A hit for Nancy Sinatra and Lee Hazlewood, it was re-tooled with a mysterious intro that explodes into roaring power chords. On the other hand, “Some Velvet Morning” epitomized the Fudge approach. After touring with Hendrix and listening to his wah, I thought it would sound cool on the Junior Walker cover.” “‘Shotgun’ was a wahfest – and wah first – for me on a record,” the guitarist recounted. The opener, a raucous cover of Junior Walker and the All-Stars’ “Shotgun,” is a one-chord stomp that demonstrated the Fudge could rock without artsy embellishment, and offers a definitive example of the band’s choir-like vocal harmonies. “We would deconstruct tunes like ‘Some Velvet Morning’ and ‘Shotgun,’ piece them back together, and bring the monsters to life.”
“LSD and hash also played a role in how we played, thought, and wrote,” he added. We knew what we wanted the project to be. We were more experienced in studio production and performing live. “We were evolving as people and musicians. “It’s fair to say Near The Beginning is a microcosm of the Vanilla Fudge,” Martell said.
The Beat Goes On was a concept album about world history and included an ambitious medley of Beethoven’s “Für Elise” and “Moonlight Sonata.” Renaissance concentrated on original material, and Near The Beginning had two covers, one original, and a side-long tune on which every member was given a solo. “He was the visionary who tamed our wilder tendencies and channeled them into a powerful, united musical body.”Įach Fudge album had a degree of cohesiveness the 1967 debut was entirely covers, including a version of the Supremes’ “You Keep Me Hangin’ On” that peaked at #6 on Billboard. “The first three albums were basically our arrangements, which Shadow refined with us,” said Martell. Vanilla Fudge image courtesy of Vince Martell. “Bombastic drums locked with a solid bass that ventured onto jazz-like tangents created a solid foundation for the guitar to layer trippy, melodic riffs and phrases to complement the Hammond chords and lines.”Įarly in their career, the band was helped in the studio by renowned producer Shadow Morton. “We were pioneers navigating uncharted waters,” Martell recently told Vintage Guitar. The original Fudge lineup of Mark Stein (organ), Vince Martell (guitar), Tim Bogert (bass), and Carmine Appice (drums) recorded five albums in the latter ’60s, each of which influenced Deep Purple, Yes, Uriah Heep, and other acts. Rock fans recall the New York quartet Vanilla Fudge for its dramatic reworkings of pop hits the band melded classical influences with solid musicianship in the first steps toward the offshoot now known as “progressive rock.”
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