Vanilla Fudge - Renaissance
Format:Vinyl, LP, Album
Condition: Record is VG++ (listen to our copy)
Cover is VG+ some edge wear, ( see pic)
Country: Canada issue
Style: Psychedelic Rock
A1 The Sky Cried - When I Was A Boy 7:36
A2 Thoughts 3:28
A3 Paradise 5:59
A4 That's What Makes A Man 4:28
B1 The Spell That Comes After 4:29
B2 Faceless People 5:55
B3 Season Of The Witch 8:40
Written-By - Donovan
Arranged By - Vanilla Fudge
Artwork By [Album Design] - Jim Visconti
Bass - Tim Bogert
Drums - Carmine Appice
Engineer - Bill Stahl
Guitar - Vinnie Martell
Organ - Mark Stein
Producer - Shadow Morton
This album was a fine example of progressive rock, and at the same time, had arguably the most heavy metal credibility out of all the band's releases.
For Vanilla Fudge, the album was also the first to feature predominantly original compositions. Some of the highlights were the albums first two tracks, The Sky Cried, and Thoughts. The former featured some excellent guitar work, and is one of the most intense songs the band ever recorded. The latter started off in relaxing fashion before pounding into the bands trademark heaviness. It is the opinion of this writer that usually the best heavy metal has a density of instruments combining, as opposed to sheer volume.
This statement would undoubtedly apply to the Fudge, as the organ and fuzz combine for the unparalleled density previously described. There really are not any "obviously inefficient" tracks, arguably making this the band's most consistent album.
The album ends with what has to be the most intense version of Season of the Witch ever recorded, and a poem read in a most unusual voice.
This version is reminiscent of Vanilla Fudge's earlier version of Eleanor Rigby, but has a paranoid energy that puts it in a class all by itself.
Overall, the album is an emotional roller coaster ride with much mystery and despair. In the opinion of this writer, it is the best album by the band, and is strongly recommended.
Vanilla Fudge - Season of The Witch
pure psychedelic beauty...
Vanilla Fudge was one of the few American links between psychedelia and what soon became heavy metal. While the band did record original material, they were best known for their loud, heavy, slowed-down arrangements of contemporary pop songs, blowing them up to epic proportions and bathing them in a trippy, distorted haze.
Originally, Vanilla Fudge was a blue-eyed soul cover band called the Electric Pigeons, who formed on Long Island, NY, in 1965
In early 1967, their manager convinced producer George "Shadow" Morton (who'd handled the girl group the Shangri-Las and had since moved into protest folk) to catch their live act. Impressed by their heavy, hard rocking recasting of the Supremes' "You Keep Me Hangin' On," Morton offered to record the song as a single; the results landed the group a deal with the Atlantic subsidiary Atco, which requested a name change. The band settled on Vanilla Fudge, after a favorite ice cream flavor. "You Keep Me Hangin' On" didn't perform as well as hoped, but the band toured extensively behind its covers-heavy, jam-oriented debut album Vanilla Fudge, which gradually expanded their fan base. Things started to pick up for the band in 1968: early in the year, they headlined the Fillmore West with the Steve Miller Band, performed "You Keep Me Hangin' On" on The Ed Sullivan Show, and released their second album, The Beat Goes On. Despite its somewhat arty, indulgent qualities, the LP was a hit, climbing into the Top 20. That summer, Atco reissued "You Keep Me Hangin' On," and the second time around it climbed into the Top Ten. It was followed by Renaissance, one of Vanilla Fudge's best albums, which also hit the Top 20. The band supported it by touring with Jimi Hendrix, opening several dates on Cream's farewell tour, and late in the year touring again with the fledgling Led Zeppelin as their opening act.
In 1969, the band kept touring and released their first album without Morton, the expansive, symphonic-tinged Near the Beginning. After part of the band recorded a radio commercial with guitarist Jeff Beck, the idea was hatched to form a Cream-styled power trio with plenty of individual solo spotlights. Exhausted by the constant touring, the band decided that their late-1969 European tour would be their last. Following the release of their final album, Rock & Roll,