Vanilla Ice Albums
Melissa Hassel
Vanilla Fudge is an American rock band known predominantly for their slow extended heavy rock arrangements of contemporary hit songs, such as their hit cover of the Supremes' "You Keep Me Hangin' On".
Stein and Bogert had played in a local band called Rick Martin & The Showmen. The pair were so impressed by the swinging, organ-heavy sound of The Rascals they decided to form their own band in 1965 with Martell and Rick Martin's drummer, Mark Dolfen, who was quickly replaced by Joey Brennan. Originally calling themselves The Electric Pigeons, they soon shortened the name to The Pigeons.[6] In December 1966, Brennan moved on to The Younger Brothers Band and Bogert became impressed with a young drummer named Carmine Appice he had heard playing at the Headliner Club on 43rd Street in a cover band called Thursday's Children. Appice was asked to join The Pigeons and in his 2016 autobiography, Stick It!, Carmine explained the name change to 'Vanilla Fudge':
Vanilla Fudge was managed by Phillip Basile, a reputed Lucchese crime family, who operated several popular clubs in New York. Their first three albums (Vanilla Fudge, The Beat Goes On, and Renaissance) were produced by Shadow Morton, whom the band met through The Rascals.[6] When Led Zeppelin first toured the United States in early 1969, they opened for Vanilla Fudge on some shows.
The band's biggest hit was its cover of "You Keep Me Hangin' On," a slowed-down, hard rocking version[8] of a song originally recorded by the Supremes.[6] This version featured Stein's psychedelic-baroque organ intro and Appice's energetic drumming. It was a Top 10 hit in Canada, the United States, and Australia, and a Top 20 hit in the UK in 1967.
The members of Vanilla Fudge were great admirers of the Beatles, and covered several of their songs including "Ticket to Ride", "Eleanor Rigby", and "You Can't Do That".[6] The self-titled debut album quotes "Strawberry Fields Forever" at the end, with the lines "Nothing is real; Nothing to get hung about".
According to Ritchie Blackmore and Jon Lord, Vanilla Fudge's organ-heavy sound was a large influence on the British band Deep Purple, with Blackmore even stating that his band wanted to be a "Vanilla Fudge clone" in its early years.[9]
Vanilla Fudge played a farewell concert at the Phil Basile's Action House on March 14, 1970. After that, Bogert and Appice departed to form another group, Cactus,[6] that they had been planning since late 1969. They ended up leaving Cactus and formed Beck, Bogert & Appice with guitarist Jeff Beck in 1972.[6] Stein, left on his own, tried to keep Vanilla Fudge afloat with two new players, Sal D'Nofrio (bass) and Jimmy Galluzi (drums), both of whom had been members of a Poughkeepsie, New York, group known as The Dirty Elbows. But when nothing came from this, Stein ended up forming a new group, Boomerang, with Galluzi.
Since the band's breakup in 1970, Vanilla Fudge has reunited several times. They reunited in support of the Atco Records release Best of Vanilla Fudge in 1982. This resulted in Mystery, another album of new material, released in 1984.[6] Martell was not included in this initial reunion and Ron Mancuso played guitar on Mystery instead, along with Jeff Beck, who guested under the moniker "J. Toad". Two reunion tours followed in 1987/1988,[10] with Paul Hanson on guitar. Lanny Cordola was guitarist when the band took the stage on May 14, 1988, for Atlantic Records' 40th anniversary celebration. After that, band members went their own ways once again to pursue separate projects.
In 2005, all four original Vanilla Fudge members reunited for a tour with members of The Doors (touring as Riders on the Storm) and Steppenwolf. Pascali returned in place of Stein for some 2005 and 2006 shows before leaving to join the New Rascals. Vanilla Fudge was inducted into the Long Island Music Hall of Fame on October 15, 2006,[12] with Billy Joel, Joan Jett, and producer Shadow Morton. Fellow Long Islander Felix Cavaliere of The Rascals inducted them.
In March 2008, the original lineup of Vanilla Fudge embarked on a tour of the United States (mostly in New England). But in the summer of that year, Bogert and Appice left to concentrate on Cactus, which they had reformed in 2006. Stein and Martell continued on in 2008 and 2009 as Mark Stein and Vince Martell of Vanilla Fudge with a tour that was called "Let's Pray For Peace," with Jimmyjack Tamburo on drums and Pete Bremy returning on bass.[13] Out Through the In Door was released in the US in 2008.[14][failed verification] Stein and Martell also performed shows during this period with Steve Argy and Jimmyjack Tamburo again as the rhythm section.
In early 2011, Vanilla Fudge embarked on what was announced as their farewell tour. The lineup for the tour included Carmine Appice, Mark Stein, Vince Martell, and Pete Bremy (bass). On March 29, 2011, the band appeared on Late Night with Jimmy Fallon and performed "You Keep Me Hangin' On". This lineup has continued to tour since.
As of 2021, Vanilla Fudge was still performing concerts regularly. On January 13, 2021, Tim Bogert died at the age of 76 after a long battle with cancer.[15] The band did release (on September 6, 2021) a cover version of "Stop! in the Name of Love" as digital streaming content and with an official music video on YouTube, dedicated to Tim Bogert.[16]
The source of my files is my Banshee archive on my Linux desktop. Banshee organizes all MP3 coming from one album in a folder named after the album, and all albums from one artist sit inside a folder named after the artist.
Pretty straightforward. As track numbers are two digits, simple alphanumeric ordering will yield the proper order for playing them. Vanilla shows track names by the content of the tag. Inside the tags, Banshee does embed the track number, so even when going after tags rather than after filenames, the correct order should be achievable.
If you think that makes no sense then Phase Two which takes out the rest of the side is 90 seconds of The Beat Goes On followed by respectfully dull treatments then prog assaults on Fur Elise and Moonlight Sonata with quasi-choral and very earnest vocal bits (of course, why not?).
What that means is that for nine minutes each band member gets to exercise themselves . . . and believe me it is less than 1/15th of interest as any other very bad album you have ever heard. Despite the sitar passage at the start and . . .
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London five-piece Evans the Death return with Vanilla, their most ambitious and experimental album to date, eschewing the more traditional pop structures and hooks of their first two albums, 2012's self-titled debut and 2015's critically acclaimed Expect Delays. While Expect Delays was a step towards something more interesting, more collaborative, experimental and abrasive - a bleak, introspective kind of album that still retained a pop sensibility - Vanilla sees the band veer in an ever more adventurous direction: more aggressive, extroverted and raw.
Named after the undertaker in Dylan Thomas' radio play, Under Milk Wood, the band was formed by brothers Dan and Olly Moss after meeting singer Katherine Whitaker at a Let's Wrestle show. After numerous line-ups, the band is now completed by James Burkitt on drums and Daniel Raphael on bass. The new album was recorded at Lightship95 in London with producer Rory Attwell, who worked on both of their previous records. Highly variegated in style and mood, brimming with extreme contrasts, from noisy to funky to melodic, energetic to dejected, full of chaos and restlessness, the album was the result of a carefully planned recording strategy, as Dan Moss explains:
With no specific musical reference point, the songs on Vanilla veer wildly in style, lending a real energy and vitality to the flow of the album. There's the psychedelic snarl of "Haunted Wheelchair" built around dissonant, ominous, jazz-like chords, which build a sense of dread and paranoia but also a strange excitement. Dan explains: "I wasn't getting enough sleep. Then before recording the song, while on my way to a party I got assaulted out of the blue, and I had to have surgery for a broken jaw. I used that incident to hang the lyrics on, but really it's about that strange feeling I was already having anyway."
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