VANILLA FUDGE [AKA: YOU KEEP ME HANGING ON]

This the album all rock critic will approve in some way as ground breaking but disagreed on wheter they liked it or not . This is ground breaking all right as all of these covers have de-constructed and rebuilt (some at half speed) in a mind bending manner. Awesome for the times but some passages have difficulties standing the test of times. Psych at its best

Many a discussion thread on this site has asked whether Vanilla Fudge are even classifiable as "progressive rock." I am of two minds on this. On the one hand, based on my own definition of what makes an artist "progressive" - i.e., "the conscious and deliberate application of 'progressive sensibilities' as a primary approach to compostion and style (over an extended period)" - this album definitely classifies as "progressive," as Vanilla Fudge were without question consciously aware of the "progressive sensibilities" they were applying as their primary approach. On the other hand, since they didn't write any of the songs, that approach was not being applied to "composition" (though it was certainly being applied to "style"). Had any of these songs been original, this album would probably end the argument as to "what was the first progressive album," since it was released only a few months after Sgt. Pepper and Magical Mystery Tour (which almost unquestionably had the first "proto-prog" songs ever recorded, but neither of which can be considered a "progressive rock album," since The Beatles were not "consciously and deliberately applying progressive sensibilities as their primary approach to composition and style," especially "over an extended period"). / All that said, what Vanilla Fudge does with these songs is both unique (certainly for its time) and exceptionally creative. They play around with almost every aspect of every song: adding (sometimes extended) intros and/or outros to the songs, altering tempos, changing and/or exaggerating instrumentation (especially keyboards), radically modifying dynamics, using dramatic (and sometimes jarring) vocal styles, even messing with the lyrics - all of which serve to change the very essence, the very mood, of each song. In addition, the musicianship is remarkably advanced for its time, especially the keys and drums, which form the backbone of the arrangements. / Because there is no original composition on this album, it simply cannot qualify as a "masterpiece." In fact, a great deal of angst went into giving this album four stars. However, although this album is essentially the work of a band doing (admittedly unique) covers of popular songs of the mid-60s (and thus would not normally qualify as "progressive rock" at all), there is something so creative, so immediate, so compelling and (occasionally) so exciting here that the album all but defies categorization - yet certainly qualifies as an "excellent addition to any prog rock collection" - whatever its classification.

My friend's father recommended this album to me many years ago, when he introduced to me many other great progressive rock bands (like KING CRIMSON, GENESIS and RENAISSANCE), and I must admit I was not disappointed by his suggestions.

I guess this was my first introduction to serious psychedelic music, though I was already familiar with the works of BEATLES, which has influenced this album very much. It begins with a cover version of their "Ticket to Ride", and there are short noise sections between the tracks titled magically as "Stra", "Wber", "Ryfi" and "Elds", and it ends to a cover version of "Eleanor Rigby". Though the original version of "Eleanor Rigby" is a classic, I still enjoy the experimental version of this song on this album too. Also "Ticket to Ride" is much better than the original version, as it has much more power and emotion it than BEATLES could produce. I believe all the other song too on this album are cover songs, but it doesn't matter as they are all quite basic 60's numbers, and they are given a very imaginative and artistic treatments here. "You Keep Me Hangin' On" is the big hit here, and clearly the best version of this famous and recycled song around anywhere. "People Get Ready", "She's Not There", "Bang Bang" and "Take Me For A Little While" are also good tracks.

I recall my father described the music on this record as "a music for pissheads" as I played it for him. I guess "potheads" would have been more accurate description, but I believe one can enjoy psychedelic music without any substances, and only a good imagination is the only ability required in that process, I think. I would recommend this album for the fans of psychedelic music, and also those who appreciate organ driven rock like URIAH HEEP, PROCOL HARUM, BLACK WIDOW and FUZZY DUCK. Some other albums by VANILLA FUDGE are also worthy to check out, like their following LP "Renaissance" which is probably their best album.

The first VANILLA FUDGE is perhaps the proto-type of proto-prog, ha ha! Seriously, a heavy psychedelic sound, covering the then popular hits is really a groundbreaking effort. And it sounds very good even today! You can't beat the Hammond, bass, drums and electric guitar, to paraphrize Lou Reed! :)

Rising up and out of the competitive New York bar circuits, Vanilla Fudge made their concert debut in July of '67 when they opened for the Byrds. They must have made quite an impression because they were immediately signed to Atco Records and rushed into the studio in order to get their fresh sound out to the public by the end of the year. From the looks of these four guys (as they appear in the photo on the back of the cover) they'd be the last group you'd think would have a mind-blowing influence on modern music. One appears to be a Wall Street stock broker in a double-breasted suit, one could pass for a slick real estate salesman in suburban New Jersey, another seems like the type that moonlights as a loan collector for his made-man Uncle Tony and the dude with glasses looks like a geek who could kick your ass sideways in a slide rule contest. Yet these were highly talented musicians that literally changed the course of rock and roll history.

A few facts: This album was the first EVER to climb into Billboard's top ten without the benefit of a chart-busting single. (The edited "You Keep Me Hanging On" wasn't a hit record until nearly two years later.) And, as far as my research indicates, they are tied with Keith Emerson's "The Nice" as being the first progressive band to feature the versatile Hammond organ as the centerpiece of their sound. Releasing their initial albums in 1967, both groups were at ground zero of an evolving revolution. Psychedelic music was expanding exponentially with "Sgt. Peppers," "Disraeli Gears," "Are You Experienced" and "Piper at the Gates of Dawn" coming out that same year but none of those LPs focused on the growling, room-filling roar of that classic keyboard behemoth as the dominant instrument. And I don't have to tell you how essential the Hammond sound was to be for bands like Yes, Genesis and Deep Purple, just to name a few.

What knocked everybody out right off the bat was the fact that this group was dismantling well-known songs and reconstructing them in ways no one had ever thought to do. The opening number is a great example. "Ticket to Ride" is as familiar a tune as you can imagine but in the hands of these four it becomes a whole new song. Gone is the signature guitar riff and oddly accented downbeat. Instead you get a heavy drum and organ-dominated intro that shifts into a driving gear more hard rock than psychedelic fueled by emotive, over-the-top vocals. Tim Bogert's hyperactive bass lines in particular are a definite departure from the norm of the time. Curtis Mayfield's classic "People Get Ready" is the next tune to get the Fudge treatment and, despite the flowery beginning, it's a pretty straightforward version that has a very noticeable Rascals R&B feel to it. Organist Mark Stein's passionate vocal as well as the full three-part backing harmonies shine here as their cabaret roots are put to good use. Their remake of The Zombies' "She's Not There" has a very dynamic arrangement that puts the spotlight on drummer Carmine Appice and guitarist Vince Martell. It also features a highly theatrical, pompous finale that will bring a smile to your face. While Sonny Bono's "Bang Bang" inclusion was a real surprise, the way they mix in different music styles makes it almost unrecognizable when compared to the pop rendition. Utilizing a stately theme from "The King and I" as the introduction and having an eerie snippet of "Ring Around the Rosy" drifting about (varied nursery rhyme melodies come and go throughout the album), the song takes on a very trippy atmosphere as Vince plays quasi-raga lines on his guitar and inventive harmonies circle the melody.

But it is their great revamp of The Supremes' "You Keep Me Hanging On" that caused rock musicians and producers to realize that there was now a whole new direction to go in. The band's attitude is very aggressive and bombastic, Bogert's bass and Appice's drums redefine what a rhythm track should be and Stein's overwrought vocal gives you goosebumps galore. It also emphasizes (again) the expansive sounds of the Hammond organ as Mark injects what sounds like white noise during the mysterious beginning and middle sections. Suffice it to say that no one had heard anything quite like it before. Perhaps thinking that they may have taken the listener too far to the edge, "Take Me For a Little While" is a return to safe Caucasian soul territory with another Rascal-like performance. They saved the best for last, however, and their take on the timeless "Eleanor Rigby" is nothing short of fantastic. It has incredible dynamics and more drama than a daytime soap opera as it builds steadily to the end where they sing "All the lonely people/where do they all belong?" as if it were a children's round (like "Row, row, row your boat") and create intensity that appeals directly to your prog sensibilities. It gets my vote as the best cut on the album.

To those who find this 40-year-old recording extremely dated I have to agree with a resounding "Duh!" Yet I remind you to consider that if you go back four decades earlier from the release of this album you'll be looking at the period in music history when the transition from cylinders to vinyl discs was the cutting edge of technology. (The big records in 1927 were "Stardust" by Hoagy Carmichael and "Potato Head Blues" by Louis Armstrong.) So please, a little perspective is in order. Vanilla Fudge was a pioneering group that helped to steer radio away from the limited three-minute single and towards the concept of playing longer, deep album cuts which, in turn, opened the door for symphonic progressive rock in general. You've certainly got to give them credit for creatively thinking outside of the box and for that alone this recording should have a historical marker sticking out of it. Thank you, Vanilla Fudge, from all of us.

Heaveeeeeee

Vanilla Fudge laid the foundations for many more bands than just the obvious ones such as URIAH HEEP and DEEP PURPLE. Their Hammond drenched interpretations (and let's be clear these are interpretations, not simply covers) created a whole new style of rock which found its way into the music of any number of bands who followed.

You only have to listen to the slowed down wall of sound which adorns the opening rendition of the Beatles "Ticket to ride" to realise that this is a milestone album in the history of rock. It is fair to say in criticism of the band that (at this time) they did not write their own material. That comment is perversely also very unfair. I defy anyone listening to the opening minutes of "People get ready" without knowing the name of the track to identify the original song. It is only when the principal melody gently drifts in that the song becomes recognisable. Here the band demonstrate their harmonic talents, the track clearly having had a major influence on URIAH HEEP and THREE DOG NIGHT among many others.

The Zombie's "She's not there" is transformed from a pop classic to a lead guitar infested dirge, and it's wonderful! Even songs such as Cher's "Bang bang" (written by Sonny Bono) are not immune from the treatment. By the time the guitar and organ have finished introducing the track, Cher's version would be over.

The second side of the original LP lists three brief (20 seconds) pieces entitled "Illusions from my childhood" but these appear to have been rolled up in subsequent releases into the intros to the tracks which they precede. This side contains just three lengthy interpretations. Two of these are Motown classics, "You keep me hanging on" being the song which did more to identify Vanilla Fudge and what they were all about than any other. "Take me for a little while" is the most faithful of the covers, but even then it has an underlying power and some great bass work.

The album closes with the second of the Beatles songs "Eleanor Rigby". The song was one of the Beatles most original and enterprising, and the 8 minute version here only serves to emphasise the majesty of the composition. Once again, it is only once we have passed beyond the improvised introduction that the song on which the track is based becomes apparent.

It really is astonishing to think that this album was released in 1967, some years before prog became a reality. There is an originality and creativity here which was some years ahead of its time. The irony is that on the face of it, this is an album of cover versions. The reality is, nothing could be further from the truth. Essential for those wishing to discover the roots of prog and metal.

If ever you are looking to a band who has influenced the early Purple, inspired some early "Yes" covers or "Joe Cocker" in his gigantic version of With A Little Help From My Friends, the Fudge is definitely THE band you need to check out.

To turn an original song like "Ticket To Ride" into such a complex piece of music as it appears here is much, much more a work than just performing a cover.

Their debut album features some wild renditions of great rock songs from the sixties. Somewhat stretched out and featuring gorgeous and heavy keyboards. "She's not There" is one out my fave from this album.

Some profound vocals during "Bang Bang" are performing, but this version can't really be compared to the utmost stuff available in rock music. The instrumental intro of "You Keep Me Hangin'on" is incredible and the closing number is just an extravagant way to recreate "Eleanor Rigby". This slow paced version is such a testimonial! A fantastic rendition of this Fab Four song.

This album is the mother of all great cover songs. Heavy and psyche. But still, the songs remain covers. Some of them are brilliant, some other ones just passable (like Take Me for a Little While)

This album will be their most successfull one (Nr. 6 in the US). Three stars.

There are many albums that time has not served well. Vanilla Fudge's debut is included in that group.

Hey, I'm all for taking pop songs and twisting them. That's what this album is all about and I'm in favor of it. Heck, they even twist one of my top five favorite songs ever, Ticket to Ride. (Even on a bad day, that's the one I sing second most.) But my point is, Vanilla Fudge doesn't ADD anything. Ok they aren't bad and they don't make the songs much worse, but the point is to improve and give a different perspective and they mostly miss that.

So it's an ok album but originality and appeal is seriously lacking. I hate to be harsh here, but this is giving me a two star vibe. Sorry. But if you want GOOD music along this line, find H. P. Lovecraft's debut album.

Although Vanilla Fudge's debut is made up entirely of cover versions, the powerful foursome's uniquely heavy sound would nevertheless make headlines for all the right reasons upon the album's 1967 release, capturing the imaginations of rock fans across the globe by dint of being one of the first groups to showcase a sonic style that would, over the years, develop into the commercially-lucrative heavy rock and heavy metal genre's that would be popularised by the likes of Deep Purple, Led Zeppelin, Iron Maiden and Metallica as the decades wore on. The group, whose line-up featured a quartet of seriously capable musicians - Mark Stein(vocals, organ, keyboards), Carmine Appice(drums), Tim Bogert(bass) and Vince Martell(guitar) - were formed in late '66 and issued their self-titled debut a year later, just as the strains of psychedelia were starting to dominate the pop landscape upon both sides of the Atlantic ocean. Whilst many fledgling groups dealt solely in cover versions during their formative years, Vanilla Fudge's decision to dedicate an entire LP to other people's songs initially seemed rather pointless - almost lazy - until, that is, you actually heard exactly how they interpreted songs by the likes The Beatles('Day Tripper' & 'Eleanor Rigby'), Curtis Mayfield('You Keep Me Hanging On') and Sonny Bono ('Bang, Bang'). Instead of meandering through facsimile versions, the group stretched out every chord, amped-up the bass tracks into triple-thickness, added crushing guitar riffs to the mix where possible and gave each track a daring new slant that mutated them into very different creations that were virtually unrecognisable from their original forms. The storming rock version of Mayfield's classic 'You Keep Me Hanging On' is probably the track the works best, though it is closely followed by an almost mystical re-working of The Beatles 'Eleanor Rigby', a track that finds guitarist Martell and organist Stein working in almost perfect harmony. As a covers album, 'Vanilla Fudge' is virtually unique in it's ability to breathe new life into classic songs whilst simulteneously overhauling them, and the group's penchant for muscular sounds would briefly make them one of the premier American acts of the late 1960's. Alongside San Diego's Iron Butterfly, Vanilla Fudge were forging a fresh new rock 'n' roll path that made much of the poppy and fey material of the previous ten years seem childish and lightweight in comparison. This debut album is highly recommended to those fans who appreciate the heavier side of psychedelia, and the groups later albums, which featured mainly original material, are also worth seeking out(bar the bizarre sophomore album 'The Beat Goes On') for those who find The Doors or Jefferson Airplane a little too girly. Rock on. STEFAN TURNER, LONDON, 2011

Vanilla Fudge are a pioneering psychedelic band with a superb lineup and are famous for psyching up well known cover versions. Their debut albums features some of their best and most popular material such as the stunning' You Keep Me Hanging On', 'Eleanor Rigby' and 'She's Not There'.

It begins with 'Ticket to ride', a slow organ grinder with very strong vocals, harmonies and constant guitar lead work. The lyrics are basically the same as The Beatles but this is psyched up to the max. It is a great version and especially the organ work of Mark Stein is phenomenal.

'People get ready' is a lengthy song, with gentle intro and some outlandish drumming from Carmine Appice. The shimmering Hammond suddenly stops as harmonies a capella come in. It sounds like a church service for a while. It is painfully slow but soon the wonderful 'She's not there' will start. The ominous organ is amazing, and it has a wonderful bassline from Tim Bogert. It is a different version but one that typifies the counter culture late 60s. This ends with a very slowed down psychedelic finale.

'Bang bang' has an extended freak out jam and then a weird chilling nursery rhyme of ring around the rosies, and a tisket a tasket. The organ gains volume and fades as a fade up of Vince Martell's guitar is heard. Stein's falsetto vocals are now the tune of the original 'Bang bang' but very slow and brooding. The rumbling Hammond is gloomy and so effective. The Hammond becomes more aggressive as the song picks up intensity.

'Illusions of my childhood - Part 1' intros the astonishing psychedelic 'You keep me hanging on' that begins with quavering organ and sitar like Indian guitar tones. A pummelling drum beat begins and then the quiet sustained organ. The vocals are passionate and wonderful harmonies augment the emotion. This was a soundtrack to the Vietnam War and the protest era. It is an important landmark of the psychedelic 60s and most people would remember this over any other Vanilla Fudge songs. It has many twists and turns. After the opening melodic verses and choruses there is a freak out of organ, guitar, percussion, and bass.

'Take me for a little while' follows an organ transition and this song is a moderate paced ballad. Stein's organ drones beneath as a pad. It is a nice peaceful love song to prepare for the mayhem to follow. Three Blind Mice plays as part of 'Illusions of my childhood - Part 3' and this is followed by a classic. 'Eleanor Rigby' is the final track and another Beatles cover done exceptionally well. It has a duration of 8:24 and really is full of inventive musicality. The rat-a-tat percussion signifies the war time, and low groaning music has an air of ominous fate about it. It builds to an intense rhythm, faster and faster until it breaks with a swishing organ sweep. Silence then until the gorgeous organ tones begin and join a very measured pace with Bogert's bass embellishments. The vocals begin well harmonised but still melancholy, slow verses with the same Beatles lyrics begin but the atmosphere is very downbeat and sad. At the end it seems to crash and burn but it is still wonderful music. This is an essential album as it ushered in progressive music styles and showed how to do covers, keeping the essence of the original but adding new flavours, altering its time signature, adding new passages of music, to enhance its beauty, and all with a psychedelic flair.

Released during the famous 'summer of love' in 1967, Vanilla Fudge's debut offering was undoubtedly one of the more seminal psychedelic albums coming from America during the late sixties'. The heavy, jam-oriented atmosphere combined with Mark Stein's prominent organs were rather unique given the time period, and the group's original twist on well-known compositions grabbed the attention of fans and critics alike. Consisting solely of cover tunes and a few short interludes thrown in for good measure, Vanilla Fudge did not captivate listeners with original works of their own, but instead showed what they could do within the limits of famous pop songs from years past. While this formula certainly allowed lots of creativity and solid musicianship to shine through, I don't think that Vanilla Fudge stands as a particularly bold artistic statement or ageless classic.

Musically, we're dealing with psychedelic rock that isn't too far away from what most bands in the genre were doing in 1966 and 1967. Although sidelong jams and increased experimentation hadn't yet become the norm, heavy use of the Hammond organ and Beatles-influenced vocal melodies are plentiful here; Vanilla Fudge were also at the forefront of early hard rock, and some of the organ sections here clearly paved the way for heavy acts like Deep Purple and Uriah Heep. Though I would not call Vanilla Fudge a terribly groundbreaking observation, it's easy to understand why this record was so influential as it solidified everything that early psychedelic rock was about.

As mentioned previously, all of the tracks on Vanilla Fudge are cover tunes. This is a bit of a turn-off for me (I typically like bands to write their own material), but it's clear that these guys put a lot of thought into the arrangements. Though the songs may be the same, Vanilla Fudge's renditions of these tracks sound entirely their own. Their take on The Beatles' "Eleanor Rigby" is a fine example of this, as is their interpretation of the Motown classic "You Keep Me Hangin' On". It's certainly interesting to hear all of these songs re-imagined in a psychedelic setting, but that's arguably all that it remains - a re-imagining. Especially over forty five years after its release, Vanilla Fudge doesn't sound terribly exciting or artistically ambitious. Unlike some other 1967 landmarks like Sgt. Pepper's Lonely Hearts Club Band or Absolutely Free that have grown with each passing year, Vanilla Fudge feels more like a relic from the psychedelic era than a truly timeless classic.

Of course, fans of psychedelic rock have probably owned this album decades before I wrote this review, but newer listeners of the genre are still advised to check it out. It may not strike me as anything terribly essential, but Vanilla Fudge is an influential release that encapsulates everything that one should expect from late sixties' psych. As a listener, however, I must admit that I was more than a little disappointed.