In
1973, Fox Pass was one of the first generation of bands that were bringing
a new vitality to Boston rock, centering their activities in Kenmore Square
and away from the beach clubs and more local night spots. Along with Reddy
Teddy, Willie Loco Alexander, Richard Nolan's Third Rail, the Real Kids,
and a handful of other pioneering acts, Fox Pass helped to break an entirely
new type of scene, one centered squarely in the small clubs, which flourished
outside the rarified atmosphere of the major labels. The foundation for
underground music that these bands created was so solid that it flourished
unabated for the next quarter century, arguably retaining a greater degree
of its incipient vitality than the New York scene that it paralleled and
swapped bands and musicians with (if the New York scene that blossomed
from Max's Kansas City and CBGB's managed to outshine Boston in the pivotal
years of 1972 through 1977, with a greater number of it's best bands getting
signed and releasing important records, then one can also say that Boston's
scene remained vital far longer, with consitently rocking acts right up
through the nineties- during a less-than-stellar period for NYC's clubbers).
Fox Pass was typical of the groups that defined Boston's early underground
bands, and it was one of the city's most popular acts for a couple of
those pivotal years.
This
article is still under construction, but the history of the band included
below which was submitted by Jon Macey- a veteran scenester and member
of the group -covers the integral points of Fox Pass' history. Jon Macey
started his Boston career with Fox Pass, one of the groups that has been
largely overlooked in retrospectives of the time, yet were as big as any
Beantown outfit during the crucial mid-seventies period. The final version
of the band was along the lines of the Atlantics, a power pop outfit
with a bit more musical prowess than their competition, a slicker sound
and a more professional approach to the business end of the music...but
they started out as a far rootsier, rougher combo, with a sound that was
often compared to the Velvet Underground. Their slicker qualities
were enough to earn the animosity/envy of bands in the roots-rock, one-four-five
progression crowd. That may be why they haven't been lionized and embraced
in the way that the Real Kids, the Mezz, the Boom Boom
Band, DMZ and other contemporaries have. They share the fate
of fellow power popsters Sass, whose talented West brothers [Dana
and Vernon] go largely unheralded, although in fairness Fox Pass were
far more integral to the nacent indie scene than Revere's Sass, who were
influential mainly on the North Shore despite their appearance on Live
at the Rat. Maybe Fox Pass- in their final version - just weren't
rough enough around the edges to be sought out by the next, punk-influenced
generation. But there they are on Live at the Rat, too, and there
they were at the center of the scene when the events were occurring which
made it possible for today's alternative scene to exist. As I dig up some
more dirt on these guys, and hunt down some images, I'll post them, but
as Jon's history of the band shows, they deserve a lot more recognition
than they have received. Their main fault seems to have been shitty timing...they
played tough rock when noone was listening, and went pop a minute before
the rough-sounding bands took off en masse.
TOP LEFT: Fox Pass in the bloom of their youth as a group. This is
the 1973 lineup, which features co-founders and guitarists Jon Macey and
Michael Roy, bassist John Roy (Mike's brother) and drummer Ricci LaCentra.
This was a relatively stable line-up, and the roster would remain the
same for three years, until the band's change of direction in 1976.
ABOVE RIGHT: At Cambridge's prime underground dive, the Club, in 1973.
Dig the all-Ampeg amp back line! This was during the period that critics
were comparing the band's sound with the Velvet Underground.
LEFT: Jon Macey puts his Gibson 335 through the paces at a 1973 gig on
the Cambridge Commons...site of the band's first performance a year before.
Just a few summers prior to this a teenager named Jonathan Richman tried
out his first songs for crowds on those same Commons. Fox Pass eventually
played the last-ever show on this hallowed ground, where a few hundred
years before George Washington had gathered his army for the historic
march to Lexington.
Brief
History of Fox Pass
by Jon Macey
Formed in 1972 by
Jon Macey and Michael Roy. Arlington high school friends.
Began as acoustic duo influenced by Bob Dylan and early Mothers of Invention.
Name came from marijuana induced mispronunciation of "faux pas", an obscure
in-joke. 1st gig Cambridge Common PolyArts concerts. By 1973 Mike's
brother John Roy joined on bass and various friends played drums.
Went professional when Ricci LaCentra came in on drums in late
1973. Sound modeled on Velvet Underground and Modern Lovers mixed with
sixties pop. Played all over. Examples: opening for Sidewinders
at the Box (formerly the Psychedelic Supermarket) and Sandy's
in Beverly; numerous gigs on Revere beach and in biker bars in
Lynn and Chelsea. Played the very last ever Cambridge Commons concert.
Played Oliver's on Landsdowne St and the Boston Club and
Katy's. Met with mixed reactions from audiences and club owners
due the fact that this sound was not popular except with cult musicians.
Gained manger Bruce Miner in early 1975.
The band in 1974
Fox Pass at Oliver's, 1974
Fox Pass guitarist Jon Macey with Reddy Teddy drummer Bug Wit at a
party in 1977. Probably at the immortal Teddy House in Allston.
1976. Backstage at Tufts University, L to R: Mr. Curt (Pastiche), Dave
Godbey, Billy Connors (the Boys), Ed Verney (Warhol Superstar), Willie
Loco, Michael Roy.
RIGHT:
John Jules, Willie "Loco" Alexander and Matthew MacKenzie share
a laugh and a brewski.The shy fellow highlighted in the circular inset
in the background is the Cars' bass player Benjamin Orr.
Changed members
and direction adding John Jules on drums and David Godbey
on bass. Sound became more hard rock/pop with Macey fronting a power trio
on a lot of songs. Got big following at the Rat and the Club.
Cut single "I believed/ Prized possession" in early 1976. Opened for Roxy
Music at Orpheum. Single played mucho on WBCN and college radio.
Headlined Paul's Mall. Played all over New England and New York
with acts such as Blondie Talking Heads Cars Ramones. Played CBGB
and Max's many times. Hobnobbed with all the big djs (Maxanne,
Parenteau, et al) of the era. Got national press (Playboy, Bomp, Rock
Scene, etc) Had much label interest but unable to get deal.
Frustrated in 1977,
just as punk took off, Fox Pass went superpop, Godbey was out and in came
Max Campfield on bass and Steve Couch on keyboards. Sound
became multiple lead singers and four part harmonies with prominent keys.
Band continued to have many gigs and in fact made more money doing college
circuit but missed crucial timing of punk/new wave record deals. Split
with manager Bruce Miner. Turned down opportunities to be managed by Fred
Lewis and Charlie Mackenzie. Refused indie record deals in
search of major label deal. Headlined sold out Paradise a few times
and continued to make demos that were played on radio but writing was
on the wall. Macey and Roy split with Jules, Couch and Campfield in September
1978. They got back with Ricci LaCentra and John Roy, as well as pianist
Bob Toomey. They resurrected old Fox Pass sound for a series of
very successful farewell dates throughout the end of 1978. Last gig 12/27/78
at the Club recorded by Starfleet, wish we had a copy. John Roy
and Ricci LaCentra went on to Third Rail, Bob Toomey became Brother
Cleve, Couch and Campfield went to parts unknown, Jules went to the
Peytons and the Boston Rockabilly Conspiracy, Godbey became
a doctor, Macey and Roy went on to Tom Dickie and the Desires
Jon Macey, Nocturnal Emissions' DJ Oedipus, and James Montgomery, partying
in 1975...rockchicks' identities unknown.
Willie "Loco" Alexander, Reddy Teddy bassist Scott Baerenwald,
John Jules, and Matthew MacKenzie.
Fox Pass live at the Club again, this time in 1975.
Jon Macey cradling the Musicians Bible, circa 1975.
1975, the Rickenbacker bass roars it's mighty head...
In
1973, Fox Pass was one of the first generation of bands that were bringing
a new vitality to Boston rock, centering their activities in Kenmore Square
and away from the beach clubs and more local night spots. Along with Reddy
Teddy, Willie Loco Alexander, Richard Nolan's Third Rail, the Real Kids,
and a handful of other pioneering acts, Fox Pass helped to break an entirely
new type of scene, one centered squarely in the small clubs, which flourished
outside the rarified atmosphere of the major labels. The foundation for
underground music that these bands created was so solid that it flourished
unabated for the next quarter century, arguably retaining a greater degree
of its incipient vitality than the New York scene that it paralleled and
swapped bands and musicians with (if the New York scene that blossomed
from Max's Kansas City and CBGB's managed to outshine Boston in the pivotal
years of 1972 through 1977, with a greater number of it's best bands getting
signed and releasing important records, then one can also say that Boston's
scene remained vital far longer, with consitently rocking acts right up
through the nineties- during a less-than-stellar period for NYC's clubbers).
Fox Pass was typical of the groups that defined Boston's early underground
bands, and it was one of the city's most popular acts for a couple of
those pivotal years.
This
article is still under construction, but the history of the band included
below which was submitted by Jon Macey- a veteran scenester and member
of the group -covers the integral points of Fox Pass' history. Jon Macey
started his Boston career with Fox Pass, one of the groups that has been
largely overlooked in retrospectives of the time, yet were as big as any
Beantown outfit during the crucial mid-seventies period. The final version
of the band was along the lines of the Atlantics, a power pop outfit
with a bit more musical prowess than their competition, a slicker sound
and a more professional approach to the business end of the music...but
they started out as a far rootsier, rougher combo, with a sound that was
often compared to the Velvet Underground. Their slicker qualities
were enough to earn the animosity/envy of bands in the roots-rock, one-four-five
progression crowd. That may be why they haven't been lionized and embraced
in the way that the Real Kids, the Mezz, the Boom Boom
Band, DMZ and other contemporaries have. They share the fate
of fellow power popsters Sass, whose talented West brothers [Dana
and Vernon] go largely unheralded, although in fairness Fox Pass were
far more integral to the nacent indie scene than Revere's Sass, who were
influential mainly on the North Shore despite their appearance on Live
at the Rat. Maybe Fox Pass- in their final version - just weren't
rough enough around the edges to be sought out by the next, punk-influenced
generation. But there they are on Live at the Rat, too, and there
they were at the center of the scene when the events were occurring which
made it possible for today's alternative scene to exist. As I dig up some
more dirt on these guys, and hunt down some images, I'll post them, but
as Jon's history of the band shows, they deserve a lot more recognition
than they have received. Their main fault seems to have been shitty timing...they
played tough rock when noone was listening, and went pop a minute before
the rough-sounding bands took off en masse.
TOP LEFT: Fox Pass in the bloom of their youth as a group. This is
the 1973 lineup, which features co-founders and guitarists Jon Macey and
Michael Roy, bassist John Roy (Mike's brother) and drummer Ricci LaCentra.
This was a relatively stable line-up, and the roster would remain the
same for three years, until the band's change of direction in 1976.
RIGHT:
John Jules, Willie "Loco" Alexander and Matthew MacKenzie share
a laugh and a brewski.The shy fellow highlighted in the circular inset
in the background is the Cars' bass player Benjamin Orr.
