“’Come By Day, Come By Night’ was actually the flip side of ‘You Keep Me Hangin’ On.’ But we’re known for taking songs and remaking them on our own. Songs like “Where Is My Mind,” “Come by Day, Come By Night,” “Lord in the Country,” and “Street Walking Woman.” “Wow, you’re quite the historian!” Stein laughs when the titles are read out. They liked it and used it, especially since their new label, Atco Records, requested a change from the group’s original moniker – The Pigeons.īut their discography is also dotted with original material that gets overlooked. Though it was actually the childhood nickname of a woman they met at a club. Vanilla Fudge’s very name represents that combination of black and white music. It was the “Long Island Sound” that also produced acts like the Rascals and early incarnations of Mountain, Blue Öyster Cult, and Billy Joel and his band. To make their take a bit different, bands would play the tunes with a heavier or more soulful sheen, and stretch them out far beyond the original three-minute single. Stein says the root of Vanilla Fudge can be traced back to when they were one of scores of bands working clubs in the New York and New Jersey, where they were expected to play mostly covers of the day’s popular songs.
Walker and the All-Stars), “Ticket to Ride” & “Eleanor Rigby” (Beatles), “Season of the Witch” (Donovan), “She’s Not There” (the Zombies), and “The Look of Love” (Dusty Springfield).Īlbum cover On recent tours, they’ve also tackled Rod Stewart’s “Do Ya Think I’m Sexy?” (which Appice co-wrote while a member of his band) and even NSYNC’s “Tearin’ Up My Heart.” One of the band’s hallmark sounds is Stein’s swirling, bombastic, and sweeping organ and keyboard work. In addition to “You Keep Me Hangin’ On,” there was “Shotgun” (Jr. Vanilla Fudge is best known for their “Fudged Up” covers. We didn’t pull it apart too much, though.” “So we thought it would be cool to do a whole record of their songs. And quickly, they became the biggest band in the universe,” Stein says. He came to America with Plant and Bonzo and John Paul Jones. “Led Zeppelin actually opened for us for a bunch of shows in the late ‘60s when Jimmy Page after the Yardbirds broke up.
#VANILLA FUDGE HITS FULL#
A video will also be released, though the pandemic has delayed the full record's release date. Leadoff single “Immigrant Song” will be available for purchase and streaming on September 22. Original bassist Tim Bogert retired in 2009.īut it is the full original lineup featured on the upcoming record Vanilla Zeppelin (Golden Robot Records), a reissue/remastered version of the band’s 2007 all-Led Zeppelin cover record Out Through the In Door. More than 50 years after their 1966 formation, Vanilla Fudge are still productive with three-fourths of their original lineup: Mark Stein (vocals/keyboards), Vince Martell (guitar), Carmine Appice (drums), and newer bassist Pete Bremy. He’s a real music guy.” Stein says that Fudge’s version even got the stamp of approval from Motown songwriter Lamont Dozier, who penned the song with brothers Brian and Eddie Holland. A lot of young people found out about the song that way,” vocalist/keyboardist Mark Stein says. “That was pretty cool! And it definitely helped with our streaming numbers. 6 on the Billboard chart and was the band’s biggest hit. To kick off the chaotic climax, the audience hears Vanilla Fudge’s heavy, psychedelic, spooky, and foreboding cover of the Supremes’ “You Keep Me Hangin’ On.” The 1967 track reached No. In his most recent work, Once Upon A Time in Hollywood, the director chose an appropriate song as followers of Charles Manson descend upon a home on LA’s Cielo Drive to begin their murderous rampage (spoiler alert: it is not a true-to-life documentary). Think of the offbeat choice of Stealer’s Wheel’s “Stuck in the Middle with You” during the torture scene of Reservoir Dogs John Travolta and Uma Thurman shimmying to Chuck Berry’s “You Never Can Tell” in Pulp Fiction or Robert Forster gazing longingly at Pam Grier while “Didn’t I (Blow Your Mind This Time)” by the Delfonics wafts in the background in Jackie Brown. One of Quentin Tarantino’s gifts as a filmmaker is to take a popular song of the ‘60s or ‘70s and use it really amplify a sequence.
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