Feeling the Blues
It is genuinely never too late for some, so 48 years after
its initial release to quick obscurity, Scott Fagan’s debut album gets
re-released to a market-place keen on nostalgia [and with the quality of
retro-music it is a massive market: though perhaps the singer-songwriter is
less well represented as rock and prog in the reinvention business]. Whether
this is homage to the significance of that artist in their time, or the
commercialism of this market is probably not that difficult to work out.
Fagan’s music on South
Atlantic Blues – a misnomer as a title – is generic enough for its time of
1968, and the most distinctive feature [possibly in the remastering] is the
foregrounding of his voice, a cross perhaps of Bowie and Drake, the tremolo quite
pronounced at times. There aren’t really any blues tracks here, and opener In My Head is the most Bowie-esque, both
in voice [here also rising to emotive bursts] and the psyche-pop with light
orchestration of its delightful melody – the horn blasts a hint of the soul
that is also on the album, and at its best.
Second Nickels and
Dimes is similar in its late 60s sound with harpsicord rhythms and more occasional
oboe underscoring with violins, the horns here not so much soul but providing a
jazzy core: it is a rich production suggesting considerable support from Atco
[Warner] at the time. It is third Crying
that introduces Fagan’s soulful songwriting, this very much in the Al Green
production style, Fagan’s vocal full and again emotive. A lovely track.
Fourth The Carnival is
Ended evokes the beginning of Donovan’s Jennifer
Juniper, and it is as such a period piece. The title track follows, fading
in, and its attachment to the ‘blues’ is entirely in the feeling rather than
genre, a song of yearning it seems, and no doubt based on his having been
brought up in the idyll of the island of St Thomas in the Caribbean in a
classic ‘60s70s’ ambience, only to have this shattered by his mother’s sudden
heavy drinking after a relationship break-up [as outlined on Fagan’s own
website]. Nothing But Love is an
upbeat, horn-driven soul song, Tenement
Hall getting as near to a blues as any, and In Your Hands is the third song to mention Christianity so there
seems to be a message here.
Penultimate Crystal
Ball is light rock ‘n’ roll, and closer Madame-Moiselle
is a return to the soul ballad with horns and strings formula, the French
another requisite of the time, it seems, and of course because of that, as it
should be.
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