My dad yell at the TV and

You Keep Me Hangin’ On by Vanilla Fudge

Eruption by Van Halen- Have you ever listened to that? Geez…

Adrenaline by Crooked X

Vince Martell, American guitarist with Vanilla Fudge

Forward, Into The Past

I don’t live in the past, but I don’t disavow it, either. I’m crammed into small clubs to hear The Gaslight Anthem and The Reigning Sound as often as I am out watching veterans like John Hiatt and Graham Parker still crafting magic. And when a tour like Sixties Spectacular comes rolling through town featuring The Turtles, The Rascals and Herman’s Hermits, well I’m there, too.

The show was opened by a ’60s cover band who played a competent set of radio staples. While hearing a pedestrian version of “Honky Tonk Women” might be acceptable at a wedding or corporate function, I dreaded the fact that my a quarter of my $50 ticket was designated to 30-40 minutes of this. I also feared I might be seeing these same people acting as the band behind the remaining original members of these featured groups. I’ve been to oldies shows before where a group of unknown musicians simply changed shirts between sets to morph from The Grass Roots into The Buckinghams. But as it turned out, I had nothing to fear (although one of these bands could have used the help). And old bladders be damned, the show lasted almost three and a half hours.

Why can't you and me learn to love one another?

First up was The New Rascals, a legally-retitled band featuring original Young Rascals members Dino Danelli on drums and Gene Cornish (a native of this town) on guitar. A long time acrimonious split with Felix Cavaliere and the absence of Eddie Brigati meant that the primary vocalists of the band were no longer in the fold, their slots filled by current members Bill Pascali on keyboards and lead vocals and bassist/vocalist Charlie Souza. (Although they are advertised as formerly being with Vanilla Fudge and Tom Petty, respectively, neither were ever with the named artists in their heyday. Souza played bass with a late version of Mudcrutch and left before Tom Petty and The Heartbreakers; Pascali sang and played keyboards on one of Carmine Appice’s many reanimations of Vanilla Fudge earlier in the decade.)

Unfortunately, despite a wealth of great material to offer, the New Rascals were disappointing. I’m hoping that the issue was merely being under-rehearsed rather than lacking in ability. I don’t expect Pascali to be as soulful as Cavaliere, one of the era’s greatest singers, but he was often flat and occasionally struggled when playing piano and organ simultaneously. On other occasions, the band seemed to be playing off-rhythm. Ordinarily I’d chalk this up to bad monitors and/or faulty equipment, but having just witnessed the cover band whip through a set unscathed, I can’t lay blame there.

Cornish, who recently has endured some health scares, was as animated as he could be and flashed solid rock chops as the sole guitarist, and Souza did bring great energy and good voice to the mix. Danelli can still play flash, spinning sticks and muting cymbals, and on several songs everything clicked to remind the audience what an incredible catalogue of music this band generated in their career. Highlights included a rousing ”People Got To Be Free”, “A Girl Like You” and a stripped-down “Groovin”, featuring a soulful harmonica solo by Cornish. The crowd ate it up warts and all, of course, and gave the band a rousing ovation. I saw enough good moments to warrant seeing them again in the hope that this was just an off-night.

Stll two of the greatest voices in pop music

When the musicians in The Turtles hit the stage one by one, the keyboard player spun in circles before taking his place behind the rack, and I thought I had seen that move before. Sure enough, it turned out to be Greg Hawkes from The Cars, who has been with The Turtles for three years; the remainder of the band (although also not original members) have been in their shells for twenty. But the show is all about Howard Kaylan and Mark Volman, the original lead vocalists, who are still singing as well as they did in their prime.

Scheduled for approximately forty minutes like The Rascals, I wondered how many Turtles favorites I wouldn’t hear, since my admiration for them goes way beyond the hit singles. Thankfully I got a good sampling of both, from “Outside Chance” to “”Happy Together”, ”You Baby” and “She’s My Girl”. The band was tight, Howard and Mark sounded fabulous, and their infamous stage banter was on display as they ripped into sacred cows as well as each other. I’ve seen them several times over the years, and can honestly say that they are as good now as they have ever been.

It’s amazing to think how long these two have been (happy) together, from sax-honking friends in The Crossfires to huge stardom in the ’60s to the Zappa years, followed by literally hundreds of session appearances and their hilarious syndicated radio show. Yet here they are, almost fifty years later, still viable and still creative. There were a lot of incredible artists vying for chart position and limited radio play in the ’60s, and the under-appreciated Turtles were an integral part of that amazing musical era.

The concert was promoted as an oldies show, and the majority of the attendees looked to be several years older than me and there for the hits. I don’t think many appreciated the segment of the set where the band ripped into several minutes of Frank Zappa material (a medley including a ferocious version of “Peaches en Regalia”) and a couple of tunes from the Flo and Eddie catalogue, but I was thrilled. But even with the mid-set segue, after so much familiar material was performed so well, the band got several well deserved lengthy ovations and a standing O at the end.

During the break, the lobby was flooded with fans lined up in queues past long banquet tables where their heroes sat with Sharpie pens. It was quite the assembly line – hand over a twenty, receive a CD, get your autograph, thanks and keep moving please. I’m not certain how much the bands got paid to perform, but the money that changed hands at intermission was staggering; an exercise repeated after the show. It dawned on me that with a three thousand seat theatre almost sold out, this annual caravan of yesterday was far more financially viable than most bands or tours that come through town.

And now…Intermission!

I’ll finish this tale of time travel on Saturday. Until then, enjoy some of the great music that The Rascals and The Turtles brought to the world. Listen to samples of The Ultimate Rascals and The Turtles: 20 Greatest Hits and check out some video below.

The Turtles:  “She’d Rather Be With Me“

The Rascals: “Good Lovin“

The Turtles:  “Elenore“ - how great was Johnny Barbata on drums?

The Rascals: “People Got To Be Free“

And Happy Birthday, ‘erman! Hard to believe he’s 62 today!

Oct. 2nd, Gucci Mane – Guccimerica &      Shyne – Dear America

Oct. 5th, Wu-Tang Clan – Brooklyn Zoo (live)

Oct. 11th, Brand Nubian – Dance to my Ministry

Oct. 20th, The Trammps – Disco Inferno

Oct. 31st, Vanilla Fudge – Season of the Witch

Vanilla Fudge – You Keep Me Hanging On

THE VANILLA FUDGE YOU KEEP ME HANGING ON (ED SULLIVAN SHOW)

Vanilla Fudge  You keep me hanging on

Vanilla Fudge

You Keep Me Hanging On

Set me free why don’t cha babe
Get out of my life why don’t cha babe
’cause you don’t really love me
You just keep me hangin’on

Set me free why don’t cha babe
Get out of my life why don’t cha babe
You don’t really need me
But you keep me hangin’on

Why do you keep a comin’ around
Playing with my heart
Why don’t cha get out of my life
And let me make a brand new start
Let me get over you
The way you’ve gotten over me yeah

You say although we broke up
You still just wanna be friends
But how can we still be friends
When seeing you only breaks my heart again

Get out, get out of my life
And let me sleep at night
’cos you don’t really love me
You just keep me hangin’on

You say you still care for me
But your heart and soul needs to be free
And now that you’ve got your freedom
You wanna still hold on to me
You don’t want me for yourself
So let me find somebody else

Why don’t cha be a man about it and set me free
Now you don’t care a thing about me
You’re just using me – hey, abusing me
Get out, get out of my life
And let me sleep at night
’cos you don’t really love me
You just keep me hangin’on
You don’t really need me
You just keep me – hangin’on

Rock God Cred Report:

Click here to check Jeff Beck, Tim Bogert, Carmine Appice covering Stevie Wonder’s “Superstition”…Beck plus Vanilla Fudge’s rhythm section.

Buy “Beck, Bogert, Appice”

Chart Position: 38

• Originally recorded by Evie Sands (1965)
• Written by Trade Martin
• Also recorded by Koobas (1965), Jackie Ross (1965), Tee Set (1967), Patti LaBelle and Bluebelles (1967), Dusty Springfield (1967), Cher (1968), Carnival (1969), Trade Martin (1971), Dave Edmunds (1979) and Linda Lewis (1983)

“……. it seemed at last that there were two musics progressing at one time before the seat of Illúvatar, and they were utterly at variance. The one was deep and wide and beautiful, but slow and blended with an immeasurable sorrow, from which its beauty chiefly came. The other had now achieved a unity of its own; but it was loud, and vain, and endlessly repeated; and it had little harmony, but rather a clamorous unison as of many trumpets blaring upon a few notes. And it essayed to drown the other music by the violence of its voice, but it seemed its most triumphant notes were taken by the other and woven into its own solemn pattern.”
- J.R.R. Tolkien (The Silmarillion)

How about that for a mythological origin of heavy metal music? In the real world the term “Metal” was first ascribed to music by the herald of the libertines, William S. Burroughs. His actual words were:

“…Heavy Metal People of Uranus wrapped in cool blue mist of vaporized bank notes – And the Insect People of Minraud with metal music”
- Burroughs, William S. (Nova Express)

Heavy metal was probably born in the first few notes of Beethoven’s 5th symphony, when the genius sacrificed melody for rhythm’s sake. This school of thought is one of the major influences behind the evolution of heavy metal. This, along with many other factors, shaped the coarse sound of early electric blues into the extremely creative and honest form of music, known today as heavy metal.

Early Rock ‘N’ Roll : The ‘Vanilla’ Rock

Since its conception in the early 50’s, rock had essentially been nothing but a sickeningly wholesome background sound of puppy love. It had neither the emotional depth of the soul-blues scene, nor the musical craftsmanship of the jazz maestros. It was only something to move your body by, thoughtless, intuitive. The critics were merciless; they ousted rock and roll from the holy temple of music, rock fans were literally pariahs. But they missed two extremely important qualities of rock music: it was unpretentious, and it was packed with unbridled energy. Any youth of any generation could relate with that and thus rock became the music it has always been since: for the young, of the young and by the young.

The first high priest of rock ‘n’ roll is undoubtedly Bill Haley. History hasn’t been kind to him. Elvis Presley and Buddy Holly are revered like saints, their music respected by writers and scholars as well as the record-buying public, yet Bill Haley – who was there before any of them, playing rock & roll before it even had a name – is barely represented by more than a dozen of his early singles, and not even recognized by the average listener, often treated as an anomaly that came and went very quickly.

The central event in Haley’s career was the single “Rock Around the Clock” topping the charts for eight weeks in the spring and summer of 1955, an event that most music historians identify as the dawn of the rock & roll era.

For all their energy and greasy hair locks, these rock stars were out there only to have a good time, they had no intention of bringing about any social revolution. The pioneers, who would bring forth socio-political angst through their music, were still in their grammar schools.

After Haley came the all-sweeping Elvis era, and everybody knows everything about that. He isn’t a personal favorite, so let us skip ahead to the first band that really showed us how a rock band can be as creative as the old masters of the classical era.

I am talking about The Beatles. Hold on! No need to hold up your moshpitting attitude and snort your nose! They surely have sung their share of sweet syrupy ballads, but the true talents of The Beatles hide elsewhere. You want psychedelic crazy lyrics? Let’s see you top ‘I am the Walrus’ or ‘Glass Onion’. You want progressive? ‘Strawberry Fields’ should suffice. With ‘The White Album’ they had produced the heaviest sounding album of that era. You thought Marilyn Manson was disturbing? Well the androgynous pseudo-demonic rock star took the latter half of his name from the serial killer Charles Manson, who, by the way, started his killing spree influenced by the track ‘Helter Skelter’ from ‘The White Album’. They certainly were no cute gargling boy band.

Other than being the premier proto-progressive rock band (topped only by Pink Floyd), The Beatles had also influenced a generation of musicians who would go on to establish the true form of heavy metal.

After The Beatles, came a band who would personalize the lunatic creativity of that age. They would put so much originality, so much psychedelia into their music; the face of rock music would be changed forever. Led by the moonstruck genius of Syd Barett (who was succeeded by the equally stunning duo Roger Waters and David Gilmour), Pink Floyd created something so unique, that even today it is impossible to assign them one genre, no matter how simply you interpret their music. Space rock, art rock, progressive rock, psychedelic rock………..it doesn’t end. Only one thing is sure, throughout the history of rock music, no one has yet surpassed the amount of ingenuity, talent and imagination that Pink Floyd had shown.

The Revenge of the Outcasts: Proto-Metal

As the rock ‘n’ roll music scene erupted across the world, its silly lyrical concepts alienated a certain group of youth. Their retaliation came with a type of music that focused angrily on dissident and alienated themes.

The first blasts of music which were nearly heavy metal in their aggressiveness were emitted by bands the likes of The Kinks, The Who. The Kinks’ “You Really Got Me” or The Who’s “My Generation” was controversial and abrasive enough for their time, making these two tracks the first proto-metal songs.

A new type of music, which borrowed heavily from rock and roll and the blues, was gaining influence on the youth of those times, who were slowly getting tired of the stagnant ‘Summer of Love’ scene. The hippies had had their time in the sun; Vietnam was slowly ending, and with that, their protest rallies were growing shorter.

These early attempts came in three forms. One with a passion for deliberate coarseness, one leaning more towards a refined and artful sound and the last one bent on exploring various techniques of the instruments, especially the guitar.

The first group vented their anger with a blend of loud, distorted blues, which was pioneered by a chaotic band called Blue Cheer, who made grating, droning, grinding blues rock with the aid of deformed amplifiers and an ardor for crudity. They were the vanguard of a range of electric blues bands from Cream to Jimi Hendrix to ZZ Top, and inspired much of the loud rock which followed. They were followed up by an array of bands like Vanilla Fudge, Grand Funk Railroad, MC5, Golden Earring, Atomic Rooster, Cactus, and the legendary The Jeff Beck Group. Among these, the most historically important were Iron Butterfly and Steppenwolf because of their co-founding the term “Heavy Metal”, in terms of music. Steppenwolf’s biker theme “Born to be Wild” included the lines “Heavy Metal Thunder” and Iron Butterfly named their first album “Heavy”. Iron butterfly’s seminal work was their “In-A-Gadda-Da-Vida”- a 17 minute long masterpiece with a menacing riff.

The second faction of people was the intelligentsia of this experimental music scene. Their progeny still are the creators of the most complex, beautiful and interesting music, clearly distinctive in their use of complex compositional structures, odd time signatures, and intricate and virtuosic instrumental playing. They were the creators of a genre called progressive rock, which eventually evolved into progressive metal.

The early form came from the psychedelic mind trips of The Beatles and the beautiful lunacies of Pink Floyd. In spite of their immense talent, the form they created lacked any resemblance with the modern progressive rock format.

The first progressive metal band whose sound we can still relate with the progressive bands of today was King Crimson. If one group is responsible for the whole progressive rock/metal genre, it is King Crimson. Led by guitarist Robert Fripp, their seminal first album ‘In The Court Of The Crimson King’, had sketched out a whole new way of musical experimentation for a generation of new musicians. New groups like Camel, ELP (Emerson, Lake and Palmer), Genesis, Yes, Rush took this genre to more exciting dimensions. Neil Pert of Rush redefined progressive drumming and took it to such technical levels that he has been recognized as the premier rock drummer by rock fans and critiques alike.

Finally, there was a cluster of bands who grew from the surf and garage rock traditions into a technique-oriented format, beginning with half-American Indian guitarist Link Wray, who, basically invented the power chord, and leading through surf guitar champion Dick Dale, whose breakneck speed of single-note staccato picking technique was unrivaled until it entered the repertoires of metal virtuosos like Eddie Van Halen.

By 1969, the influence of these artists had saturated the public consciousness, thus preparing them for the impact of three bands, who would embody the apex of hard rock and heavy metal: Led Zeppelin, Black Sabbath, Deep Purple.

Doris Treitz alias "Alexandra" (1942-1969)

Mein Favoriten zu dieser Zeit waren Jimi Hendrix, die Rolling Stones, Ten Years After oder Psychodelisches wie Vanilla Fudge, dann Cream, Blind Faith oder Juli Driscoll, Bob Dylan, David Bowie und Carlos Santana, Alice Cooper und Thin Lizzy, Eric Burdon, The Fugs, Chikago Transit Authority, The Doors und Edgar Braughton Band. Gehörte damals alles zum straight stuff, und war das Gegenteil von Mädchenmusik (Beatles, Melanie, Joan Baez, Donovan, etc.) Zur deutschen Schlagerszene unterhielt ich keine Kontakte, höchstens zur deutschen Schlägerszene (Rocker).

 Trotzdem machte mich dieser Tod betroffen: Am 31. Juli 1969, vor vierzig Jahren also, fährt ein elfenbeinfarbener Mercedes 220 SE mit Münchner Kennzeichen über die Landesstraße 149 bei Tellingstedt, Nordfriesland, und stößt, unter Missachtung des Stopp-Zeichens, in die Kreuzung mit der B203 vor. Von rechts donnert ein mit Gehwegplatten beladener LKW heran und rast ungebremst in den Mercedes, zermalmt diesen und fetzt die Trümmer 20 Meter durch den Straßengraben. Im Mercedes sterben Valeska Treitz und ihre am Steuer sitzende 27-jährige Tochter Doris, die ganz Deutschland unter ihrem Künstlernamen kennt: Alexandra. Alexandras Sohn Alexander, zum Unfallzeitpunkt sechs Jahre alt, überlebt wie durch ein Wunder fast unverletzt.

Alexandras Mercedes nach dem Unfall

Ungefähr im Konfirmandenalter hatte ich mich in die schöne Alexandra ein bißchen verliebt, in ihr slawisch geprägtes Gesicht mit den traurigen braunen Augen und in ihre tiefe, rauchige Stimme, mit der sie zumeist, zur eigenen Erbitterung, unsäglich sentimentale, slawisch-folkloristisch eingebutterte Kitschlieder („Zigeunerjunge“, „Sehnsucht“, „Im frühen Morgenrot / Mein Freund der Baum“) sang, weil die Platttenfirma es so haben und den Markt derjenigen bedienen wollte, die noch den Ostfeldzug mitgemacht und im Wohnzimmer das Bild einer feurigen Zigeunerin überm Plüschsofa hängen hatten.

 Alexandra konnte mehr und hatte das Zeug zum Star. Schon als Kind hatte sie vielfältige Talente entwickelt, spielte Klavier und Gitarre, zeichnete später, designte Mode und modelte. Sie schrieb und komponierte selbst, kam in Kontakt mit Gilbert Bécaud, Ives Montand und Charles Aznavour und spielte in Brasilien mit dem großen Antonio Carlos Jobim („The girl from Ipanema“) – ihre beste Zeit.

Von Fans errichteter Gedenkstein am Unfallort

Die Melancholie Alexandras war allerdings keine Pose. Dem Druck des Musikmarktes und der Plattenindustrie war sie nicht gewachsen; ihr Privatleben verlief unglücklich; der Liebhaber der geschiedenen alleinerziehenden Mutter erwies sich als Heiratsschwindler sowie als us-amerikanischer Geheimagent. Schwer zu sagen, was schlimmer war. Sie fühlte sich unter Druck, verfolgt, ausgelaugt. Ihr Vertrag mit der Phonogramm lief aus, die Zukunft schien offen und beängstigend. Auf dem Weg in den Sylt-Urlaub, der Erholung bringen sollte, schlug der Tod zu.

 Alexandras geheimnisvoller Nimbus, die zum Teil undurchsichtigen Umstände ihres Todes und das Bedürfnis der Menschen nach populären Mythen brachten eine Menge Verschwörungs-, ja sogar Mordtheorien in Umlauf, die unter Fans noch heute diskutiert werden. Wahr ist wohl keine; die junge Frau war erschöpft, übermüdet, gestreßt – den Rest besorgte der Zufall, der mit dem Tod befreundet ist. Schade. Armes, schönes, trauriges Mädchen. Alexandra hätte eine deutsche Chanson-Sängerin von Rang werden können. Dafür wurde sie zum Mythos.

Chancellor’s Day today, so there’s no school!!

Chwis and I took this wonderful opportunity to trek down to Metropolitan Avenue and visit our favorite ice cream parlor, Eddie’s Sweet Shop. After all, we were long overdue for an end-of-AP-Tests-hooray! celebration.

I went to Eddie’s only a few times in my childhood, but these occassional happenings imprinted precious pleasures in my memory and stomach. (This also makes me a bit partial to Eddie’s, but its ability to leave such a huge impression on me obviously means it’s amazing!)

So what exactly is amazing about Eddie’s? Well for one, the fresh homemade ice cream and syrups are lovely sinful treats. Another factor that contributes to Eddie’s awesomeness is the quaint, old-fashioned atmosphere. The interior of the parlor is mid-20th century style, which emanates a cozy, antiquated feeling.

“]

The counter where you order your ice cream. You can sit here to eat your ice cream or get tables in the back. I like sitting here because it feels like your at an ice cream bar. (haha) Also, notice the nice little Zagat rating on the wall =

My earliest memory of Eddie’s was an unforgettable banana split. I’ve also tried its shakes, which are generous and delicious. This time, Chwis and I split a three-scoop ice cream sundae (for $8, no tax)! We chose butter pecan, vanilla fudge, and tutti-frutti (my favorite!) for ice cream, decked with a topping of hot fudge.

Hot Fudge Sundae!

I had almost forgotten how delicious homemade ice cream tasted (especially with all the froyo and gelato in the city)…but Eddie reminded me of the joys of slowly smoothing a spoonful of ice cream in my mouth, chasing after the ice cream truck as a kid, furiously digging into the ice cream dish but making sure to catch all the drips. Yes, all this is the magic of Eddie’s ice cream.

I love hot fudge. I’ve never had a hot fudge sundae, but I remember the craze when I was in elementary school. Now i understand why kids, why most people love hot fudge sundaes. The smooth lukewarm chocolate warmed the cold ice cream, causing it to slightly melt and become creamier. This worked extremely well with the scoop of vanilla fudge.

The only parts of the sundae I didn’t like were the artificial cherries (which Chwis happily devoured since she likes them), and the overwhelming amount of whipped cream. It’s not that I don’t like whipped cream. I like it, but in minimum amounts, since it leaves nothing but  a fatty aftertaste and empty calories. (I mean, what’s the point of gaining extra calories if they don’t taste like anything?!) Also, too much whipped cream masks the awesomeness of the ice cream. But no matter, because Chwis and I carefully scooped out most of te whipped cream, making sure no ice cream or hot fudge were wasted!

After our ice cream feast, Chwis and I stocked up on some rare candy being sold by Eddie’s as well.

Eddie's Candy Counter!

Eddie’s candy is cheap and yummy. They’re also generally not available at the local pharmacy. For example, there’s a lot of interesting Willy Wonka candy, gel-like candy in a tube, lollipops, and a few odd things here and there. I bought some Wonka Tinglerz (bits of crunchy chocolate that pop in your mouth) and berry-flavored Nerds Rope. The Tinglerz were really fun, and everyone loves Nerds Rope!

More Candy

Grade: I want to give this an A+, but I know in actuality it’s around A-…

Conclusion: So the sundaes and atmosphere at Eddie’s is amazing. The waiters/waitresses, and manager (whose name is surprisingly not Eddie) are pretty nice too. The only thing that isn’t so great about Eddie’s Sweet Shop is its sanitation, or rather lack of it…The servers often forget to clean the tables of leftover ice cream unless you tell them about it. And I heard the bathrooms here were hideous…

Location: Map

(718) 520-8514

Other Opinions:

Yelp, Citysearch

Chart Position: NR

• Written and originally recorded by Donovan (1966)
• Also recorded by Al Kooper and Stephen Stills (1968), Julie Driscoll, Brian Auger & Trinity (1968), Terry Reid (1968), Luna (1996), Hole (1997), Dr. John & Blues Brothers Band (1998) and Richard Thompson (2003)

According to the International Ice Cream Association, the following are…

THE 15 MOST POPULAR ICE CREAM FLAVORS

1. Vanilla, 29%

2. Chocolate, 8.9%

3. Butter pecan, 5.3%

4. Strawberry, 5.3%

5. Neapolitan, 4.2%

6. Chocolate chip, 3.9%

7. French vanilla, 3.8%

8. Cookies and cream, 3.6%

9. Vanilla fudge ripple, 2.6%

10. Praline pecan, 1.7%

11. Cherry, 1.6%

12. Chocolate almond, 1.6%

13. Coffee, 1.6%

14. Rocky road, 1.5%

15. Chocolate marshmallow, 1.3%

All others, 23.7%

At the Double Lovin’, our most popular flavors are… 

• Butter Pecan

• Lemon (unusual, but amazing)

• Cappuccino Crunch (coffee)

• Strawberry Cheesecake

• Cherry Cordial

And for kids, the favorite flavors are…

• Superman

• Birthday Cake Batter

• Bubblegum

• Moose Tracks

• Cookie Dough

No Programa 4 da Rádio Kanastra, sobre Psicodelia, indicamos vários discos produzidos durante a efervescência musical da segunda metade dos anos 60. Tanta coisa, que não coube tudo num programa só. Então, resolvemos postar aqui alguns discos que não entraram no programa, mas que fazem parte da discoteca básica da época. Baixem, e divirtam-se.

THE HOLY MODAL ROUNDERS
Indian War Whoop – 1968

 DOWNLOAD 

GRAND FUNK RAILROAD
Red Album – 1969

 DOWNLOAD

QUICKSILVER MESSENGER SERVICE
Happy Trails – 1969

 DOWNLOAD

THE BIG BROTHER & THE HOLDING COMPANY with JANIS JOPLIN
Cheap Thrills – 1968

 DOWNLOAD

VANILLA FUDGE
Vanilla Fudge – 1967

 DOWNLOAD

CAPTAIN BEEFHEART AND HIS MAGIC BAND
Safe As Milk –  1967

 DOWNLOAD

THE KINKS
Something Else By The Kinks – 1967

 DOWNLOAD

THE BYRDS
Younger Than Yesterday – 1967

 DOWNLOAD 

Tanta coisa nessa época…. breve diponibilizamos mais…

Post: Gustavo

Conforme prometido no Programa 4, aqui vai uma listinha de alguns dos discos de psicodelia que ficaram de fora da seleção apresentada por falta de tempo, mas que nem por isso são menos importantes e bons. Ao contrário, são essenciais.

THE HOLY MODAL ROUNDERS
Indian War Whoop – 1968

 DOWNLOAD 

GRAND FUNK RAILROAD
Red Album – 1969

 DOWNLOAD

QUICKSILVER MESSENGER SERVICE
Happy Trails – 1969

 DOWNLOAD

THE BIG BROTHER & THE HOLDING COMPANY with JANIS JOPLIN
Cheap Thrills – 1968

 DOWNLOAD

VANILLA FUDGE
Vanilla Fudge – 1967

 DOWNLOAD

CAPTAIN BEEFHEART AND HIS MAGIC BAND
Safe As Milk –  1967

 DOWNLOAD

THE KINKS
Something Else By The Kinks – 1967

 DOWNLOAD

THE BYRDS
Younger Than Yesterday – 1967

 DOWNLOAD 

Tanta coisa nessa época…. breve colocamos mais…

En 1966, The Supremes conseguían su octavo #1 en las listas americanas con ‘You keep me hangin’ on’.

Un año después Vanilla Fudge lo editaban como su primer single, y lo incluían en su primer LP ‘Vanilla Fudge’. En 1968 el tema llegó al #6 de las listas de éxitos y acudieron al Ed Sullivan Show a presentarlo e hicieron esta salvajada.

VS.

eRoks jeb Rokmūzikas apskati šodien atkāpsies no ierastā (cik nu tas var būt ierasts dažās dienās) formāta, lai uzsāktu muzikālo jaunumu un vecumu apskatu sēriju. Muzikālajos vecumos varēsiet lasīt par dažādiem ar rokmūziku saistītiem notikumiem pagātnē, savukārt muzikālajos jaunumos tiks reklamētas mazpazīstamas grupas. Šoreiz muzikālajos vecumos – tā saucamā “haizivs epizode”.

Haizivs epizode jeb haizivs incidents bija notikums “Edgewater” viesnīcā Sīetlas pilsētā ASV 1969. gada 28. jūlijā. Tajā esot bijis iesaistīts Led Zeppelin menedžeris Ričards Kouls un grupas “Vanilla Fudge” dalībnieki. Abas grupas atradās Sīetlā, lai piedalītos Sīetlas popa festivālā 27. jūlijā. Viesnīca atrodas uz mola un tolaik viesnīcas apmeklētāji drīkstēja makšķerēt no numuriņiem.

Tiek uzskatīts, ka šajā incidentā kādā dzimumaktā tika izmantotas zivis. Stāstā mēdz būt atšķirības, piemēram, kas tā bija par zivi (visbiežāk tiek uzskatīts, ka tā ir bijusi haizivs), kas bija iesaistīts un kas īsti notika. Grāmatā “Hammer of the Gods” bija sniegta versija, ka kāda jauna, sarkanmataina grūpija tika piesieta pie gultas un Led Zeppelin dalībnieki viņas makstī un taisnajā zarnā ievietoja haizivs gabalus. Tomēr šo versiju noliedz Ričards Kouls, kurš apgalvo, ka nevis grupas dalībnieki bija iesaistīti, bet gan viņš. Pēc viņa versijas, Marks Šteins no Vanilla Fudge to filmēja, bet grūpijai tas viss patika. Turklāt, tika izmantots tikai kādas zivs deguns.

Pēc šī incidenta Led Zeppelin tika liegta pieeja viesnīcai. Viņi pēc nostāstiem noķēra 30 haizivju un tās novietoja zem gultām, trepēs, liftos, skapjos, vannās u.c. vietās. Viņi ūdenī iemeta televizorus, matračus, porcelānu, lampas, u.c. lietas.

I’ve been making fudge today. Yummy, delicious, Peppermint Fudge    and  Chocolate Rocky-Road Fudge makes a great treat to have wrapped and ready to hand to a delivery man, mail/newspaper carrier, or baby-sitter.  When I got the fudge made and cut, I wrapped it in pretty Christmas plastic wrap,  tied it with a pretty bow and placed it in a large pretty bowl near the door.  We expect quite a few deliveries this year from the package carriers (those who help Santa get those gifts from here to there!) and hopefully this 1/4 pound pkg of fudge will help to make these guys (and, I say guys because the ones who come here are all “guys”) delivery here a little more festive!

I use a very popular recipe for fudge, and I’m sure it can probably be found all over the Internet!  I hope you enjoy it. You can experiment and come up with all types of fudge. Tomorrow, I think I will make pumpkin fudge!

Peppermint Patty’s Peppermint Fudge

Ingredients:

1 12 oz bag of vanilla baking chips (same as chocolate chips, except they are vanilla!)

1 Can Vanilla Supreme frosting

1/4 teaspoon salt                                                                                 

1-1/2 tsp of Peppermint extract

butter or vegetable spray

red food coloring

Tip: You can melt your chips in a microwave bowl, being careful not to burn them. However, I prefer to use a double boiler. If you don’t have a double boiler then you can sit a smaller sauce pan inside of a larger saucepan. Fill the bottom saucepan about 1/3 the way full of water. Be sure the water will not boil over into your fudge!

Line a 10 x 10 cake pan with aluminum foil. Either coat with butter or spray with cooking spray. Set aside until fudge is ready. Have red food coloring nearby and ready for fudge.

If using a double-boiler, bring water in boiler to a boil, place chips in small top pot (not in water!) and let melt. Stir well until the chips have melted completely and is smoothe.  Add the can of frosting to the chips, then the peppermint extract and salt. Stir well and continue to cook for about 90 seconds. Stir continually.

Pour into pan and smooth quickly. Put a very tiny line of red food coloring down the center and pull a knife through it to marble the fudge.

Cool for about 5 minutes on the counter. Cover with plastic wrap and put in refrigerator. Let cool until solid, about 1/2-1 hour. When fudge is solid remove from fridge.  Turn fudge out onto parchment paper or freezer wrap.  Let sit about 3-5 minutes.  Then, using a long knife, slice fudge from edge to edge in about 2 inch wide slabs, then cut slabs in half.  Wrap each slab in Christmas plastic food wrap, tie a ribbon around each wrapped slab.  Oh, and be sure to save a little smidgen for yourself!

Whose version of “You Keep Me Hanging On” did Vanilla Fudge cover?

On Sunday, November 20, B. B. King Blues Club presented the 2nd Annual Bangladesh Revisited All-Star Tribute To George Harrison. This year’s show featured a stellar lineup of musicians: Godfrey Townsend and John Montagna (Alan Parsons “Live” Project); Tommy Williams, Kenny Forgione, Mark Bonder, Kevin McCann, Ricky Martinez (Wonderous Stories); Vinny Martel (Vanilla Fudge); Randy Jackson (Zebra); Tom Bowes (Former TOP Vocalist); Eric Bazilian (Hooters); Arno Hecht (Uptown Horns);  Tommy Mandel (Bryan Adams/Dire Straits); William Wittman (Cyndi Lauper); Phil Granger (Stealin Dan); John Merjave (Liverpool); Andy Marshall (THD); Chris Camilleri, Naren Budhakar, Rich Zucker, Eric Goletz, Susie Turner, Laura Press, Ed Ryan, Tom Sanfilipo, Chris Cariola, HolliAnn LaRocca, Rich Pagano (The Fab Faux) and more.

On August 1, 1971, George Harrison put on one of the most memorable shows in rock history. It was the first large-scale rock and roll benefit and included rock legends Eric Clapton, Bob Dylan, Leon Russell, Badfinger, Billy Preston more. The concert sold out Madison Square Garden and along with the Grammy ® Award-winning triple-album boxset, and the feature film, has generated millions of dollars for UNICEF and raised awareness for the organization around the world, as well as among other musicians and their fans.

Money from the concert will be donated in memory of George Harrison and his brother Peter Harrison(both died of cancer) to the Cancer Society. 

These are some images from the (before and during) the concert.

Click here to visit the gallery. 54 images.

Vanilla Fudge

Shotgun
Shoot ‘em ‘fore he run, now
Do the jerk, baby
Do the jerk, now

This is an excerpt of a brand new interview with legendary drummer Carmine Appice talking about the recent death of Jimi Hendrix Experience drummer Mitch Mitchell. In this clip, Carmine, of Vanilla Fudge, Rod Stewart, Jeff Beck, Ozzy Osbourne, Ted Nugent, and many other acts, describes getting to spend time with Mitch MItchell recently on the Experience Hendrix tour, seeing two of the shows and hanging out backstage with Mitch Mitchell. Carmine candidly reveals his personal impressions of his recent encounter with Mitch, thoughts on his passing, touring with Vanilla Fudge and Jimi Hendrix, and Mitch’s impact as one of rock’s great drummers. The full-length new interview is in the Dave Report now, and includes details on what’s happening with Vanilla Fudge, Cactus, Carmine’s latest project Slamm and a special appearance by his girlfriend, Leslie Gold (The Radio Chick). Listen on-demand in the Current Interview Podcasts Player in the Dave Report.