![]() ![]() ![]() If the acid has taken hold and this nonsense is somehow making sense to you – you may well be seeing black'n'white pictures on the wall of Ludwig Van and Lennon John – then you will be up for side-the-second which opens with a kind of Latin swinging variant on that increasingly desperate-sounding Beat Goes On linking-riff and all those Voices in Time (sound samples by Chamberlain et al, the radio broadcast of the funeral of FDR, Hiroshima, the inauguration of JFK) of Phase Three.Īnd then, for your listening pleasure is, Phase Four which comes under the title Merchant/The Game is Over and opens with a snatch of yet another treatment of that title. ![]() ”Īlbeit sometimes backwards into the past. Then there's another minute of their enormously tedious Beat Goes On which seems to indicate that, “Yeah, all this historical stuff happened, but the beat goes on. If you think that makes no sense then Phase Two which takes out the rest of the side is 90 seconds of The Beat Goes On followed by respectfully dull treatments then prog assaults on Fur Elise and Moonlight Sonata with quasi-choral and very earnest vocal bits (of course, why not?). Somewhere between some of these pieces are stentorian and slow deliveries of the title melody of The Beat Goes On. I Want to Hold Hold Your Hand, I Feel Fine, Day Tripper, She Loves You and Hello Goodbye did not deserve this. then a shudderingly awful two minute medley of Beatles songs as imagined by a teenage bar band. ![]() ”) we have Phase One which opens with a snatch of Sonny Bono's title track delivered as bludgeoning piece of metal intro before it hits the few familiar chords (on a piece originally defined by its bass line) before we are off into snippets of Mozart, Stephen Foster, Cole Porter's Don't Fence Me In, 12th Street Rag, In the Mood and Hound Dog (astonishingly bad and sounding like it was recorded in a biscuit tin), all under a minute apiece. Then after Edison repeating his famous first recording (“Mary had a little lamb. Side one opens with Sketch which is pretty much just that, a three minute keyboard thing of enormous portentousness and no fixed genre or direction. It was barely a Vanilla Fudge album at all and the first half of the second side sounds more like sound collage by producer Morton with snippets from Neville Chamberlain (“it bears Herr Hitler's name and mine”), Churchill, a Nazi crowd baying “Sieg Heil”, Harry Truman, the first dead Kennedy and more.īut we are getting a head of ourselves on this album by Vinnie Martell (guitar, vocals), drummer/singer Carmine Appice, bassist/singer Tom Bogert and lead singer/keyboard player Mark Stein.Īnd many many others beamed in via samples. The was some pretty dire stuff floating about – the prosecution calls Deep Purple's Concerto for Group and Orchestra from '69 – but you have to wonder who in AtlanticRecords thought it okay to sign off on The Beat Goes On. Rock musicians were reaching, and often over-reaching, the idea of a “concept” album had become embedded after Sgt Pepper, singles were being sneered at and albums – often with pretensions to classical influences – were where you could make Your Big Statement. When Vanilla Fudge released their Shadow Morton-produced album The Beat Goes On in 1968 the times and drugs were different. ![]()
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