Vanilla Fudge
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1967/2020
Жанр: Psychedelic Rock
Издатель (лейбл): ATCO / Mobile Fidelity Sound Lab
Продолжительность: 00:42:41
Наличие сканов в содержимом раздачи: Да (сканы)Треклист:
1. Ticket To Ride
2. People Get Ready
3. She’s Not There
4. Bang Bang
5. Illusions Of My Childhood (Part One)
6. You Keep Me Hanging On
7. Illusions Of My Childhood (Part Two)
8. Take Me For A Little While
9. Illusions Of My Childhood (Part Three)
10. Eleanor RigbyКонтейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0 MONO
Доп. информация: Producer Shadow Morton
MOBSA2210 UPC: 821797221061
Mastered From Original Master Tapes
ISO image ripped direct and unretouched using an Oppo BDP-105D
Источник (релизер): Darkivist (PS³SACD) https://elusivedisc.com/vanilla-fudge-vanilla-fudge-numbered-limited-edition-hybrid-mono-sacd/
Лог DR
foobar2000 1.3.13 / Замер динамического диапазона (DR) 1.1.1
Дата отчёта: 2020-07-26 02:55:10
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Анализ: VANILLA FUDGE / Vanilla Fudge
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DR Пики RMS Продолжительность трека
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DR10 -7.30 дБ -19.61 дБ 6:12 01-Ticket To Ride
DR10 -8.74 дБ -23.27 дБ 6:29 02-People Get Ready
DR9 -7.28 дБ -19.47 дБ 4:55 03-She's Not There
DR10 -7.34 дБ -22.71 дБ 6:22 04-Bang Bang
DR13 -15.05 дБ -30.99 дБ 0:28 05-Illusions Of My Childhood - Part One
DR10 -7.44 дБ -19.32 дБ 6:43 06-You Keep Me Hanging On
DR10 -22.50 дБ -35.56 дБ 0:16 07-Illusions Of My Childhood - Part Two
DR10 -7.26 дБ -20.03 дБ 3:19 08-Take Me For A Little While
DR10 -13.52 дБ -26.47 дБ 0:24 09-Illusions Of My Childhood - Part Three
DR11 -6.37 дБ -23.09 дБ 8:25 10-Eleanor Rigby
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Количество треков: 10
Реальные значения DR: DR10
Частота: 2822400 Гц / Частота PCM: 88200 Гц
Каналов: 2
Разрядность: 24
Битрейт: 5645 кбит/с
Кодек: DSD64
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Об альбоме (сборнике)
Long considered one of the legendary lost bands of hard rock and a pioneer in (or influence on, depending on who you ask) progressive rock, Vanilla Fudge is probably best known for their complete reworkings of more mainstream songs into progressive rock explosions of killer musicianship and arranging. The group only lasted three years in their heyday but certainly garnered quite a reputation in music circles during that time. They returned in 2002 to prove that they still have what it takes. This, their first release of the millennium, showcases a slightly altered lineup, but seriously hearkens back to that older era. The album shares a title with their 1967 debut and cleverly looks much like that disc. The band opts here to bring an updated version of their classic sound into the game. This is a sound that really seems to have influenced a myriad of bands, most notably Uriah Heep. On this CD, Vanilla Fudge includes a number of songs that were on their earlier albums, but rather than simply use the old versions, they recorded all new ones. The classics (such as “You Keep Me Hangin’ On,” “Eleanor Rigby,” and “Season of the Witch”) are all present and revitalized. There are some definite surprises, too. For instance, who would expect Vanilla Fudge to cover songs by the Backstreet Boys and *NSync? More impressively, who would expect such songs to be hard-rocking smokers? Well, that is exactly what has happened on the album. The truth of the matter is, this CD holds its own with any of the band’s older releases. Therefore, it should definitely please longtime fans while hopefully bringing some new believers into the fold. Da Fudge have outdone themselves.
ELUSIVE:
Vanilla Fudge Shape-Shifts the Familiar into Uncharted Psychedelic Excursions Marked by Hypnotic Arrangements, Bizarre Timing, and Grinding Soul
Permission to get weird is granted with Vanilla Fudge. Created during the peak of heightened chemical, musical, and social experimentation, the band's self-titled debut aims for sonic and mental expansion via psychedelic means. Consisting primarily of elongated covers of then-modern works by the Beatles, Supremes, Curtis Mayfield, and others, the album shape-shifts the familiar into original, uncharted excursions that lead to colorful dimensions. More than 50 years after its original release, the symphonic arrangements now sound more ambitious, direct, mesmerizing, and influential than ever before courtesy of a superior mono restoration.
Mastered from the original master tapes and strictly limited to 2,000 numbered copies, Mobile Fidelity's hybrid SACD unveils the baroque underpinnings, gorgeous harmonies, grinding soul, and low-end-plumbing organ riffs that help make the quartet's music inimitably unique. The timing of the off-kilter tempos and unpredictable improvisational movements is also cast into unpolluted light, with the collective's expert shading and deliberate tonality emerging as major components of the songs.
Vastly improved, too, is the powerful, jazz-inspired drumming of Carmine Appice. Seated deep and wide in the vast soundstage, his playing illuminates the genius of Vanilla Fudge's arguably most valuable asset - a sense of dynamics and surprise that contributes to a rich, malt-like musical thickness true to the band's name. Psychedelia, yes, but seemingly more dense, absurd, slow, and groovy than that offered by any of its late 1960s contemporaries, and free of any of the cloying nature that immediately identifies retro acts as imitators.
Indeed, Vanilla Fudge's 1967 magnum opus occupies territory located between high-art seriousness and rule-breaking outrageousness. Its maverick streak treats reverential scripts with inviting strangeness, offbeat vision, and zero pretension. Sharing a mental wavelength with Frank Zappa and the Mothers' finest work, renditions of the Beatles' "Eleanor Rigby" and Curtis Mayfield's "People Get Ready" swirl with bizarre accents and stretch the imagination. Equally creative, Vanilla Fudge's takes on Sonny Bono's "Bang Bang" and the Zombies' "She's Not There" redefine the dirge.
Developing a sound that predated prog-rock and metal by years, Vanilla Fudge has been cited by members of Deep Purple, Yes, and Chicago as a key inspiration. And none other than Led Zeppelin's John Bonham cited Appice for devising a new approach on the album. In a late-career interview with Goldmine Magazine, the latter explains, "Supposedly I had created this new power rock kind of drum style, which I did out of necessity. There were no real amplifiers back then, no PA systems. I had to bang the hell out of my drums and I even bought a 26-inch base drum because it would be louder."
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发表于 2021-4-13 14:24:04
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