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The Beat Goes On
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To buy this recording from Amazon.com, click here: The Beat Goes On
__________________________________________________
VANILLA FUDGE
THE BEAT GOES ON
ATCO PRESENTS
THE BEAT GOES ON
STARRING: MARK STEIN
TIM BOGERT
VINNIE MARTELL
CARMINE APPICE
PRODUCED AND DIRECTED BY SHADOW MORTON
SIDE 1
1. SKETCH (Time: 2:55)
(By Vanilla Fudge; Cotillion-Vanilla Fudge, BMI)
PHASE ONE
2. INTRO: THE BEAT GOES ON (Time: 1:57)
(By Sonny Bono; Cotillion-Chris Marc, BMI)
3. EIGHTEENTH CENTURY
VARIATIONS ON A THEME BY MOZART:
DIVERTIMENTO NO. 13 IN F MAJOR (Time: 0:45)
NINETEENTH CENTURY
OLD BLACK JOE (Time: 0:46)
(Traditional)
TWENTIETH CENTURY
DON’T FENCE ME IN (Time: 0:52)
(By Cole Porter; Warner Bros.–7 Arts, ASCAP)
12TH STREET RAG (Time: 0:49)
(By Euday L. Bowman & Andy Razaf; Lewis & Shapiro Bernstein, ASCAP)
IN THE MOOD (Time: 0:45)
(By Joseph C. Garland & Andy Razaf; Lewis & Shapiro Bernstein, ASCAP)
HOUND DOG (Time: 0:43)
(By Jerry Leiber & Mike Stoller; Lion & Elvis Presley, BMI)
THE BEATLES (Total Time: 1:45)
I WANT TO HOLD YOUR HAND
(By John Lennon & Paul McCartney; Duchess, BMI)
I FEEL FINE
(By John Lennon & Paul McCartney; Maclen, BMI)
DAY TRIPPER
(By John Lennon & Paul McCartney; Maclen, BMI)
SHE LOVES YOU
(By John Lennon & Paul McCartney; Gil, BMI)
PHASE TWO
4. THE BEAT GOES ON (Time: 1:32)
5. BEETHOVEN
FUR ELISE & MOONLIGHT SONATA (Time: 6:33)
6. THE BEAT GOES ON (Time: 1:05)
SIDE 2
1. THE BEAT GOES ON (Time: 1:00)
PHASE THREE
2. VOICES IN TIME (Time: 8:09)
Neville Chamberlain
Winston Churchill
Franklin Delano Roosevelt
Harry S. Truman
John F. Kennedy
and Other Voices
PHASE FOUR
3. THE BEAT GOES ON (Time: 1:50)
4. MERCHANT (Total Time: 8:57)
THE GAME IS OVER (Vinnie)
MERCHANT
THE GAME IS OVER (Tim)
MERCHANT
THE GAME IS OVER (Carmine)
MERCHANT
THE GAME IS OVER (Mark)
MERCHANT
(Merchant is by Vanilla Fudge; Cotillion-Vanilla Fudge, BMI;
The Game Is Over is by Jean-Pierre Bourtayre & Jean Bouchety; Celestial-Pronto, BMI)
5. THE BEAT GOES ON (Time: 2:20)
Assistant Producers: Bill Stahl & John Linde
Recorded at Ultra-Sonic Studios in Hempstead, L.I.
Recording Engineers: Don Casale & John Bradley
Album Design: Marvin Israel
Photos: Jay P. Halpin
A PHANTOM PRODUCTION FOR ATCO RECORDS
This album is Fudge…pure, but not so simple. It is the result of a chemical reaction which occurs when Mark Stein, Tim Bogert, Vinnie Martell and Carmine Appice are placed in a room with an organ, bass, guitar and drums respectively. It is like no other album ever made. Above ground or underground. The music is that of Ludwig Van Beethoven…and John Lennon…and Stephen Foster…and Sonny Bono…and Jean Bouchety…and Cole Porter…and Paul McCartney…and Wolfgang Amadeus Mozart.
There are voices, as well. Of Thomas Edison…and Neville Chamberlain…and Vinnie, expressing his belief in the beat of life…and John F. Kennedy…and a newsman in a radio studio on December 7th, 1941…and Tim, talking about sex and trips and ice cream…and Adolf Hitler…and Carmine who’d rather not talk because “I say it with my drums, man.”
But there is something else.
A single mentality which makes this recording far more than the sum of its parts. In painting a picture of the musical past, the four remarkable young men who comprise the Vanilla Fudge have plunged themselves – and the sound of today’s music – recklessly and headlong into the future.
“This is all ours,” says Mark. “If you dig it, thanks. If you hate it, we’ll take the rap.”
What category of modern music does the Vanilla Fudge fit into? (“You mean what’s our bag?” asks Carmine, idly rapping his drumsticks against a table top.)
Is it a rock beat?
“Rock died a long time ago,” answers Tim. “Only it never had a decent burial because the guys who made rock had gone on to something else.”
Is it psychedelic?
“Psychedelic sound can be anything from a siren, playing taps for a city to static on a busted amplifier,” says Vinnie.
Is it part of the protest movement?
“Protest is against…” answers Mark. “We’re for…”
Is there a message?
“Western Union sends messages,” replies Tim. “We’re not in their business. They’re not in ours.”
Then what label can be applied to “The Beat Goes On?”
“Atco,” laughs Carmine, then returns to his casual table-tapping.
Finally it’s Tim who answers the question.
“We’re Fudge, that’s all, just Fudge,” he says. “Like the Beatles are the Beatles. And Leonard Bernstein’s Leonard Bernstein. And the first girl you ever loved had a name, but that isn’t what you remember late at night…”
Well, then, what is Fudge?
It’s Mark whose quiet, respectful manner and Viking Beard seem to mask a hidden power. Who gave his first professional performance as a “Star Time Kid” when he was four years old and who might have become an accountant except that with all that music in his head, there wasn’t much room for numbers. Who admits, “When the crescendo comes up during a song, I lose myself in it. I feel I’m making love to the audience. The sound fondles them, taunts them, grabs at them, embraces them.”
It’s Vinnie whose father was a butcher and who Vinnie recalls proudly, had one of the finest meat markets in the Bronx when he was only a few years out of high school. “But,” adds Vinnie, “there’s a kind of restlessness in me. There has to be something new and different happening to me everyday. When I’m with the Fudge…when we’re on…I’m happy. No one can say to me, ‘This was how it was yesterday. And how it is today. And it’ll be like this tomorrow.’ Because I know tomorrow is another scene.”
It’s Carmine, whose scraggly mustache and aquiline nose could be almost foreboding – if he wasn’t laughing nearly all the time. The drums talk for Carmine. They talk girls and cars and mod tailoring and friendship, all of which mean a lot to him. “Especially the girls,” says his pal, Vinnie. And Carmine laughs…without missing a beat.
It’s Tim, who gazes out at the world through thick glasses and wants just one thing out of those around him…honesty. Who says, “What’s going on today in music can appeal to anyone of any age with an open mind. Snobs and hypocrites may put it down without even listening to it. But they can’t stop it. The ‘beat’ is rolling in on the tide, man. You can’t talk us out of it or bomb it or pollute it.” Tim, who studied to be an electronics engineer (at the RCA Institute) and who still tinkers with new ways to get the maximum sound of the Fudge’s electronic gear. But who admits “I’m just not a 9 to 5 daytime person.”
These are the four distinct personalities who, in a recording studio or on a concert stage, blend into one.
And who agree, as the melody changes from The Moonlight Sonata…to Old Black Joe…to the Twelfth Street Rag…to The Game Is Over…that underscoring the human condition…vibrant, pulsating, deep-throated…the beat goes on.
STEREO
ATCO
ATCO RECORDS, 1841 BROADWAY, NEW YORK, NEW YORK 10023
DIVISION OF ATLANTIC RECORDING CORPORATION
© 1968 Atlantic Recording Corporation
Printed in U.S.A.
SD 33-237
To buy this recording from Amazon.com, click here: The Beat Goes On
__________________________________________________VANILLA FUDGE
THE BEAT GOES ON
Original 1968 album liner notes
ATCO PRESENTS
THE BEAT GOES ON
STARRING: MARK STEIN
TIM BOGERT
VINNIE MARTELL
CARMINE APPICE
PRODUCED AND DIRECTED BY SHADOW MORTON
SIDE 1
1. SKETCH (Time: 2:55)
(By Vanilla Fudge; Cotillion-Vanilla Fudge, BMI)
PHASE ONE
2. INTRO: THE BEAT GOES ON (Time: 1:57)
(By Sonny Bono; Cotillion-Chris Marc, BMI)
3. EIGHTEENTH CENTURY
VARIATIONS ON A THEME BY MOZART:
DIVERTIMENTO NO. 13 IN F MAJOR (Time: 0:45)
NINETEENTH CENTURY
OLD BLACK JOE (Time: 0:46)
(Traditional)
TWENTIETH CENTURY
DON’T FENCE ME IN (Time: 0:52)
(By Cole Porter; Warner Bros.–7 Arts, ASCAP)
12TH STREET RAG (Time: 0:49)
(By Euday L. Bowman & Andy Razaf; Lewis & Shapiro Bernstein, ASCAP)
IN THE MOOD (Time: 0:45)
(By Joseph C. Garland & Andy Razaf; Lewis & Shapiro Bernstein, ASCAP)
HOUND DOG (Time: 0:43)
(By Jerry Leiber & Mike Stoller; Lion & Elvis Presley, BMI)
THE BEATLES (Total Time: 1:45)
I WANT TO HOLD YOUR HAND
(By John Lennon & Paul McCartney; Duchess, BMI)
I FEEL FINE
(By John Lennon & Paul McCartney; Maclen, BMI)
DAY TRIPPER
(By John Lennon & Paul McCartney; Maclen, BMI)
SHE LOVES YOU
(By John Lennon & Paul McCartney; Gil, BMI)
PHASE TWO
4. THE BEAT GOES ON (Time: 1:32)
5. BEETHOVEN
FUR ELISE & MOONLIGHT SONATA (Time: 6:33)
6. THE BEAT GOES ON (Time: 1:05)
SIDE 2
1. THE BEAT GOES ON (Time: 1:00)
PHASE THREE
2. VOICES IN TIME (Time: 8:09)
Neville Chamberlain
Winston Churchill
Franklin Delano Roosevelt
Harry S. Truman
John F. Kennedy
and Other Voices
PHASE FOUR
3. THE BEAT GOES ON (Time: 1:50)
4. MERCHANT (Total Time: 8:57)
THE GAME IS OVER (Vinnie)
MERCHANT
THE GAME IS OVER (Tim)
MERCHANT
THE GAME IS OVER (Carmine)
MERCHANT
THE GAME IS OVER (Mark)
MERCHANT
(Merchant is by Vanilla Fudge; Cotillion-Vanilla Fudge, BMI;
The Game Is Over is by Jean-Pierre Bourtayre & Jean Bouchety; Celestial-Pronto, BMI)
5. THE BEAT GOES ON (Time: 2:20)
Assistant Producers: Bill Stahl & John Linde
Recorded at Ultra-Sonic Studios in Hempstead, L.I.
Recording Engineers: Don Casale & John Bradley
Album Design: Marvin Israel
Photos: Jay P. Halpin
A PHANTOM PRODUCTION FOR ATCO RECORDS
This album is Fudge…pure, but not so simple. It is the result of a chemical reaction which occurs when Mark Stein, Tim Bogert, Vinnie Martell and Carmine Appice are placed in a room with an organ, bass, guitar and drums respectively. It is like no other album ever made. Above ground or underground. The music is that of Ludwig Van Beethoven…and John Lennon…and Stephen Foster…and Sonny Bono…and Jean Bouchety…and Cole Porter…and Paul McCartney…and Wolfgang Amadeus Mozart.
There are voices, as well. Of Thomas Edison…and Neville Chamberlain…and Vinnie, expressing his belief in the beat of life…and John F. Kennedy…and a newsman in a radio studio on December 7th, 1941…and Tim, talking about sex and trips and ice cream…and Adolf Hitler…and Carmine who’d rather not talk because “I say it with my drums, man.”
But there is something else.
A single mentality which makes this recording far more than the sum of its parts. In painting a picture of the musical past, the four remarkable young men who comprise the Vanilla Fudge have plunged themselves – and the sound of today’s music – recklessly and headlong into the future.
“This is all ours,” says Mark. “If you dig it, thanks. If you hate it, we’ll take the rap.”
What category of modern music does the Vanilla Fudge fit into? (“You mean what’s our bag?” asks Carmine, idly rapping his drumsticks against a table top.)
Is it a rock beat?
“Rock died a long time ago,” answers Tim. “Only it never had a decent burial because the guys who made rock had gone on to something else.”
Is it psychedelic?
“Psychedelic sound can be anything from a siren, playing taps for a city to static on a busted amplifier,” says Vinnie.
Is it part of the protest movement?
“Protest is against…” answers Mark. “We’re for…”
Is there a message?
“Western Union sends messages,” replies Tim. “We’re not in their business. They’re not in ours.”
Then what label can be applied to “The Beat Goes On?”
“Atco,” laughs Carmine, then returns to his casual table-tapping.
Finally it’s Tim who answers the question.
“We’re Fudge, that’s all, just Fudge,” he says. “Like the Beatles are the Beatles. And Leonard Bernstein’s Leonard Bernstein. And the first girl you ever loved had a name, but that isn’t what you remember late at night…”
Well, then, what is Fudge?
It’s Mark whose quiet, respectful manner and Viking Beard seem to mask a hidden power. Who gave his first professional performance as a “Star Time Kid” when he was four years old and who might have become an accountant except that with all that music in his head, there wasn’t much room for numbers. Who admits, “When the crescendo comes up during a song, I lose myself in it. I feel I’m making love to the audience. The sound fondles them, taunts them, grabs at them, embraces them.”
It’s Vinnie whose father was a butcher and who Vinnie recalls proudly, had one of the finest meat markets in the Bronx when he was only a few years out of high school. “But,” adds Vinnie, “there’s a kind of restlessness in me. There has to be something new and different happening to me everyday. When I’m with the Fudge…when we’re on…I’m happy. No one can say to me, ‘This was how it was yesterday. And how it is today. And it’ll be like this tomorrow.’ Because I know tomorrow is another scene.”
It’s Carmine, whose scraggly mustache and aquiline nose could be almost foreboding – if he wasn’t laughing nearly all the time. The drums talk for Carmine. They talk girls and cars and mod tailoring and friendship, all of which mean a lot to him. “Especially the girls,” says his pal, Vinnie. And Carmine laughs…without missing a beat.
It’s Tim, who gazes out at the world through thick glasses and wants just one thing out of those around him…honesty. Who says, “What’s going on today in music can appeal to anyone of any age with an open mind. Snobs and hypocrites may put it down without even listening to it. But they can’t stop it. The ‘beat’ is rolling in on the tide, man. You can’t talk us out of it or bomb it or pollute it.” Tim, who studied to be an electronics engineer (at the RCA Institute) and who still tinkers with new ways to get the maximum sound of the Fudge’s electronic gear. But who admits “I’m just not a 9 to 5 daytime person.”
These are the four distinct personalities who, in a recording studio or on a concert stage, blend into one.
And who agree, as the melody changes from The Moonlight Sonata…to Old Black Joe…to the Twelfth Street Rag…to The Game Is Over…that underscoring the human condition…vibrant, pulsating, deep-throated…the beat goes on.
STEREO
ATCO
ATCO RECORDS, 1841 BROADWAY, NEW YORK, NEW YORK 10023
DIVISION OF ATLANTIC RECORDING CORPORATION
© 1968 Atlantic Recording Corporation
Printed in U.S.A.
SD 33-237
