The Fox
For Fox Sake

Here is one of the prized pieces of my collection: "For Fox Sake" by the Fox, an album that was tucked away in a corner of a stall at one of the many traveling record fairs I attended. Not even the seller knew much about what it was. On the CD reissue of this album (cardboard without booklet) there is no information other than the name and photo of the band, the album and track titles, and the band's composition. And of course, an attractive drawing of a fox (but if they weren't called Fox, it could just as well be a dog!!!), which on its body collects colorful drawings, reminiscent a bit of Yellow Submarine, a bit of Fauvism, a Derain, or a De Vlaminck (I will only discover later that there is another cover, probably the original vinyl one). More than anything, there is no publication date, and no one at the fair could give me information about this album, but sometimes you have to take a risk!

It went decidedly well. The album, dated 1970, is an extraordinary example of psychedelic pop (perhaps it's better to say psychedelia declined in a pop manner), centered on the guitar and Hammond organ interplay. The group at that time consisted of 5 members: Tim Reeves on percussion, Alex Lane on Hammond and piano, Dave Windross on bass, Steve Brayne and Winston Weatherhill on guitars (the latter replacing Nick Apostiledes, co-author of Lane's pieces, at the time of recording). The Fox come from Brighton, UK, where Brayne in 1968 met percussionist Reeves, who was already playing with Lane and Windross. Both already had songs written: Brayne had his own, and Reeves had those of Lane and Apostiledes: the forces joined, and the Fox were born. With the help of manager Mike Clayton, the group made a name for themselves and opened concerts in Brighton for Bowie, the Strawbs, and the Edgar Broughton Band. In 1970, almost by chance, the opportunity arose to record in London. Brayne recounts that the album was almost completed live in 12 hours, and the guys returned home waiting for the record company (Fontana) to listen to those rehearsals and call them back for the actual recording. But Fontana was satisfied, and those 12 hours of "rehearsals" became "For Fox Sake". In the same year, the Fox did promotions and performed at several festivals, sharing the stage with the likes of Black Sabbath, Gracious, and Colosseum. The group would soon disband, but almost all would remain in the world of music.

But let's come to the album: "For Fox Sake" opens with the initial organ of "Second Hand Love" (signed by Lane), a pleasant track that continues intertwining Hammond and piano (played on some tracks by Windross), while the guitar is only heard at the end of the chorus, then fades. Brayne, on the other hand, signs the cheerful "Lovely Day" and enriches with his voice a track where guitar and percussion begin to assume a more important role. "As She Walks Away" by Lane, as the title suggests, is the most melancholic piece on the album: the strings mournfully vibrate for a minute, marked by Reeves' cymbals, then Lane enters the scene, and the sadness of parting from the woman is felt even more. A piece that, especially in the sung part, has Beatlesque reminiscences. Brayne then signs "Glad I Could", and we return to smiling (and noticing how much the Fox owe to the Beatles of the "Sgt. Pepper's" - "Magical Mystery Tour" period). Speaking of Beatles influences, who was the first to introduce the sitar into western music? But obviously George Harrison (what a beautiful "Norwegian Wood"...). And guess what Weatherill plays in the ballad "Butterfly": the sitar! Sitar that adorns a paradigmatic track of the Fox's style, with Brayne's (author) voice in focus. The "hardest" piece with nice distortions is "Look In The Sky", where nevertheless, the Hammond plays a crucial role: not surprisingly, the piece is this time signed by the Lane-Brayne tandem (one of the few pieces not written before the formation of the band). Authentic Rock'n'roll in "Goodtime Music", then Brayne presents his "Mr. Blank", where a similarity of riff with the Clash's "London Calling" (9 years later) is noticeable. "Man In The Fast Car" (Brayne) is once again reminiscent of the Beatles, with its choruses, a lot of Hammond work, and a fair solo, as indeed is the slow "Birthday Card" (Lane), which seems to have come out of "Abbey Road". Finally, the grand finale: "Madame Magical" (Brayne-Apostiledes), 9 and a half minutes in which the Fox abandon the song form to give the track the shape of a session where all the musicians give their best. The track opens with a carousel (curiously the same one that four years later opens "Brighton Rock" by Queen) to develop into a jazzy psychedelic prog.

Therefore, an album not original, with soft tones, not particularly virtuosic (Brayne in an interview would say that the album does not reveal the power and technique that instead emerged in the concerts), composed of 3-4 minutes songs. The tracks are pleasant,  balanced from a compositional point of view, and I would say that there is no need for a harder sound. "Madame Magical" is the pinnacle, concluding the album, which raises the score from 3.5 to a full 4. For once, don't worry if the grape is ripe or not, go directly for the fox!