Fox

Young Gun Silver Fox are musical sorcerers. On “West End Coast”, they've fashioned a fresh and modern sound that summons one of the most vibrant and influential epochs in popular music. The ten songs herein pay homage to 1970s Los Angeles, a golden age of recording that infused the pop charts and FM airwaves with a blend of soulful voices, immaculate melodies, stellar musicianship, and sophisticated studio technology.

One of the brighter debuts to emerge in the late '80s, Britny Fox established themselves early on as hard-hitting contenders, only to expose a glass jaw in subsequent bouts. Often labeled clones of sister band Cinderella (whence they got their image, guitar player, and record contract), the quartet overcame expectations by filling their first album with song after song of top-flight '80s glam, marred only slightly by the cliché-ridden lyrics. The boys each play to their strengths here, which results in killer riffs and licks from Michael Kelly Smith and impassioned howling from Dizzy Dean Davidson. On later platters, they would overextend their talents and become just another struggling bar band, so enjoy the chemistry while it's still there. Among the many highlights are "Long Way to Love," "Girlschool," and a cover of Slade's "Gudbuy t'Jane."

"Cold Blue Music has an unofficial “stable” of composers and performers names that come up on multiple releases. And why not? Every record label needs an identity. Composer Jim Fox is the man behind Cold Blue Music, and that position serves as a kind of bully pulpit for his own music. Again, why not? I like Cold Blue Music a lot, and one of the things I like about it is its advocacy for the specially priced CD single.

The fcp full album "FRAGILE", which has been completely feathered through the previous "BUTTERFLY", is a masterpiece that is full of freedom and full of attractiveness.

Most people would preserve memories of a trip to Australia via photographs, slides or even a video. Well Robert Fox goes one stage further with this CD which derives its inspiration from the aforementioned visit made during the summer of 1991. Robert describes it as "…very much a Westerner's musical interpretation of the visit…but in no way an attempt to emulate Aboriginal music or, indeed, their culture". 'Spirit of Oz' opens in typically grandiose fashion, percussive Aboriginal samples forming the backdrop to a deceptively strong melody which makes good use of light and shade. 'Sydney Harbour' adopts a lighter stance with a simple motif played over all manner of superb atmospherics. 'Into the Mountains' picks up the pace expertly being a perfect combination of sequence, percussion and melody punctuated by samples of train station announcements which trace the journey it portrays…