{"id":178,"date":"2020-03-29T13:44:06","date_gmt":"2020-03-29T13:44:06","guid":{"rendered":"http:\/\/joeviglione.com\/?page_id=178"},"modified":"2020-06-02T22:38:02","modified_gmt":"2020-06-02T22:38:02","slug":"history-of-n-e-music","status":"publish","type":"page","link":"https:\/\/joeviglione.com\/?page_id=178","title":{"rendered":"History of N.E. Music"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"320\" height=\"320\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/03\/gclefs_kading_red_78.gif\" alt=\"\" class=\"wp-image-175\"\/><\/figure>\n\n\n\n<p>Table of Contents<\/p>\n\n\n\n<p>Joe Viglione&#8217;s Guide to N.E. Music <a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2013\/06\/Solo-Loco.jpg\" alt=\"\" class=\"wp-image-58\" width=\"588\" height=\"588\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2013\/06\/Solo-Loco.jpg 224w, https:\/\/joeviglione.com\/wp-content\/uploads\/2013\/06\/Solo-Loco-150x150.jpg 150w\" sizes=\"auto, (max-width: 588px) 100vw, 588px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Moulty talks TAMI show with Joe Viglione on Visual Radio.\" width=\"625\" height=\"352\" src=\"https:\/\/www.youtube.com\/embed\/3BaoMW2O2qA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>Posted to YouTube  June 20, 2011  Moulty talks TAMI show with Joe Viglione on Visual Radio. <\/figcaption><\/figure>\n\n\n\n<p>1)Foreword<\/p>\n\n\n\n<p>This information is part of my &#8220;life&#8217;s work&#8221;, the chronicling of the Boston Rock &amp; Roll Scene and its surrounding communities. Between the video taped for my TV shows VISUAL RADIO and<br>TV EYE as well as the audio from a variety of radio shows I hosted and\/or produced to the incredible tape archive I&#8217;ve built over the decades, these writings will come to life in audio and visual, a unique history of the scene from one of its documentarians.<\/p>\n\n\n\n<p>2)Ka-Ding Dong &#8211; The first days of Boston Rock &amp; Roll<br>1950s, early 1960s<br><a href=\"http:\/\/newenglandrock.blogspot.com\/\">http:\/\/newenglandrock.blogspot.com\/<\/a><\/p>\n\n\n\n<p>3)The Sixties &#8211; The Bosstown Sound &#8211; Orpheus, Listening, Willie Loco, Ultimate Spiniach<br>The Prince &amp; The Paupers, Barry &amp; The Remains<br><a href=\"http:\/\/bostonthesixties.blogspot.com\/\">http:\/\/bostonthesixties.blogspot.com\/<\/a><\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Moulty of The Barbarians Pt1 on Visual Radio with Joe Vig at N.E. Record Expo\" width=\"625\" height=\"469\" src=\"https:\/\/www.youtube.com\/embed\/1fwY491u1S0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>April 11, 2011 at the original N.E. Compact Disc and Record Expo<br>Moulty of the Barbarians    Joe Viglione has interviewed over a thousand personalities on radio, television and for magazines.  Here&#8217;s the legendary MOULTY of The Barbarians talking about his career.  This is at the Original New England Compact Disc and Record Expo now held at the Dedham Holiday Inn, Dedham,  <\/figcaption><\/figure>\n\n\n\n<p>4) Hallucinations, J.Geils, Modern Lovers, Aerosmith<br>The sixties to early seventies&#8230;<\/p>\n\n\n\n<p>5)J Geils Band<br>tons of J GEILS Biographies and reviews to posted here:<br><a href=\"http:\/\/jgeilsband.blogspot.com\/\">http:\/\/jgeilsband.blogspot.com\/<\/a><\/p>\n\n\n\n<p>6)The Early Seventies<br><a href=\"http:\/\/bostontheseventies.blogspot.com\/\">http:\/\/bostontheseventies.blogspot.com\/<\/a><\/p>\n\n\n\n<p>1)The Quill 2)The Sidewinders 3)Fat 4)Milkwood (early Cars), 5)Swallow, 6)Duke &amp; The Drivers 7)James Montgomery 8)Stormin&#8217; Norman &amp; Suzy 9)P.J. Colt<br>==============================================================<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Pt.2 Joe Viglione speaks to Moulty of The Barbarians at N.E. Compact Disc Record Expo\" width=\"625\" height=\"469\" src=\"https:\/\/www.youtube.com\/embed\/kkmGVaZjjtg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>7)Andy Pratt<br>Tons of Andy Pratt reviews on AMG will show up here soon.<\/p>\n\n\n\n<p>Temporary links:<br><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;searchlink=ANDY%7CPRATT&amp;sql=11:h9ftxq85ldte%7ET2\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;searchlink=ANDY|PRATT&amp;sql=11:h9ftxq85ldte~T2<br><\/a><a href=\"http:\/\/www.andypratt.com\/\"><br>http:\/\/www.andypratt.com<\/a><\/p>\n\n\n\n<p>When J Geils &amp; Andy Pratt played together<a href=\"http:\/\/maxwelledison.blogspot.com\/2004\/04\/andy-pratt-j.html\"><br>http:\/\/maxwelledison.blogspot.com\/2004\/04\/andy-pratt-j.html<\/a><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>8)Willie &#8220;Loco&#8221; Alexander<br><a href=\"http:\/\/willielocoalexander.blogspot.com\/\">http:\/\/willielocoalexander.blogspot.com\/<\/a><\/p>\n\n\n\n<p>9)The New Wave &#8211; Willie Alexander re-emerges, Reddy Teddy, Fox Pass,<br>Aastral Projection<\/p>\n\n\n\n<p>10)Into the 1980s<br><a href=\"http:\/\/bostontheeighties.blogspot.com\/\">http:\/\/bostontheeighties.blogspot.com\/<\/a><\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Moulty of The Barbarians meets Gary DeCarlo of Steam  at the NE Compact Disc Record  Expo\" width=\"625\" height=\"469\" src=\"https:\/\/www.youtube.com\/embed\/ePn8J76YLhE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption> Visual Radio on the road at the Original N.E. Compact Disc &amp; Record Expo. Two rock legends meeting at the legendary record exposition on a legendary cable TV program. Next Expo is February 17, 2013 at the Dedham Holiday Inn, Sunday from 10 AM to 4 PM. Ken Evans of The Fifth Estate (with the 1967 hit from the Wizard of Oz, &#8220;Ding Dong the Witch Is Dead&#8221;) is scheduled to appear.    1,000 views of this video on YouTube 7:59 pm Wednesday 4-8-2020<\/figcaption><\/figure>\n\n\n\n<p>11)Peter Calo, Carly Simon, Pamela Ruby Russell<br><a href=\"http:\/\/petercaloreviews.blogspot.com\/\">http:\/\/petercaloreviews.blogspot.com\/<\/a><\/p>\n\n\n\n<p>12)Boston Compilations and more &#8211; Live at the Rat, Live at Studio B<br>Farrenheit, Joe Perry Project, Cowsills, Real Kids, The Outlets<br><a href=\"http:\/\/bostoncompilations.blogspot.com\/\">http:\/\/bostoncompilations.blogspot.com\/<\/a><\/p>\n\n\n\n<p>13)More Eighties<a href=\"http:\/\/eightiesboston.blogspot.com\/\"><br>http:\/\/eightiesboston.blogspot.com\/<\/a><br><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"791\" height=\"1024\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/Farrenheit-page-001-791x1024.jpg\" alt=\"\" class=\"wp-image-545\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/Farrenheit-page-001-791x1024.jpg 791w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/Farrenheit-page-001-232x300.jpg 232w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/Farrenheit-page-001-768x994.jpg 768w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/Farrenheit-page-001-1187x1536.jpg 1187w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/Farrenheit-page-001-624x808.jpg 624w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/Farrenheit-page-001.jpg 1275w\" sizes=\"auto, (max-width: 791px) 100vw, 791px\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><a href=\"http:\/\/eightiesboston.blogspot.com\/2007\/07\/face-to-face-rings-jonzun-crew-robin.html\">Face To Face, The Rings, Jonzun Crew, Robin Lane, Didi Stewart. Rick Berlin, Rubber Rodeo, Mass, Treat Her Right<\/a><\/h3>\n\n\n\n<p>14)Boston Music Showcase &#8211; Harvey Wharfield and the best local music show on radio<br>The 1990s<\/p>\n\n\n\n<p>15)The 1990s with Grateful Ted of SMUGGLER and more&#8230;<br><a href=\"http:\/\/bostonnineties.blogspot.com\/\">http:\/\/bostonnineties.blogspot.com\/<\/a><\/p>\n\n\n\n<p>16)The New Millennium<a href=\"http:\/\/bostonnewmillennium.blogspot.com\/\"><br>http:\/\/bostonnewmillennium.blogspot.com<\/a>\/<\/p>\n\n\n\n<p>17)The Ongoing Process<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Richard Lee Interview   EDEN&#8217;S Children   2020   <br> RICHARD LEE (RICHARD \u2018SHAM\u201d SCHAMACH)) and EDEN\u2019S CHILDREN <\/h2>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/RL-Zebra-2.jpeg\" alt=\"\" class=\"wp-image-1466\" width=\"1030\" height=\"1330\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/RL-Zebra-2.jpeg 604w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/RL-Zebra-2-232x300.jpeg 232w\" sizes=\"auto, (max-width: 1030px) 100vw, 1030px\" \/><\/figure>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p> <br>RICHARD LEE (RICHARD &#8216;SHAM&#8221; SCHAMACH)) and EDEN&#8217;S CHILDREN<br><br>JV:  We&#8217;re talking to Richard Lee (nee Schamach) of Eden&#8217;s Children &#8211; see  the Ed Symkus mini bio in the Music Museum of New England&nbsp; <a rel=\"noreferrer noopener\" target=\"_blank\" href=\"https:\/\/www.mmone.org\/edens-children\/\">https:\/\/www.mmone.org\/edens-children\/<\/a><br><br>Richard, what was your original inspiration for becoming a musician?<br><br>RL:  I didn&#8217;t start doing any band work until the 60s, but as a subteen I  tuned in right away when Rock and Roll started creeping onto the  airwaves. When I heard the jangly augmented chord Chuck Berry played on  the intro to School Day on the radio, it was like feeling a jolt of  electricity. Same with I&#8217;m Walkin&#8217; by Fats Domino. I know this sounds  like a long time ago &#8211; and it was! When Elvis came on TV, forget about  it &#8211; no turning back. I had the embarrassing experience of having a  school friend bust me in my room while miming in the mirror to Elvis  with a ukulele &#8211; but the desire comes first, the skill comes later. The  thing that sealed the deal for me was when I saw one of the older  students at a school talent show playing Peggy Sue with a guitar. I went  home and told my folks I wanted to get guitar lessons! I got a summer&#8217;s  worth of lessons, and I was off and running after that. My first  performing experience was playing The Lonely One by Duane Eddy at a  talent show at 14 &#8211; just me and the guitar. Now, I will tell you this &#8211;  when the 60&#8217;s came around, none of us were clinging to the 50s. R&amp;R  had faded, and R&amp;B was getting play. At night, radio stations with  powerful transmitters like WLAC in Galatin, Tennessee and XERF from  Mexico with Wolfman Jack in his first incarnation playing strictly  R&amp;B, could send signals far and wide across the nation. This is how a  lot of the generation that heard those stations became aware of that  music in the first place. It became commonplace for young startup bands  to include Jimmy Reed songs in their repertoire, along with Freddie  King, if they could handle it. Lonnie Mack was an early Blues Rock  guitarist that I especially liked, and patterned myself after &#8211; the  first &#8220;fast&#8221; rock guitarist I had heard.<br><br>JV: What bands were you in and when did Eden&#8217;s Children form?<br><br>RL:  In high school, we had a band called The Chaparrals, with uniforms and  matching guitars and amps, along with lots of other bands playing the  same sort of repertoire: Surfing, R&amp;B, the British thing.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"750\" height=\"658\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/The-Chaparrals.jpg\" alt=\"\" class=\"wp-image-1471\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/The-Chaparrals.jpg 750w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/The-Chaparrals-300x263.jpg 300w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/The-Chaparrals-624x547.jpg 624w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><figcaption> The Chaparrals   Photo courtesy of Richard Lee<\/figcaption><\/figure>\n\n\n\n<p>Three years  of this, and then off to college at CSU, where I got into a band called  The Nocturnes that nabbed a house gig at the local hot spot &#8211; and it  was goodbye to college. <\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"721\" height=\"721\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/The-Nocturnes.jpg\" alt=\"\" class=\"wp-image-1473\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/The-Nocturnes.jpg 721w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/The-Nocturnes-300x300.jpg 300w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/The-Nocturnes-150x150.jpg 150w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/The-Nocturnes-624x624.jpg 624w\" sizes=\"auto, (max-width: 721px) 100vw, 721px\" \/><figcaption> The Nocturnes <\/figcaption><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>We got a summer job at the college resort town  of Estes Park, Colorado, and following that, got a booking in Honolulu,  playing 5 sets a night, 7 nights a week. When we came back, I was  visited by someone I had met at one of our gigs, and this was Bill  Glasser from Boston, inviting me to come there to play in a band he was  putting together. I agreed, and after several permutations, this band  became Eden&#8217;s Children. This was in 1966, and to get to Boston from Fort  Collins, Colorado, I went &#8220;On The Road&#8221; style, with my girlfriend and  two friends who were driving nonstop to New York, then planning to leave  the car and take a plane to Europe. There were adventures along the  way, one of which was that the driver fell asleep at the wheel going  through an intersection, there was a collision, and the car was totaled.  Other than that, we were alright, being apparently bulletproof. They  picked up a cheap 56 Chevy with gold metal flake paint that couldn&#8217;t go  faster than 40 mph, and was dubbed &#8220;The Turtle&#8221;. When we got to the  coast, i bought the car for $50 &#8211; my first car &#8211; and drove the rest of  the way to the BU dorms. We put the band together, originally a 5 piece,  in the basement of the dormitory. Our first gigs were at the lounge of  the dorm, at the BU student union, and our first club gig was at the  Rathskeller, &#8220;The Rat&#8221;, in Kenmore Square.<br><br>JV:  The G Clefs, The Tune Weavers in 1957 with &#8220;Happy Happy Birthday Baby,&#8221;  Freddy &#8220;Boom Boom&#8221; Cannon, Moulty and the Barbarians got Boston on the  charts in the 1950s and early 1960s.&nbsp; &nbsp;What was the scene like in the  60&#8217;s with the Prince and the Paupers, Orpheus and Eden&#8217;s Children?<br><br>RL:&nbsp;  Well, there were bands everywhere, notably The Lost, with Willie  Alexander and Walter Powers, The Glass Menagerie, with Rusty Marcus, who  became our last bass player, and Doug Yule, who later replaced John  Cale in The Velvet Underground &#8211; and eventually, Lou Reed, who bowed out  with the band still owing an album [editor&#8217;s note: the last album was Doug without Willie,  Walter, and original drummer Maureen Tucker- the Squeeze album which may have had Deep Purple&#8217;s  drummer  I<strong>an Paice<\/strong>  as legend has it. <a href=\"https:\/\/en.wikipedia.org\/wiki\/Squeeze_(The_Velvet_Underground_album)\">https:\/\/en.wikipedia.org\/wiki\/Squeeze_(The_Velvet_Underground_album)<\/a> ]<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>&#8220;Other bands at that time were Orpheus, not to be confused with The  Orphans, both mainstream pop oriented groups, Ultimate Spinach  . At the Wurlitzer&#8217;s music store across from the  Boston Common you could have Jeff &#8220;Skunk&#8221; Baxter ( Steely Dan, Doobie  Brothers) and Reeves Gabrels ( The Cure, Bowie) attend to your needs.  Other prominent bands at that time were Ultimate Spinach (Baxter&#8217;s  group), Beacon Street Union, with some all out production on their  recordings, Ill Wind, sort of a Beautiful Day type group we happened to  run into at The Cheetah in New York when visiting there. The  Hallucinations were an early blues band on the scene, gradually morphing  into the J. Geils Band. Local venues thriving at that time were The  Boston Tea Party in Roxbury, The Psychedelic Supermarket, off Kenmore  Sq., and The Crosstown Bus in Alston &#8211; all of these hosting national  acts, along with locals. Smaller venues were The Unicorn, The Catacombs,  and Lucifer&#8217;s and The Rat in Kenmore Sq. In Cambridge, the Club 47  presented a fantastic array of major blues acts in an up close and  personal situation ( Muddy, Wolf, Butterfield, Buddy and Junior, etc.).<br>&nbsp;  <\/p>\n\n\n\n<p>     As for ourselves, we were running up and down the coast, and playing  all the Ivy League colleges. Did you ever see Eddie And The Cruisers,  when they were playing at the college? It makes me think of that. I have  to tell about this one: We had been sent to Rhode Island &#8211; Providence  maybe &#8211; to fill in for another band that couldn&#8217;t make it. There were  two acts on the bill &#8211; one was The Shades Of Blue, who had a very  appealing hit tune called &#8220;Oh How Happy&#8221;- a clean cut singing group with  matching pastel blue cardigan sweaters. The other group that had been  slated to play was The Cowsills, the family band that The Partridge  Family was based on. Now, for those who don&#8217;t know, Eden&#8217;s Children was  what was called a power trio &#8211; loud in person, with liberal fuzz tone  application. So now, instead of the Cowsills, they got us! It was not a  heaven made match, and there were, of course, requests to turn down.  Well, life is like a box of chocolates&#8230;.<br><\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/R-Cambridge-Common-1024x826.jpg\" alt=\"\" class=\"wp-image-1477\" width=\"992\" height=\"799\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/R-Cambridge-Common-1024x826.jpg 1024w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/R-Cambridge-Common-300x242.jpg 300w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/R-Cambridge-Common-768x619.jpg 768w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/R-Cambridge-Common-624x503.jpg 624w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/R-Cambridge-Common.jpg 1075w\" sizes=\"auto, (max-width: 992px) 100vw, 992px\" \/><figcaption> Richard Lee on Cambridge Common   Photo courtesy of Richard Lee <\/figcaption><\/figure>\n\n\n\n<p><br>&nbsp; <br>:JV:  How did the clubs react to original music and did most of the bands &#8211;  including Eden&#8217;s Children &#8211; play the popular music of the day as well?<br><br>RL:&nbsp;  Well, if originals were expected, they were provided. As you know,  there&nbsp; was a rush to sign Boston bands when it looked as though this was  going to be the new, happening scene, as San Francisco had been. Bands  that had been playing club tunes but had now gotten signed were called  upon to deliver original music to the record companies, and this was  also expected of them when they played at larger venues as recording  artists. They couldn&#8217;t get up now and play Louie Louie, though they  probably had before, or something like it. Your question might have had  more to do with whether there was resistance to originals when audiences  may have preferred to be hearing their favorite radio hits. Well, there  were places they could go for that, but when they&#8217;re seeing the newly  anointed on some large stage, they would be anticipating a program of  the band&#8217;s own music. We had been playing tunes from albums by The  Kinks, The Yardbirds, and especially the Stones. We loved the Aftermath  album, and played a number of tunes from their previous albums. When we  started we were a five piece group, then down to four, and we sort of  styled ourselves after them. After seeing them on Ed Sullivan&#8217;s show in  their new, stylish gear, we found a place in the Combat Zone where we  could pick up some outfits like that. When we went to LA to record we  found a great rock clothing store where the Strawberry Alarm Clock was  inside shopping. We knew this was the place, and stocked up! I&#8217;m telling  you this because the look was part of the deal. Anyway, we couldn&#8217;t go  to the recording studio and play Stones songs, and neither could the  rest of them, so we wrote songs that would make the record companies  happy because they could have them published by somebody they had a tie  in with.<br><br>JV: The Boston Groupie News had a nice write-up on Eden&#8217;s Children, and Music Museum of New England&nbsp;<a rel=\"noreferrer noopener\" target=\"_blank\" href=\"http:\/\/www.punkblowfish.com\/EdensChildren.html\">http:\/\/www.punkblowfish.com\/EdensChildren.html<\/a><br>Where are the members of Eden&#8217;s Children today?<br><br>RL:&nbsp;  I haven&#8217;t seen the BGN piece, but I&#8217;d like to. Your friend Paul  &#8220;Blowfish&#8221; Lovell was a great supporter of ours, and that is  appreciated. Drummer Jimmy Sturman had the misfortune early on of  suffering a stroke which left him unable to play. Bass player Larry  Kiely also had a stroke that led to some cognitive impairment, and&nbsp;  wasn&#8217;t able to play after that. Founder Bill Glasser, who retired from  the band before recording, lives in LA and works with a  telecommunications company.. Our last bass player Rusty Marcus lives in  upper Massachusetts and has his own lighting company which handles large  scale projects. Interestingly, he has devoted himself to the playing of  the Dobro lap style guitar, with results that deserve to be heard.The  other member in the original lineup was Bill Robar, now deceased, who  became a tour boat captain in Florida. It turns out that I&#8217;m the only  one who has stayed in the game.<br><br>JV: What&#8217;s going on musically these days for you, Richard?<br><br>RL:&nbsp;  For the last five years I&#8217;ve been playing in a variety band that does  mainly 70s, 80s and 90s material. I&#8217;d like to do a little light solo  work now if the opportunity presents itself. I like playing fingerstyle  acoustic guitar and jazz and blues flavored piano. The standards that  are often heard in jazz situations appeal to me, as well as rockabilly,  classic country, blues , reggae &#8230; not so much greatest classic rock  hits now, though. I&#8217;ve played a lot of styles over the years. After  Eden&#8217;s Children, I went out to play with Edgar Winter when he was  putting together White Trash. When Rick Derringer became available to  Edgar I made a hop to Boston again and played with Vern Miller&#8217;s (The  Remains) group Swallow, with George Leh. YouTube shows me George is  still performing. Over the years I&#8217;ve played with country bands, blues  bands, 50s groups, agency variety bands, and had long term solo  situations. Generally speaking, anything that doesn&#8217;t involve a heavy&nbsp;  setup has my approval.<br><br>JV:Do any videos or films exist from back in the day?<br><br>RL:&nbsp;  No, that was uncommon back then. There are audio clips though of a mob  interview session with Eden&#8217;s Children and the Ultimate Spinach at the  Brandeis University radio station &#8211; was that WBCN? This can be found  somewhere in the labyrinth of the Boston Sound Museum. I don&#8217;t recognize  any of the voices though, including my own.<br><\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/EC-Cambridge-Common.jpg\" alt=\"\" class=\"wp-image-1481\" width=\"972\" height=\"581\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/EC-Cambridge-Common.jpg 960w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/EC-Cambridge-Common-300x179.jpg 300w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/EC-Cambridge-Common-768x459.jpg 768w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/EC-Cambridge-Common-624x373.jpg 624w\" sizes=\"auto, (max-width: 972px) 100vw, 972px\" \/><figcaption>Eden&#8217;s Children Cambridge Common        Photo courtesy of Richard Lee <\/figcaption><\/figure>\n\n\n\n<p><br>JV: What was the &#8220;demo&#8221; that got &#8220;the deal&#8221; for Eden&#8217;s Children &#8211; or was it a live show?<br><br>RL:Actually,  it was both. Our manager was Jonathan Whitcup (living in Amsterdam for  some years now). His cousin Lenny was our publisher, and he arranged for  us to use facilities at the RCA building in New York to make a four  song demo. This was shopped around, and executives at ABC asked us to  come up to their offices and audition for them there. There was a small  room provided for this, and we were a loud band, so we had to try to  scale down the level while still making our point. It worked out though,  and we got the deal<br><br>JV: Did Bob Thiele or any other producer make demos prior to recording the first album?<br><br>RL:&nbsp;  No, and maybe they should have to get the feel of things. I think we  may have been the first&nbsp; rock band they had recorded, and they weren&#8217;t  used to dealing with high volume playing. They had a little difficulty  with that, but the recording was not a great sounding audio product in  any case. The instruments were close miked, which gave no feeling of  dimension, and contributed to a flat sounding , bass heavy recording.  Bob Thiele was the most pleasant of men, but his input was minimal. This  is a good place for me to shed some light on the roundly criticized  &#8220;thin&#8221; sound of the instruments on the second album: Again, Bob Thiele  was back in the booth, along with Brooks Arthur, who had been recording  Janis Ian (Society&#8217;s Child, At Seventeen). This time, to avoid the  difficulties they had before with the volume, they plugged the guitars  directly into the board (!) where they could have more control. What  they got was a thin sounding record, for which even the reviewers  pointed their fingers at &#8220;the guys in the booth&#8221; who had &#8220;let the band  down&#8221;.Brooks Arthur did succeed however, in adding an element of polish  not present the first time around. <br><br>JV: Did you ever meet Moulty and the Barbarians?<br><br>RL:&nbsp;One  night in 66 or 67, the band and I were taking the MTA back from  someplace, and the only other passengers were a crazy looking crew that  turned out to be The Barbarians.We went back to their place to smoke  weed, common activity in those days, as you know, and were given some  Pango Pango Purple, strongest weed ever for us. When we left, one of the  guys wanted to go to the park with his girlfriend and see the city  lights, so we left him and went home, and he went to the park and got  busted! He was out later that night, with no serious repercussions &#8211; and  that is the story of our total association with Moulty and crew. Of  course, we had seen the TAMI show., and knew &#8220;Moulty!&#8221;, and &#8220;Are You A  Boy Or Are You A Girl.&#8221;( not like we never heard that on the street as  we went by)<br><\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/edeb.jpg\" alt=\"\" class=\"wp-image-1483\" width=\"1060\" height=\"1060\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/edeb.jpg 500w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/edeb-300x300.jpg 300w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/06\/edeb-150x150.jpg 150w\" sizes=\"auto, (max-width: 1060px) 100vw, 1060px\" \/><\/figure>\n\n\n\n<p><br>JV::&nbsp; What were some of your favorite moments in the studio and who was at the production helm?<br><br>RL:&nbsp;  Well, at the ABC studios in New York, Tom Scott of the LA Express  stopped by, and I was glad to meet him. Bob Thiele took us out to dinner  and introduced me to George Cates, who was Lawrence Welk&#8217;s music  director, and I thought my mother would be pleased about that. Years  later, I realized that at just about the same time he was dealing with  us, Bob had written What A Wonderful World&nbsp; and recorded Louis Armstrong  &#8211; maybe you didn&#8217;t know Thiele was the composer of that song.. There  was a day when he took me out to Rudy Van Gelder&#8217;s famous studio in New  Jersey to finish some tracks .People who are in the know about jazz are  aware that many great sessions for Blue Note records had been done  there, featuring the top flight players of the idiom. In other words,  these were hallowed halls, and to have me out there doing this rock  album was essentially like cursing in church. Rudy didn&#8217;t say that, but I  could tell he wasn&#8217;t pleased about this. Well, what are you gonna do?  We were also taken around to the Ampeg factory in NJ to look at  amplifiers for an endorsement deal. I wasn&#8217;t that crazy about the amps,  but when I found out we had to pay for these &#8211; discounted, &#8211; but still, I  really wasn&#8217;t too crazy about them, and said no thanks!<br><br>JV: What are your favorite moments onstage?<br><br>RL:  &nbsp; Not so hard. This was at the time when Blues was as hot as it had  ever been, and we were booked to do the opening set for Howling Wolf at  Steve Paul&#8217;s The Scene in New York. This was the well known club where  Johnny Winter and Jimi Hendrix would jam together &#8211; this type of thing; a  hipster&#8217;s hangout to see and be seen. On this particular night there  were many celebrity musicians who had turned out to see the Wolf.  Heavyweight drummers Mitch Mitchell (Hendrix), Jim Capaldi (Traffic),  and Dino Danielli (Rascals) were there, making our drummer Jimmy  nervous, I&#8217;d Imagine. Rascals guitarist Gene Cornish was there too, as  well as the Chambers Brothers (Time Has Come Today). This was a booking  to get us noticed. I was excited to see Howling Wolf sitting at the bar,  and naturally cruised over to say a few words, but found out he wasn&#8217;t  the most congenial individual I could meet. The Chambers Brothers were  great though, and we went across the street with them later on for some  coffee. While we were there in the greasy spoon though, some off center  individual began throwing coffee cups and salt shakers at the wall, and  we all headed for the exits. I think of this as a New York experience.  And I can&#8217;t wrap this up without telling you that we stayed at the  notorious rock hotel, The Gorham. The walls outside were covered with  graffiti like, &#8220;I love you Mick!&#8221;. Inside, we saw the Who&#8217;s road crew  checking in, carrying a drum head with The Who painted on it. I got into  the elevator by myself with my Firebird guitar, and the door opens and  Eric Clapton gets in. Me and him, and he wants to see my guitar, so,  sure, you bet,.Eric&nbsp; Very nice, I might add. Still at the Gorham, I&#8217;m  sitting in the lobby with the guitar, and I see Jose Feliciano walking  past with his retinue and his guide dog. Jose says, &#8221; I hear an electric  geetar &#8211; keep playing man!&#8221; So, this was just a special time and place,  when the music business was exploding, New York was a music Mecca, and  celebrity musicians were everywhere. Boston was great, but not like  this.<br><br>&nbsp; Other  notable moments that should be mentioned, without too much elaboration:  Muddy Waters played at the Club 47 in Cambridge. I went down with our  agent John Sdoucos, who later turned out to be a major concert promoter,  and he arranged for me to get up and play a few tunes with Muddy. I  did, and was tolerated, but didn&#8217;t know how to get down from there since  no one was telling me to. I finally figured it out though!<br><br>&nbsp;  Also worth mentioning was the Brown University Spring Weekend with high  profile acts on different stages over a couple of days. The Yardbirds  with Jimmy Page played, The Shangri-las were there (Leader Of The Pack),  we were there, with Walter Powers on bass for this one, and the final  act of the event was the great James Brown. We played to 6,000 people &#8211;  not quite arena numbers,&nbsp; but enough to make for a memorable experience!<br><br>Thanks for your time, Richard <br><br><br>&nbsp;&nbsp; <\/p>\n\n\n\n<p>AFTER WORDPOSTED BY&nbsp;<a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\">HISTORY OF NEW ENGLAND ROCK&nbsp;<\/a>AT&nbsp;<a href=\"http:\/\/rocktableofcontents.blogspot.com\/2007\/07\/table-of-contents-joe-vigliones-guide.html\"><abbr title=\"2007-07-09T11:18:00-07:00\">11:18 AM<\/abbr><\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"170\" height=\"168\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2013\/06\/another-view.jpg\" alt=\"\" class=\"wp-image-41\"\/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2013\/06\/first-album.jpeg\" alt=\"\" class=\"wp-image-40\"\/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/fox-pass.jpg\" alt=\"\" class=\"wp-image-619\" width=\"726\" height=\"494\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/fox-pass.jpg 600w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/fox-pass-300x205.jpg 300w\" sizes=\"auto, (max-width: 726px) 100vw, 726px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/Screenshot_2020-04-03-New-era-has-arrived-for-the-band-Fox-Pass-377x1024.jpg\" alt=\"\" class=\"wp-image-617\" width=\"557\" height=\"1513\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/Screenshot_2020-04-03-New-era-has-arrived-for-the-band-Fox-Pass-377x1024.jpg 377w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/Screenshot_2020-04-03-New-era-has-arrived-for-the-band-Fox-Pass-566x1536.jpg 566w\" sizes=\"auto, (max-width: 557px) 100vw, 557px\" \/><figcaption><a href=\"https:\/\/arlington.wickedlocal.com\/article\/20100715\/NEWS\/307159797\">https:\/\/arlington.wickedlocal.com\/article\/20100715\/NEWS\/307159797<\/a>    By  Joe Viglione Posted Jul&nbsp;15,&nbsp;2010&nbsp;at&nbsp;12:01&nbsp;AM Updated Jul&nbsp;15,&nbsp;2010&nbsp;at&nbsp;3:10&nbsp;PM     <br>On its website, a quote from the Arlington  veteran group Fox Pass reads, \u201d[t]he first Fox Pass era ended before the  real explosion of Boston music that came in the early 1980s and  therefore they are somewhat obscure in history, except for those who  were there.\u201d<br> <br> The current Fox Pass lineup Steve Gilligan on bass and vocals, Jon  Macey on guitar and vocals, Tom Landers on drums, and Michael Roy on  guitar and vocals.&nbsp; \u2014 Courtesy photo <br> On its website, a quote from the Arlington veteran group Fox Pass  reads, \u201d[t]he first Fox Pass era ended before the real explosion of  Boston music that came in the early 1980s and therefore they are  somewhat obscure in history, except for those who were there.\u201d<br>\u201cThere\u201d  was a special place in time for Arlington residents who had already  witnessed a favorite son, 25-year-old Alan \u201cBlind Owl\u201d Wilson,  performing at Woodstock with his group Canned Heat and singing on Top 40  hits \u201cOn The Road Again\u201d and \u201cGoin\u2019 Up The Country.\u201d<br>Boston  proper had Barry &amp; The Remains opening for The Beatles and Willie  \u201cLoco\u201d Alexander joining The Velvet Underground, but Arlington, had  other musical gifts to offer, including The Prince &amp; The Paupers  and, just a few years later, Fox Pass.<br>Fox Pass and a handful of other groups were that all-important bridge from the old guard to the New Wave in the early 1970s.<br>In  2010, the band released a new CD\/download album \u201cIntemporel\u201d and has  been seen around this neck of the woods again performing at Right Turn,  an Arlington non-profit that promotes sobriety, as well as a planned  event in the autumn of 2010 at the Regent Theater.<br><strong>The beginning<\/strong><br>Jon  Macey, who was known back then as Jonathan Hall and eventually changed  his name, was taken with music at a young age. According to his website,  he began writing songs for the accordion at age 9 and then for the  piano before he took up the guitar when he was 12 years old.<br>While  a student at AHS in the early 1970s, Macey began developing folk songs  in the style of Bob Dylan or Woody Guthrie. In 1971, Macey met another  AHS student Michael Roy; together they formed an acoustic duo.<br> <br>By age 17, Macey was doing his own version of the Velvet  Underground\/Modern Lovers brand of songwriting and singing. That became  the early Fox Pass repertoire, perhaps the start of the musical  evolution from when Hall and Roy performed on the Cambridge Commons  Concerts, all original songs, precursors to what would become the early  Fox Pass style.<br>By the time Macey and Roy graduated in 1973, they  had already become a professional rock band. Other Arlington residents,  including Michael\u2019s brother John, were the initial members of Fox Pass.<br><strong>The build up<\/strong><br>Music  lovers began to take notice. Fox Pass was performing at Tufts  University, The Club in Cambridge, The Paradise, Olivers (now the Cask  \u2018n\u2019 Flagon), and many other venues. They also had a big plus, which was  the envy of other groups in the region, a local businessman named Bruce  Miner began managing them.<br>The band\u2019s first 45 RPM recording, \u201cI Believed\u201d b\/w \u201cPrized Possession,\u201d was released in 1976 and created a buzz.<br>That  recording helped the group get into the pages of Playboy Magazine in  1978 as one of Boston\u2019s five best bands. The interest in the band began  to spread beyond the fans and directly into the eyes of the media,  specifically The Boston Globe, Boston Phoenix, Real Paper and other  publications.<br>Macey and Roy\u2019s Fox Pass emerged from the Arlington  and Cambridge circuit and went on to become a major draw in the New  England area.<br> <br>But the Fox Pass saga is one of the strangest in rock history.  Shortly after being named one of Boston\u2019s five best bands, Fox Pass  disappeared.<br>\u201cWe broke up the first time because we realized we  had missed the Punk Rock trend,\u201d Macey said. \u201cWe were too ahead of it  and too young to see that we could have easily rode the wave. So,  instead we moved to New York City and reinvented ourselves.\u201d<br>In  1979, both Macey and Roy had moved to New York City. They joined up with  RCA recording artist Tom Dickie and signed with Mercury Records for two  albums as Tom Dickie &amp; The Desires, culminating in a regional and  semi-national hit \u201cDowntown Talk\u201d and openings for Hall &amp; Oates and  Cheap Trick.<br>While the band\u2019s first single was released in 1976,  it took another 29 years until a debut album was released, a self-titled  CD appearing in 2005.<br><strong>The return<\/strong><br>The journey from Arlington to New York and back was long, intense and noteworthy on many levels.<br>Fox  Pass took a hiatus of almost 30 years or so, but after the variety of  projects, they have reconnected, creating a new era for the band.<br> <br>\u201cThe second Fox Pass era began in 2002 when Mike Roy and I  reunited while recording my solo project, the \u2018Actuality in Process\u2019  CD,\u201d said Macey. \u201cWe began to write songs together which led to live  performances and two CDs since then.\u201d<br>\u201cIntemporel,\u201d the bands  follow-up to their self-titled \u201cdebut,\u201d is a vibrant set of recordings,  which succeeds in its simple mission statement: To entertain.<br>With  cascading jangle guitars that The Flamin\u2019 Groovies and R.E.M. helped  establish in the post-60s garage rock era, when garage got more  sophisticated (but still stayed away from hotel lounges), Fox Pass comes  up with some new material while also dipping into their back catalog.<br>The  CD opens with \u201cHurry Cherie,\u201d an older song from their repertoire. This  is a hard-driving pop song where Macey finds himself \u201cdreaming of  you&#8230;hurry Cherie,\u201d and though it is not the long-promised \u201cfirst  album\u201d of material from when Fox Pass released its first single, these  industry veterans are still \u201cmining the vaults\u201d and coming up with 17  tracks that show the band still has it, and is still evolving.<br>\u201cFly  Away (From Me)\u201d and \u201cFront Page Girl\u201d keep the party going while the  stylish \u201cCool Dreamer\u201d slinks in for almost eight minutes, followed by  an almost five-minute piece \u201cShe Dreams Of Me.\u201d<br>Earlier this  spring, the group performed next door at Winchester\u2019s \u201cWincam\u201d public  access station and played material from across its career along with  many selections from \u201cIntemporel.\u201d That performance showed Roy  shouldering some of the lead vocals, sometimes co-singing harmonies with  bassist Steve Gilligan and Macey as on the \u201cThe Spark.\u201d<br>For those  who have followed the band and its various spin-offs, the most recent  music has continuity to projects from long ago, but Fox Pass isn\u2019t  detouring \u201cback to the future\u201d as much as getting the music onto a  familiar track.<br> <br> <br>\u201cWe still perform \u2018Amtrak\u2019 and \u2018Wanda,\u2019 both written in 1973,\u201d Macey said.<br>On  the latest Fox Pass CD \u201cThe Sacred Mountain Is Falling\u201d could be a Sgt.  Pepper out-take. And the band is exploring longer titles a la early  Mott The Hoople, this track going more than nine minutes, and \u201cA Long  Goodbye\u201d clocking in at more than six minutes.<br>For Fox Pass fans,  the latest disc provides short pop-bursts and extensive essays, perhaps a  stream of-consciousness approach by industry veterans who continue to  do what they love.<br>For more information about Fox Pass, or to purchase a CD, visit <a rel=\"noreferrer noopener\" href=\"http:\/\/foxpassmusic.com\" target=\"_blank\">foxpassmusic.com<\/a>, CD Baby, iTunes or <a rel=\"noreferrer noopener\" href=\"http:\/\/amazon.com\" target=\"_blank\">amazon.com<\/a>.<br><em>Joe Viglione can be reached by e-mailing <a href=\"mailto:recordreview2001@yahoo.com\">recordreview2001@yahoo.com<\/a>.<\/em> <\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">AllMusic Review by&nbsp;Joe Viglione&nbsp;<a href=\"https:\/\/www.allmusic.com\/album\/fox-pass-mw0000762549#\">&nbsp;[-]<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"982\" height=\"1000\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/fox-pass-album.jpg\" alt=\"\" class=\"wp-image-624\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/fox-pass-album.jpg 982w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/fox-pass-album-295x300.jpg 295w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/fox-pass-album-768x782.jpg 768w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/fox-pass-album-624x635.jpg 624w\" sizes=\"auto, (max-width: 982px) 100vw, 982px\" \/><\/figure>\n\n\n\n<p>The mark of craftsmanship on songs like &#8220;Hit or Miss,&#8221; &#8220;Saving Grace,&#8221; and &#8220;Dream Inside Your Heart&#8221; would be hard to find on many &#8220;debut&#8221; albums, and 32 years after their 1972 formation in Arlington, MA,&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/fox-pass-mn0000712560\">Fox Pass<\/a>&nbsp;bring insightful lyrics and strong melodies to the world on their first full album. Of course having released a classic indie single with &#8220;I Believed&#8221; in 1976 &#8212; a year that saw them opening for&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/roxy-music-mn0000852855\">Roxy Music<\/a>&nbsp;in Boston &#8212; with the duo of Mike Roy and&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/jon-macey-mn0000971572\">Jon Macey<\/a>&nbsp;heading off to Mercury Records to record two albums with&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/tom-dickie-the-desires-mn0001782318\">Tom Dickie &amp; the Desires<\/a>&nbsp;in the early &#8217;80s, well, this debut is actually more like a diamond hewn from decades in a business rife with uncertainty.&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/barry-marshall-mn0000786994\">Barry Marshall<\/a>&#8216;s production crystallizes the performances &#8212; taking a &#8220;Sometime Saturday Girl&#8221; to bring that&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/tommy-boyce-mn0000613275\">Tommy Boyce<\/a>\/<a href=\"https:\/\/www.allmusic.com\/artist\/bobby-hart-mn0000076168\">Bobby Hart<\/a>&nbsp;vibe into the new millennium.&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/marshall-mn0000786994\">Marshall<\/a>&nbsp;has known the group almost since its inception and truly understands the work of&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/jon-macey-mn0000971572\">Jon Macey<\/a>&nbsp;and Mike Roy better than&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/ed-sprigg-mn0000138167\">Ed Sprigg<\/a>&nbsp;and&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/martin-rushent-mn0000367310\">Martin Rushent<\/a>&nbsp;did for the&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/tom-dickie-mn0001576466\">Tom Dickie<\/a>&nbsp;albums &#8212; all due respect to the highly competent&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/sprigg-mn0000138167\">Sprigg<\/a>&nbsp;and&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/rushent-mn0000367310\">Rushent<\/a>. The chemistry between the artist and the producers on those&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/desires-mn0001782318\">Desires<\/a>&nbsp;albums just wasn&#8217;t there. And with no label pressures the band is free to come up with fine pop tunes like &#8220;The Easy Way,&#8221; material that effortlessly flows from their repertoire. Roy sounds like&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/ben-orr-mn0000128776\">Ben Orr<\/a>&nbsp;of&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/the-cars-mn0000061172\">the Cars<\/a>&nbsp;singing the exquisite &#8220;Heavy as a Heartache&#8221; with neo-doo wop vocals from&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/macey-mn0000971572\">Macey<\/a>&nbsp;and bassist Steve Gilligan. While the group&#8217;s influences are very well disguised on this set &#8212; you&#8217;ll hear pieces of sounds you just can&#8217;t place &#8212; the key is that the music seems more original because the band is plagiarizing its own riffs from years past. Some of the ambience of the&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/jon-macey-mn0000971572\">Jon Macey<\/a>\/<a href=\"https:\/\/www.allmusic.com\/artist\/barry-marshall-mn0000786994\">Barry Marshall<\/a>&nbsp;tune &#8220;Comical&#8221; from 1993&#8217;s&nbsp;<a href=\"https:\/\/www.allmusic.com\/album\/too-much-perspective-mw0000317460\">Too Much Perspective<\/a>&nbsp;disc is reinvented on &#8220;Dream Inside Your Heart&#8221; &#8212; a terrific hook over a gliding and airy bed of pop riffs and chord changes. Its complexities are vast compared to &#8220;Wanda,&#8221; the closing song that the band has performed since it was written back in 1973. &#8220;Hit or Miss&#8221; might come in at close to six minutes, but it has the groove and guitars suspended in space to be radio-friendly, playing perfectly on an album where songs like &#8220;In a Dream&#8221; come in from out of nowhere, sparkling pop created by a band that was doing it years before&nbsp;<a href=\"https:\/\/www.allmusic.com\/artist\/rem-mn0000325459\">R.E.M.<\/a>&nbsp;formed and brought this style into vogue.<br><\/p>\n\n\n\n<p><a href=\"https:\/\/www.allmusic.com\/album\/fox-pass-mw0000762549\">https:\/\/www.allmusic.com\/album\/fox-pass-mw0000762549<\/a><\/p>\n\n\n\n<p>Everything Under the Sun   Jon Macey \/ Steve Gilligan <\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/everything-under-the-sun.jpg\" alt=\"\" class=\"wp-image-626\" width=\"587\" height=\"587\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/everything-under-the-sun.jpg 500w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/everything-under-the-sun-300x300.jpg 300w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/everything-under-the-sun-150x150.jpg 150w\" sizes=\"auto, (max-width: 587px) 100vw, 587px\" \/><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.allmusic.com\/album\/everything-under-the-sun-mw0001637867\">https:\/\/www.allmusic.com\/album\/everything-under-the-sun-mw0001637867<\/a><\/p>\n\n\n\n<h1 class=\"wp-block-heading\">Review: Eclectricity by Michael J. Roy \u2013 A Burst of Creative Energy<\/h1>\n\n\n\n<p>\n\n                \n\n                \n                    By <a href=\"http:\/\/www.tmrzoo.com\/author\/varulven\">Joe Viglione<\/a> &#8211;                      July 1, 2015                                                        \n\n            \n\n<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/michaeljroy.jpg\" alt=\"\" class=\"wp-image-630\" width=\"584\" height=\"584\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/michaeljroy.jpg 200w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/michaeljroy-150x150.jpg 150w\" sizes=\"auto, (max-width: 584px) 100vw, 584px\" \/><figcaption><a href=\"http:\/\/www.tmrzoo.com\/2015\/66754\/review-eclectricity-by-michael-j-roy-a-burst-of-creative-energy\">http:\/\/www.tmrzoo.com\/2015\/66754\/review-eclectricity-by-michael-j-roy-a-burst-of-creative-energy<\/a><\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">             Michael J. Roy&#8217;s THE BRIGHT SIDE <\/h3>\n\n\n\n<h3 class=\"wp-block-heading\">TMRZoo Review          by Joe Viglione      http:\/\/www.tmrzoo.com\/2018\/72588\/review-michael-j-roy-the-bright-side               <\/h3>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/the-bright-side.jpg\" alt=\"\" class=\"wp-image-628\" width=\"595\" height=\"347\" srcset=\"https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/the-bright-side.jpg 685w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/the-bright-side-300x175.jpg 300w, https:\/\/joeviglione.com\/wp-content\/uploads\/2020\/04\/the-bright-side-624x364.jpg 624w\" sizes=\"auto, (max-width: 595px) 100vw, 595px\" \/><\/figure>\n\n\n\n<p>\n                    <a href=\"https:\/\/www.allmusic.com\/artist\/steve-gilligan-mn0001202179\">Steve Gilligan<\/a> and <a href=\"https:\/\/www.allmusic.com\/artist\/jon-macey-mn0000971572\">Jon Macey<\/a> are two veterans of the Boston music scene as well as half of the band <a href=\"https:\/\/www.allmusic.com\/artist\/fox-pass-mn0000712560\">Fox Pass<\/a>, and their debut CD as a duo, <a href=\"https:\/\/www.allmusic.com\/album\/everything-under-the-sun-mw0001637867\">Everything Under the Sun<\/a>,\n features a dozen fine original compositions that are democratically \nsplit &#8212; five from each songwriter with two collaborations. The title \ntrack is one of those co-writes and it features an uptempo <a href=\"https:\/\/www.allmusic.com\/artist\/everly-brothers-mn0000046699\">Everly Brothers<\/a> harmony \u00e0 la <a href=\"https:\/\/www.allmusic.com\/artist\/the-beatles-mn0000754032\">the Beatles<\/a> on &#8220;Two of Us&#8221; from the <a href=\"https:\/\/www.allmusic.com\/album\/let-it-be-mw0000192939\">Let It Be<\/a>\n CD, and is one of the poppier episodes before the singers touch upon \nthe other musical worlds they fancy. With longtime producer <a href=\"https:\/\/www.allmusic.com\/artist\/barry-marshall-mn0000786994\">Barry Marshall<\/a> intentionally keeping the production sparse, it allows <a href=\"https:\/\/www.allmusic.com\/artist\/gilligan-mn0001202179\">Gilligan<\/a>&#8216;s superb use of mandocello, mandolin, Dobro, and harmonica &#8212; as well as <a href=\"https:\/\/www.allmusic.com\/artist\/jon-macey-mn0000971572\">Jon Macey<\/a>&#8216;s\n dulcimer playing &#8212; to shine under the perfect guitar strums. When \nexperienced live in concert, it is those exotic instruments coupled with\n the strong songwriting that help the pair create a magic that their \nfriend and colleague <a href=\"https:\/\/www.allmusic.com\/artist\/jonathan-richman-mn0000266255\">Jonathan Richman<\/a> sought when he traded the loud underground rock in for the flamenco guitar. But where <a href=\"https:\/\/www.allmusic.com\/artist\/richman-mn0000266255\">Richman<\/a> tells his song-stories from the protagonist&#8217;s point of view, <a href=\"https:\/\/www.allmusic.com\/artist\/macey-mn0000971572\">Macey<\/a> and <a href=\"https:\/\/www.allmusic.com\/artist\/gilligan-mn0001202179\">Gilligan<\/a> indulge their passion for the music of <a href=\"https:\/\/www.allmusic.com\/artist\/gram-parsons-mn0000987491\">Gram Parsons<\/a>, <a href=\"https:\/\/www.allmusic.com\/artist\/chris-hillman-mn0000096944\">Chris Hillman<\/a>, <a href=\"https:\/\/www.allmusic.com\/artist\/the-louvin-brothers-mn0000045057\">the Louvin Brothers<\/a>, and, deliberate or not, <a href=\"https:\/\/www.allmusic.com\/artist\/bob-dylan-mn0000066915\">Bob Dylan<\/a>, in a reverent way that keeps their personalities from overpowering the material. It&#8217;s a dramatic departure from <a href=\"https:\/\/www.allmusic.com\/artist\/fox-pass-mn0000712560\">Fox Pass<\/a>, where the writing is solely from the pens of <a href=\"https:\/\/www.allmusic.com\/artist\/jon-macey-mn0000971572\">Jon Macey<\/a> and his longtime collaborator, <a href=\"https:\/\/www.allmusic.com\/artist\/mike-roy-mn0002118713\">Mike Roy<\/a> &#8212; a pair who toured with <a href=\"https:\/\/www.allmusic.com\/artist\/hall-oates-mn0000674887\">Hall &amp; Oates<\/a>\n (they had the same manager), so the major-league polish and approach on\n a simple composition like &#8220;You Will Know Them&#8221; is crafted from decades \nof walking the path.                 <\/p>\n\n\n\n<p>\n                    Religious overtones abound, and former <a href=\"https:\/\/www.allmusic.com\/artist\/stompers-mn0000937380\">Stompers<\/a> bassist <a href=\"https:\/\/www.allmusic.com\/artist\/gilligan-mn0001202179\">Gilligan<\/a>&#8216;s solo voice on &#8220;Harrison Ave. 2am,&#8221; before the harmonies kick in, gives the album another sort of definition &#8212; this is not a <a href=\"https:\/\/www.allmusic.com\/artist\/jon-macey-mn0000971572\">Jon Macey<\/a>\n solo project &#8212; and the exciting sounds of the Old World \ninstrumentation that sparkle on-stage translate perfectly to CD. \nProducer <a href=\"https:\/\/www.allmusic.com\/artist\/marshall-mn0000786994\">Marshall<\/a> compared old mixes from <a href=\"https:\/\/www.allmusic.com\/artist\/the-louvin-brothers-mn0000045057\">the Louvin Brothers<\/a>\n to keep the sound authentic, or as this duo (trio with their producer) \ncalls it&#8230;&#8221;timeless.&#8221; It works, especially on the disc&#8217;s longest track,\n the eight-minute epic &#8220;Emma and the Dance,&#8221; with its lovely \ninstrumental opening. Less is more here, because these minstrels are so \nproficient at working their stringed instruments and, clearly, are in it\n for the art, as evidenced by &#8220;Watchin&#8217; You Go By&#8221; and the \nneo-rockabilly of &#8220;<a href=\"https:\/\/www.allmusic.com\/artist\/roy-orbison-mn0000852007\">Roy Orbison<\/a>\n gone folky&#8221; that is &#8220;All You Gotta Do.&#8221; Even the packaging reflects the\n care put into the recordings: the vintage look of the back photo and \nthe color schemes on both the inside panel and the CD face. Picture <a href=\"https:\/\/www.allmusic.com\/artist\/aztec-two-step-mn0000058734\">Aztec Two-Step<\/a> or <a href=\"https:\/\/www.allmusic.com\/artist\/batdorf-rodney-mn0000329766\">Batdorf &amp; Rodney<\/a>\n exploring new territory by going back to the future; a lot of ground is\n covered by keeping it simple and touching upon as many of their \ninfluences as possible. <a href=\"https:\/\/www.allmusic.com\/album\/everything-under-the-sun-mw0001637867\">Everything Under the Sun<\/a> is a pleasant and highly effective departure from what the <a href=\"https:\/\/www.allmusic.com\/artist\/fox-pass-mn0000712560\">Fox Pass<\/a> fan base would expect, and for those familiar with <a href=\"https:\/\/www.allmusic.com\/artist\/jon-macey-mn0000971572\">Jon Macey<\/a> and <a href=\"https:\/\/www.allmusic.com\/artist\/steve-gilligan-mn0001202179\">Steve Gilligan<\/a>&#8216;s\n rock &amp; roll efforts, hearing &#8220;Gordon&#8217;s Daughter&#8221; would certainly \nconfuse during a blindfold test &#8212; and impress, as this album does from \nstart to finish.                 \n\n                                    \n\n    Collapse \u2191\n\n<\/p>\n\n\n\n<p>Four minutes and fourteen seconds of \u201cThe End\u201d opens The Bright Side \nCD from Fox Pass guitarist Michael J. Roy\u2026no, no, no\u2026not the Doors near \ntwelve minute MFSB epic \u2013 referring to a Charles Manson delivery of the \nPhilly Sound\u2019s mother\/father\/sister\/brother routine, though in another \ndimension.  Michael punctuates his pop with guitar bursts, leaving \nOedipus out of the equation.  <\/p>\n\n\n\n<p>Track 2, \u201cSame Old Thing,\u201d brings the jangle back, but dips it into \nGene Parsons territory, something Tom Petty made a career out of.  \nInteresting in that Roy\u2019s partner-in-Fox-Pass, Jon Macey, has gone \nfull-out with the Hummingbird Syndicate embracing Sonny Bono\/Jack \nNitzsche \u201cNeedles and Pins\u201d guitar sound.  \u201cImpossible Ways,\u201d track 3, \ncould be a modern-day Searchers in fact, with \u201cMr. Berserk\u201d taking a \nsimilar sound down into the dark side.  That\u2019s the interesting force at \nplay here, Mr. Roy\u2019s optimism in Fox Pass taking a turn into Lou Reed \ndowner territory with vocal work reflecting the titles, \u201cThe End,\u201d \u201cMr. \nBerserk,\u201d interestingly finding Reed\u2019s Blue Mask emotions than the \n\u201cbright side\u201d of life, but an album does give one the opportunity to \nstretch out.  <\/p>\n\n\n\n<p>With over forty-seven minutes of music, we\u2019ll give Mike that \nlatitude. \u201cWorld Run Wild\u201d shows the Boston area veteran artist his  \nBilly Squier side, the emphasis on hard rock feels like a sequel to \u201cThe\n Stroke\u201d from former Sidewinder Squier\u2019s 1981 Don\u2019t Say No album.  Now \nthis critic is referencing lots of musical textures from other artists, \nbut that\u2019s just for the reader to get an idea. Mike Roy is an original \nand he draws from a bountiful palette to offer something distinctly \ndifferent from the work that he\u2019s known for, the music of New England \narea legend Fox Pass.  \u201cPoint of No Return\u201d at four and a half minutes \nis Hugo Montenegro meets the Doors and a strong track.  \u201cThin Air\u201d \npierces the speakers after the mellow verse while <\/p>\n\n\n\n<p>\u201cBarely There\u201d takes George Harrison\u2019s amazing descending line from \nCream\u2019s \u201cBadge\u201d \u2013 and a good chunk of side 2 of the Beatles Abbey Road \u2013\n with a folk\/poet\u2019s reading over a most Beatle-esque spirit. While most \nof the tunes are in the four-minute range, track 10, \u201cA Reason To Live\u201d \nis the shortest at 2:37, poppy and anthemic, Joan Jett or the late Ben \nOrr could both have a ball with it. <\/p>\n\n\n\n<p>Once upon a time New Rose Records\u2019 Fan Club imprint put out Sons of \nthe Dolls, an intriguing look at songs from members of the New York \nDolls. If one takes the accumulated tracks of the Fox Pass family tree \u2013\n 12 songs here, the Stompers, the Jon Macey\/Steve Gilligan project, \nGilligan\u2019s own solo cd\u2019s, Hummingbird Syndicate and more, you are \ntalking over a hundred compositions from a talented set of musicians. A \ndigital boxed set of the future, perhaps.  The Bright Side presents more\n than just a follow-up to the previous Electricity disc, it is also the \nmusical other side of a musician away from the focus of a working band. <\/p>\n\n\n\n<p>Find The Bright Side on<br>\nCD Baby  https:\/\/store.cdbaby.com\/cd\/michaelroy1<br>\nReverb Nation  https:\/\/www.reverbnation.com\/michaeljroy\/songs<br>\nWebsite: www.mj-roy.com<br>\nRelease Date: August 6, 2017<br>\nLabel: Blue Room Records<\/p>\n\n\n\n<p>See more reviews here: <a href=\"http:\/\/bostonrecordreviews.blogspot.com\/2007\/07\/miscellaneous-reviews.html\">http:\/\/bostonrecordreviews.blogspot.com\/2007\/07\/miscellaneous-reviews.html<\/a><\/p>\n\n\n\n<p><em>Joe Viglione is the Chief Film Critic at TMRZoo.com. He has \nwritten thousands of reviews and biographies for AllMovie.com, \nAllmusic.com, Gatehouse Media, Al Aronowitz\u2019s The Blacklisted Journal, \nand a variety of other media outlets. Joe also produces and hosts Visual\n Radio, a seventeen year old variety show on cable TV which has \ninterviewed Jodie Foster, director\/screenwriter David Koepp, Michael \nMoore, John Cena, comics\/actors Margaret Cho, Gilbert Gottfried, \nGallagher, musicians Mark Farner and Don Brewer of Grand Funk Railroad, \nIan Hunter of Mott The Hoople, Ray Manzarek, John Densmore, Felix \nCavaliere of The Rascals, political commentator Bill Press and hundreds \nof other personalities.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Table of Contents Joe Viglione&#8217;s Guide to N.E. Music http:\/\/rocktableofcontents.blogspot.com\/ 1)Foreword This information is part of my &#8220;life&#8217;s work&#8221;, the chronicling of the Boston Rock &amp; Roll Scene and its surrounding communities. Between the video taped for my TV shows VISUAL RADIO andTV EYE as well as the audio from a variety of radio shows [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-178","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/joeviglione.com\/index.php?rest_route=\/wp\/v2\/pages\/178","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/joeviglione.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/joeviglione.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/joeviglione.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/joeviglione.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=178"}],"version-history":[{"count":26,"href":"https:\/\/joeviglione.com\/index.php?rest_route=\/wp\/v2\/pages\/178\/revisions"}],"predecessor-version":[{"id":1497,"href":"https:\/\/joeviglione.com\/index.php?rest_route=\/wp\/v2\/pages\/178\/revisions\/1497"}],"wp:attachment":[{"href":"https:\/\/joeviglione.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=178"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}