers of a cover? OK, there you go. The great "Babe,I'm Gonna Leave You" is just there. Same treat as for "Dazed" as far as Led Zep is concerned; except that the original writer of the song (Anne Brendon) went to court to get her credits and finally got them in 1990 (FYI, this song is featured on Led Zep II in .1969). The Fudge version is also a good version, but very close to the Led Zep rendition, but don't expect to get the fabulous Plant vocals here.

The Fudge is of course introducing almost each song with a short instrumental of their own. They have always done this. But they did it with brio. In this case it is just a useless usage of CD time. This version of "Dancing Days" is another awful moment to bear on this album. Press next. Immediately.

Most of the songs featured on this "work" are second tier tracks to be honest. No "Stairway", no "Since", no "Black Dog", no "Whole Lotta Love". I would have liked to listen to what the Fudge could have done with, let's say "No Quarter". Instead, we'll get a great drum solo from Carmin (one of the greatest drummer in rock history, let's not forget this) for "Moby Dick". A wonderful homage to John but not a memorable studio track (it was immortalized, though while played on stage).

To have chosen to cover "All Of My Life" is rather bizarre. This is a very personal song for Robert. Even Jimmy was not really convinced to record it. So closely linked to Robert's life that it is one of the most dubious choice here.

On the contrary, "Rock'n Roll" is very good but just one out of many weak re-worked songs. The intro of the final number also reminds me of the good old Fudge days. But "Your Time Is Gonna Come" can hardly be considered as a great Led Zep song.

Forget about this very average album. Get the genuine ones instead. This is a historical mistake. Maybe that the next Fudge album will be a cover album from Tull or Purple songs?

Two stars for this masquerade.

The name of this album is a funny reference to the album In Through The Out Door by Led Zeppelin (1979), all 11 tracks on Out Through The In Door are Led Zeppelin covers. This appreciation from Vanilla Fudge for Led Zeppelin started in 1968 when the virtuosic and innovative hardrockers Led Zeppelin did their first USA tour '. as a support act for USA formation Vanilla Fudge. In those days this four piece band was highly praised and got worldwide recognition, due to their international chart topping single You Keep Me Hangin' On. So when in 1968 Vanilla Fudge was already a famous band that had released a serie of pivotal albums, Led Zeppelin was working on a debut studio album and touring around the world to make fans. A year later Vanilla Fudge call it a day while Led Zeppelin stunned the world with their eponymous debut album. And within a few years Led Zeppelin became one of the most famous and pivotal rock bands of all time. In order to tribute their former support-act Led Zeppelin, Vanilla Fudge (reunited since 1984) made this album, released in 2007.

After a few listening sessions my conclusion is that Vanilla Fudge have succeeded to incorporate their distinctive late Sixties sound (vocal harmonies, Hammond organ and blending rock with soul and gospel) into the covers, without doing harm to the essential Led Zeppelin sound. I notice lots of inventive ideas: a short and surprising keyboard intro in the propulsive Immigrant Song, wonderful keyboard arrangements (on the Korg Triton synthesizer) and fiery electric guitar leads in the dynamic Dazed And Confused and a funky clavinet sound, wah-wah guitar and swirling Hammond organ in the swinging Trampled Under Foot. The typical, omnipresent Vanilla Fudge Hammond B3 organ sound can be traced in Fool In The Rain, Dancing Days, Moby Dick (excellent job by drummer Carmine Appice who later worked with Jeff Beck) and Rock And Roll (thunderous drums, powerful vocals and biting electric guitar). These elements give the songs a very special flavour. The most Vanilla Fudge sounding Led Zeppelin cover is the final song Your Time Is Gonna Come: it starts with 'churchy' Hammond organ and then a thrilling blend of blues and psychedelia featuring inspired, pretty melancholical vocals.

In my opinion Vanilla Fudge have delivered a strong and interesting tribute to Led Zeppelin (one of my favorite bands), with lots of creative ideas and with respect to the mighty Led Zep sound!

One serious problem with the appreciation of an album consisting (such like this one) of nothing more than cover versions, is that it seems hardly avoidable the initial confrontation with the originals, and, in this particular case, with the powerhouse status investing the historic figure of Led Zeppelin, that remains rightfully intact to this day. Serious, granted, but not one that should keep standing in our way.

The addition of Vanilla Fudge to this classic songs, in my view, is not trying to improve the heavy element in them (an almost impossible task), but rather to bring out some implicit acid and soulful traits to the light of day. There is also a funkier accent impregnating, for example, Trampled Under Foot through the rhythm section and the vocals. In the very enjoyable rendition of Willie Dixon's Babe I'm Gonna Leave You, we get a tasty flurry of acid guitar with wha-wha. In Dancing Days, the mellotron plays the part of the acid creeper, with the necessary involvement of the rest.

I don't think the Vanillas were trying to beat the Zepps in any dexterity contest either, more likely they try to shed new light on some colour shades, like the acoustic psychedelic folk fingerpicking in Black Mountain Side, Page's instrumental track gracing Zepp's 1969 debut. That kind of truly satisfying details, I came across time after time through the one well-invested hour of listening that this album demands.

Most certainly, nobody should postpone the discovery of Led Zeppelin's own recorded legacy, since there's no doubt that therein lies the real thing in its prime. But if you have explored those treasures enough, and you are looking for a view of that classics from a different angle, consider that this album offers an excellent choice, presented by a band that is a classic in its own right.