Every few years, a lost poet/musician of the ‘60s is “found”—rediscovered for their insightful lyrics and commentaries reflecting harrowing loss, substance abuse and seemingly endless tales of loves lost. Scott Fagan is the latest rediscovery, and though his history doesn’t mirror that of Sixto Rodriguez—Fagan remained active in the music world while Rodriguez disappeared—the musical and lyrical similarities describing hardscrabble life among decaying societal norms are hard to miss. Fagan was basically homeless and broke in New York City when he cut South Atlantic Blues in 1968 for ATCO. Without any promotional backing, the records fell into obscurity (like Rodriguez’s albums). A lost treasure, this folk-psych-soul-pop classic ripples from the opening, trippy guitar intro and horn accents of the deeply aching and insightful “In My Head,” to the harrowing, minor-key reality of the bluesy “Tenement Hall,” where Fagan’s Bowie-like timber fades into an echoing refrain of “This is insane.” The music reflects Fagan’s emotional mood swings, shifting from raw and stripped-down to lush arrangements with all the timely psychedelic accentuations. “Crying” finds Fagan practically shouting, “Lover look at me,” while the steel drum rich “The Carnival Is Ended” reflects a rare joyous moment. The rising and falling pace of “Nickels And Dimes” chronicles a struggle though substance abuse, as the soulinspired “Nothing But Love” bounces and pops like a lost gem from the Stax catalog. South Atlantic Blues rolls and crashes like the waves of Fagan’s Virgin Island homeland, yet, once ingested, finds a permanent place in your head.