In less than two weeks, I have tix (sold out) to see THE cover band of all time. I'm 48 years late, but I DO tend to put things off.
These guys were among the very first American bands to "go arena," and that was only 6 months after the release of their freshman album in 1967. When they first played in London, their show was attended by the likes of some Beatles, Stones, Deep Purple, a soon-to-be Led Zeppelin, Cream, and Jimi Hendrix to name a few. The organist was the lead singer, but the other three sang harmonies, with unison vibratos! (That's been so "out" for so long. Lou Gramm, Mickey Thomas, Ronnie Dio, Steve Perry; I can't stand the last two, but all they could sing with full control of their voices, not just good pitch.)
It's also funny that this band is from a time when all good tri-state bands were predominantly comprised of 2nd generation Italians and Jews. (Rascals, Luvin' Spoonful, Billy Joel, Simon and the other guy, The Four Seasons) The reason for that, of course, is that that's who was there! Duh-uh-uh! But, come to think of it, the Italian-Americans were never the songwriters. We built Rome, but we couldn't write a decent pop tune. Carol King sure could!!! Neil Diamond, too! Just like thousands of years ago, we were relegated to only the performance rights and not writing royalties. Damn! I wonder if the Hittites were good tunesmiths?
Both John Paul Jones and Jon Lord copped to wanting "that sound" after they heard it that night. Bands don't chug and huff anymore, like a locomotive. These guys did! Their rhythm section was snatched up by Jeff Beck the instant they disbanded in 1970. Rod Stewart never got billing with Jeff Beck. These two men did! (I love Beck, but he IS an asshole.)
This band appeared at the dawn of art rock, heavy rock, and psychedelia. In some cases, they could be referred to as a noteworthy part of any of those. Their claim to fame in 1967 was their 7-minute, funerary rendition of a very recent hit by the Supremes (before Dianna Ross was just her mildly talented self, all by herself), "You Keep Me Hangin' On." The arrangements were partly inspired by symphonic structures, like presenting the theme, recapitulating the theme, etc. Then they added huge intros; at least two minutes before any vocals. Sometimes they even broke the holy back of recent and monster hits by effing with the melody and chords, too!
I had no idea they kick-started this again 30 years ago, just the nice-weather months of the year, and never more than an overnight drive from their original homes on Lon Gisland [sic]. If they play less than a 3-hour drive from The Island, their fellow homies, Blue Oyster Cult, open for them. Ha! Their opening acts used to include the likes of Zep and Hendrix! And the Cult won't play if they can't drive home in less than two hours. "It's a long way from the top if you wanna rock and roll."
So, if you haven't guessed, or are nowhere near old enough to even have a guess, I am going to see Vanilla Fudge in a 300-seat venue. In 1967, it would have had to be Boston Garden or not at all. They have a fun new album, "Spirit of '67." They beat, torture, dismember, then reassemble 10 big hits from 1967, like Ruby Tuesday, I Can See for Miles, and A Whiter Shade of Pale. If Fred hears what they did with (to?) "For What It's Worth," he will have fits and spasms, maybe even a stroke.
I hope I'm sacrificing 5 years of good hearing and that these guys are going to destroy this little place.
I'll let ya know.
