The Demons "The Demons" 1977 US Power Pop,Glam Rock

The Demons  "The Demons" 1977 US Power Pop,Glam Rock

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Released in 1977 on Mercury records. The singer of THE DEMONS was local NYC glam punk Eliot Kid, a good friend of Johnny Thunders. He got Heartlbreakers guitarist Walter Lure from THE DEMONS. Eliot Kid was also a witness in the Nancy Spungen death case as he and Neon Leon were among the last people to see Sid Vicious and Nancy Spungen on the night of the infamous murder at the Chelsea Hotel. Music wize this is a great mix of powerpop, glam and punk. Comes in the original Mercury Records insert sleeve advertising the Runaways album….~

I’ve always been a fan of the three dollar record. You know what I mean: some forgotten long player from the ‘70s or early '80s, played to death in its day, stored in the attic for decades, then eventually carted off to the record store and exchanged for a miniscule amount of currency. It’s then marked for three bucks and placed in the bins with thousands of other records, where it will likely languish until the end of time. If you know what you’re looking for, you can get a good deal on a record like that. Hell, for three bucks, it’s worth the dough even if there’s only one great song! It’s just like buying a single – except the larger surface area allows it to double as a weapon. Such titles as Romeo Void’s Benefactor and JoBoxers’ Like Gangbusters, which I ostensibly bought for one track, would have been overpriced at retail value. But at three dollars a pop, I did not hesitate. 

…Which brings us to The Demons’ self-titled debut album. It’s the ultimate three dollar record. Like almost any other band even remotely attached to the mid-to-late ‘70s New York City punk scene, The Demons got signed to a major. Singer/guitarist Eliot Kidd was probably best known for having a few quotes in Please Kill Me. He was a pal of Johnny Thunders and Walter Lure (who at one point was a member of The Demons). Having gigged a lot with the likes of The Dictators, The Demons drew the attention of Mercury Records and were given the opportunity to record with Craig Leon. Leon, as an assistant to the legendary producer Richard Gottehrer, had worked with the Ramones, Blondie, Suicide, and Richard Hell. And while The Demons may have not been top tier a la the aforementioned bands, their one and only album is a really cool artifact of early New York punk. 
The Demons are probably best known for the song “She’s So Tuff”, which was covered a decade ago by Tina and the Total Babes. Tina Lucchesi knows how to pick ‘em! “She’s So Tuff” was hands down one of the greatest power pop songs of the late ‘70s, and it alone justifies the purchase of the Demons’ album. If Kidd had been able to write a few more songs like “She’s So Tuff”, then perhaps The Demons would not be such an obscure band in our present memory. The closest the group came to another A-level track was album closer “I Hate You”, which is disturbingly funny and really fucking catchy in a Heartbreakers meets Real Kids sort of way. I can totally imagine Tina Lucchesi covering this one as well - so stay tuned, rock n’ rollers! The rest of the album, while not devoid of filler, delivers some really cool tracks. Opening cut “It’ll Be Alright” is a terrific mid-tempo rocker that kinda brings to mind Johnny Thunders fronting The Paul Collins Beat. Given Kidd’s connection to Thunders and Lure, it’s hardly surprising that “Bad Dreamin’” comes off like an LAMF outtake. “Ten Past One” is a very credible ballad in the fashion of the late ‘50s and early ‘60s. And well-done covers of “She’s a Rebel” and “I Fought the Law” further affirm Kidd’s affinity for that particular era of rock n’ roll. 
Probably not a “punk” band per se, The Demons imbued their throwback rock n’ roll with enough sleaze and sloppiness to nonetheless fit the bill. The now-deceased Kidd is somewhat notorious for being in Sid Vicious’s hotel room the night Nancy Spungen died. But as a musician, he was more than worthy. You can’t really say The Demons were an influence on the glam-punk that resurged in the ‘90s (after all, who had actually heard them besides Tina Lucchesi?). But if you’re a fan of anyone from The Joneses to the Trash Brats to the Dimestore Haloes, you will most definitely recognize The Demons as some of the earliest practitioners of their style. Like a second string New York Dolls with power pop tendencies, Kidd and his mates were a fun band that must have been a good time live. They left behind just this one album, and one truly classic song in “She’s So Tuff”. In this age of Internet commerce, it’s not always easy to get a great deal on an old LP. But if there’s a shop in your proximity that deals in large quantities of used vinyl, The Demons are worth seeking out…even if you have to pay more than three dollars. …by…Josh Rutledge…..~

Credits 
A&R – Denny Rosencrantz 
Bass Guitar, Backing Vocals – Robbie Twyford 
Drums, Percussion – Mike Rappoport 
Electric Guitar, Backing Vocals – Bob Jones (12) 
Lead Guitar, Acoustic Guitar – Martin Butler (3) 
Lead Vocals, Acoustic Guitar, Percussion – Eliot Kidd 


Tracklist 
A1 It’ll Be Alright 2:53 
A2 Gimme Love 3:32 
A3 She’s So Tuf 3:10 
A4 Ten Past One 4:05 
A5 She’s A Rebel 2:06 
B1 I Fought The Law 2:24 
B2 Bad Dreamin’ 3:22 
B3 Tell Him That Too 2:23 
B4 What A Shame 2:50 
B5 I Hate You 2:33 

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Foxx "The Revolt Of Emily Young (A Rock Novella By Buzz Cason And Pepper Martin"1970 US Psych Pop Rock

Foxx  "The Revolt Of Emily Young (A Rock Novella By Buzz Cason And Pepper Martin"1970 US Psych Pop Rock

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A concept album co-written by singer/guitarist Pepper Martin, the collection was produced by Cason and credited to the studio band Foxx (consisting of bassist Butch Bourque, former Livin’ End drummer Little Joe Martin, singer/rhythm guitarist Martin, and well known studio pro Al Perkins on lead guitar). This is one of those early-197s albums that’s been largely lost to audiences. Judging by the number of reviews you’ll find, it’s even escaped notice from hardcore collectors with the few on-line reviews tending to be brief and somewhat critical. That’s unfortunate since the set was actually quite enjoyable and innovative in its own way.. Yeah, it was clearly a product of a certain timeframe and parts of the set haven’t aged all that well (other than wine, few things do), but it’s one of those albums that grows on you the more you listen to it. Like many concept pieces, the plotline to this one was a little vague to my ears, but seemed to follow the birth, childhood, and brief life of namesake Emily Young (along with her impact on family and friends). Side one got you from birth through early adulthood where Emily left home in order to hitchhike across the country. Side two followed her spiritual search (‘Opus Epyllion (The Age Of Light)’), downfall ('Flight Termination’), and death ('Just Another Village Incident’). Kind of a bummer ending … Still, musically the set was quite good. Pepper had one of those chameleon-like voices that was equally at home on country-tinged material ('Into Something Real’), hard rock ('Rock Jock Bobby Sloan’), pop (the Beach Boys-styled harmony rich 'Rebecca’s Prayer’), and even sunshine psych flourishes ('Sunshine Children’). Though never a flashy player, Perkins turned in nice leads when required - check out his solo on 'Flight Termination’. All-in-all quite enjoyable and something that sunshine pop fans would certainly clamor to hear. Even better, it’s still quite affordable….Bad Cat…~

I don’t know why this fantastic pop psych. concept album is so underrated… Am I the only one living in my planet? Am I stupid? While re-listening to it, I was thinking about a sort of American version of the Pretty Things circa SF SORROW or PARACHUTE. This means no flaws, no tedious moment and the perfect compromise between many diverse influences with soft passages and rockier ones, the lead guitar reminding me of Jimi HENDRIX. More seriously, I find the comparison with STEELY DAN quite accurate….by….GAZHOO117 …~

The American Foxx group is a one-time studio project, formed by producer Buzz Cason, specially for recording the concept album The Revolt Of Emily Young. All the songs on the record were written by Kaeson in collaboration with singer and guitarist Pepper Martin. The disc has a subtitle “rock novella” and can be regarded as a vinyl product with a rigid concept, since it contains an exposure (storyline) that progressively develops from the first composition to the last one. The album tells listeners about entering into the mature life of a girl named Emily Young, and it, perhaps, can be attributed to the category of mini rock operas. It is likely that this is the only Nashville project of the time, which sounded as if recorded in England by British musicians. Since the main role in the creation of this record belongs to the producer Buzz Kaesong, then, probably, it is worth to get to know him better.
The singer, composer, producer and sound engineer James E. Cason (nicknamed “Buzz”) was born on November 27, 1939 in Nashville, Tennessee. In 1956, he founded his first band The Casuals, which is considered to be the first Nashville band to perform rock and roll. In 1957, after recording the first album, “The Casuals” was replaced on the “The Everley Brothers” tour, playing about 60 concerts instead. Later they became the accompaniment of Brenda Lee. Together with Richard Williams and Hugh Jarrett from the vocal group “The Jordanaires” Kaeson organized a new band “The Statues”, with whom he recorded the hit single “Blue Velvet” at Liberty. In 1960 he started a solo career and under the pseudonym Harry Miles (Garry Miles) released a very successful song “Look For A Star”, which reached the 16th place in the list of the best-selling single records. In 1962, Buzz produced a new version of the Mexican folk song “La Bamba” for “The Crickets”, adapted in due time to the rock-and-roll sound of Richie Valens (Richie Valens). In 1967, Buzz, together with Mac Gayden (Mac Gayden) wrote the song “Everlasting Love”, which became his most successful hit. Originally it was performed by Robert Knight (Robert Knight), without much success, however. However, after it was re-recorded in January 1968 by the band “Love Affair”, it managed to take off on the first line of the British charts. In 1974, Carl Carlton performed 6th in the list of the best selling singles of the United States. In the late '60s, Buzz Kaeson became a rather prominent figure in the music industry. Together with Bobby Russell (Bobby Russell) he created the musical publishing house “Russell-Cason Music”. In addition, Buzz headed the record company “Rising Songs” he created and became the owner of the state-of-the-art recording studio “Creative Workshop”. It will subsequently record stars such as Dolly Parton, Jerry Reed, Emmylou Harris, Olivia Newton-John and The Doobie Brothers. Being a prolific author and a powerful generator of new ideas, Buzz Kaeson sought to expand his sphere of interest in show business, and boldly mastered the previously uncharted creative territories. And in the light of a new era in popular music following the release of the historical mega-album “The Beatles”, “The Orchestra of the Club of Lonely Hearts of Sergeant Pepper”, the concept album “The Revolt of Emily Young” conceived by Buzz Kazon seems to be an idea that is inherently well founded and more than adequate spirit of the era.
This record is a historical document reflecting the mood of the progressive part of American youth of that period in music. The aspirations and hopes of the colorful hippie hairy tribe slowly fell into decay before the cynical face of reality. Many stars of the sixties have already moved to a different world from the overabundance of their chosen lifestyle. The escalation of violence initiated by the Nixon administration against peaceful student demonstrations shocked the American youth: May 4, 1970 - the shooting of a protest action against the war in Vietnam at Kent University (4 killed, 9 wounded), May 9, 1970 - shooting demonstration in defense of civil rights Afro-American students in Augusta (Georgia) (6 killed, 80 wounded), May 15 - shooting anti-war demonstration at Jackson University (2 dead, 12 wounded), August 29 - shooting in East Los Angeles coalition protest march Rica-Mexico Youth «Chicano Moratorium» (4 killed). It is hardly possible to imagine a more gloomy year for the pacifist of a long-haired America tuned.
This concept album, inspired, no doubt, by the psychedelic recordings of The Beatles and Pretty Things (SF Sorrow), tells the story of a teenage girl named Emily Young from the time she was born until she entered adulthood when she leaves the house and travels around the country hitchhiking (side A). The second side narrates about her spiritual quest (“Opus Epyllion (The Age Of Light)”), the fall (Flight Termination) and death (Just Another Village Incident), which came most likely from an overdose. The plot line, as in many conceptual works of that time, is slightly vague and the authors do not give precise indications of the reasons for its transition from real life to another dimension. Whether it was an unforeseen accident or a deliberate decision to interrupt his journey in search of light, the creators of the rock novella give the right to decide for the listeners themselves. The album also does not give any unambiguous answers, why the heroine of the record in particular, and the “children of flowers” in general, found themselves in such a hopeless situation, in such a spiritual impasse. Was Emily really a pure and innocent creature, entangled in her own search and strayed? Or was she the victim of a cynical deception that led to such a sad ending? Or was she simply not able to achieve that enlightenment she was striving for? In any case, the spiritual aspects of human existence, considered on this concept album, make his audition a very unusual activity, because besides aesthetic pleasure, it also provides ample food for philosophical reflections.
Musically, “The Revolt of Emily Young” is a magnificent collection of psychedelic pop songs. Spiritual quest for the heroine takes place against the backdrop of melodic music, psychedelic guitar sound and impeccable orchestration performed by former classmate Buzz Casson, and by that time already a well-known arranger Bergen White. Basically, this is folk-rock with psychedelic elements, although sometimes there are heavier compositions (seventies after all in the yard), but they sound quite smoothly and calmly, without a far-fetched emotional tear. In the Foxx music, there are no visible, more accurately audible drawbacks, no tedious or protracted moments - it represents an ideal compromise between various sound influences, among which you can find quiet, gentle passages, and a guitar impregnated with the spirit of Jimi Hendrix. On the plate there is not a single pass-through composition and, in addition, its consistency is very rigorously verified, which, unfortunately, many albums of this kind are sorely lacking.
In addition to the above-mentioned singer and rhythm guitarist Pepper Martin, Foxx also included bass player Butch Bourque, a former member of the Livin End group, drummer Little Joe Martin and solo guitar player Al Perkins. In addition, the producer of the disc Buzz Kaeson participated in the recording as a pianist and organist. The most famous and experienced musician “Foxx” was, of course, a Texas multi-instrumentalist, producer, sound engineer and composer Al Perkins (18.01.1944). The guitar company “Gibson” will name him later the most influential performer in the world for Good. Welcome (Dobro) - six-string resonator guitar, invented in the US in the early XX century, came from the Czech Republic brothers Dopera. From the usual acoustic guitar Good differs in the built-in metal resonator. But back, however, from the world of six-string instruments to El Perkins himself - in 1968, after serving in the army, he moved to California with the Texas group “The Sparkles”, and in 1969 he returned home and took part in the Foxx project. In 1970 he again went to California with a group of East Texas “Shiloh”, in which you could find the future member of The Eagles by Don Henley and the producer and arranger Jim Ed Norman, will soon be working with the same “Eagles”, the group “America”, Linda Ronstadt (Linda Ronstadt) and many other famous American performers. In 1971, after the breakup of the Shiloh group, Al Perkins became a member of the Manassas group of Stephen Stills. In 1973 he joined the Souther-Hillman-Furay Band. In addition, he recorded with Flying Burrito Brothers, Dan Fogelberg, Leonard Cohen, Gram Parsons, Roy Orbison, Bob Dylan and The Rolling Stones. “ However, the list is far from complete.
Not surprisingly, a musician at the level of Al Perkins in the creative spike with producer Buzz Kazon set a very high level of professionalism on this disc. The bass parts of Batcha Burka are perfected throughout the whole album, Pepper Martin’s voice is like a chameleon and perfectly merges with any sound material - whether it’s dissected country (Into Something Real), proto-hard rock (Rock Jock Bobby Sloan) or pop-psychedelia , full of iridescent vocal harmonies in the style of "The Beach Boys” (“Rebecca’s Prayer” and “Sunshine Children”). Al Perkins himself does not bend a stick in any of the compositions and pulls the blanket on himself, his solo parts are strict, correct and technically verified. The performance of all the songs is almost flawless and very strange that, despite the enormous creative potential, this fantastic project was not appreciated by contemporaries and did not have any continuation. This record, released in May 1970 - one of the lost pearls of the early seventies. And it’s very sad….~

Foxx: 
Pepper Martin - Guitar, Vocals 
Al Perkins - Lead Guitar, Vocals 
Butch Bourque - Bass, Vocals 
Little Joe Martin - Drums, Vocals 
+ 
Buzz Cason (aka James Cason) - Piano, Organ 

Tracks: 
01. New Bethel Awakening 3:32 
02. Rebecca’s Prayer 2'15 
03. Doctor John 2'13 
04. Sunshine Children 2'38 
05. (Untitled Track) 0'30 
06. Rock Jock Bobby Sloan 0'28 
07. In The Garden 3'04 
08. Syndrome Of Change 3'19 
09. Highway Children 4'30 
10. Into Something Real 3'28 
11. Opus Epyllion (The Age Of Light) 3'20 
12. Flight Termination 3'53 
13. Just Another Village Incident 3:54 
14. Last Words 2'29 
15. New Bethel Awakening II 2'15 
16. The Revolt Of Emily Young 1'14 

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Pig Iron “Pig Iron” 1970 US Psych Jazz Blues Rock

Pig Iron “Pig Iron” 1970 US Psych Jazz Blues Rock

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The only self-titled album from New York. A highly professional and talented team, unfairly pushed into oblivion. Headed “Pig Iron” was drummer Alan Abrahams. He was also lead vocalist and main songwriter and musical director of the group. 
In 1970, “Pig Iron” recorded an album which was well received by critics, but somehow went bad on sale. 
Firm and publisher, as usual, did not renew the contract, and by 1971 the band broke up. Alan Abrahams went on to become a professional producer, worked at RCA, Capitol and Columbia Records, recorded by Miles Davis, BB King and many others … As for the fate of the other musicians: keyboardist-trumpeter Adam Ippolito and bassist Gary Van Scyoc trumpeter joined a group of “Plastic Ono Band”, when John Lennon finally settled in New York. Saxophonist Marty Fogel made ??a career in a group of Lou Reed. Unknown only to the further fate of no less talented members “Pig Iron”: guitarist Bill Peters and leading trumpeter Paul Squire. 
Album “Pig Iron” is half of foreign things, half of your own original material written by Alan Abrahams co-authored with his colleagues, not the band. The group is very different from whales jazz-rock “Chicago” and “Blood, Sweat & Tears” by the fact that they play a more hard rock, heavily involved on the blues and rhythm and blues. This blues-rock with the active participation of the wind instruments. The album cover used the same technique of “introduction”, and that on the cover of “Led Zeppelin II”, but here the band “Pig Iron” infiltrated “the picture, taken from the collection of the museum railway” Union Pacific. “In the photo was captured historical time of the merger of two "crutches” construction of this important route to the United States, will connect the central states to the Pacific coast. band’s name, though it is in the word “Pig”, has nothing to do with pigs, but refers to the steel industry. “Pig Iron” (if literally - “pig iron”) means “pig iron” - the first pig iron smelting, intended for conversion into steel. pity that this short-term “pig iron” is not brought to a durable steel …~

Αυτό είναι το μοναδικό album που κυκλοφόρησαν εν έτη 1970, οι Hard Rockers Pig Iron από την New York (USA). Τα μέλη της μπάντας, Van Scyoc και Adam Ippolito θα συμμετάσχουν αργότερα στο σχήμα Elephant’s Memory και ο Marty Fogel αργότερα θα εμφανίζετε με το σχήμα του Lou Reed. 
Ένα μεγάλο Hard Rock LP με πολλά στοιχεία από Blues και Jazz Rock, δυστυχώς ένα album που έχει σε μεγάλο βαθμό αγνοηθεί, λίγοι έως ελάχιστοι το γνωρίζουν και σίγουρα αξίζει την προσοχή σας, αν ακούτε όμως Heavy Metal με τη στενή έννοια του όρου τότε αυτό το LP, πολύ απλά δεν είναι για εσάς. 
Το album αυτό από τους Pig Iron προσφέρει ένα μπρούτζινο Hard Rock ήχο στο στυλ των Chicago και των Blood, Sweat & Tears. Η μπάντα περιόδευσε στην Αμερική παίζοντας σε μεγάλα υπαίθρια φεστιβάλ, όπου headliners ήταν οι Rascals, οι Blodwyn Pig, ο Bob Seger και οι Chicago, αλλά αυτό δεν κράτησε πολύ και Pig Iron δυστυχώς διαλύθηκαν το 1971. 
Ο ταλαντούχος τραγουδιστής Alan Abrahams κάνει αργότερα επιτυχία και εκτενή καριέρα με τους Pure Prairie League, την Joan Baez και τον David Cassidy μεταξύ άλλων. 
Ο πληκτράς Adam Ippolito και ο μπασίστας Gary Van Scyoc θα ενταχθούν στους Elephant’s Memory τη μπάντα των John Lennon και Yoko Ono, ένα σχήμα που ήταν για το δικό τους προσωπικό μουσικό όραμα. Τελευταίος αλλά όχι λιγότερο σημαντικός, ο σαξοφωνίστας Marty Vogel είχε μια καριέρα στην μπάντα του Lou Reed, ενώ η μετέπειτα τύχη του κιθαρίστα Bill Peters και του τρομπετίστα Paul Squire, είναι ένα μυστήριο αφού κανείς δεν γνωρίζει τι έκαναν και που πήγαν. 
Ο δίσκος των Pig Iron είχε πολλά θετικά στοιχεία γι’ αυτούς που αρέσκονται στο καλό ’70s Hard και Blues Rock, εξαιρετική μουσικότητα ενώ σε όλο το δίσκο και μια ικανότητα για έξυπνες, ωραίες συνθέσεις. 
Η διασκευή στο τραγούδι του Screamin’ Jay Hawkins “I Put A Spell On You” είναι απολύτως μοναδική και ευχάριστη ένα μείγμα Blues με Hard Rock στοιχεία, είναι καλύτερη από το πρωτότυπο (κατά τη γνώμη μου) και οποιαδήποτε άλλη διασκευή έχετε ακούσει. Το ‘’I Can’t Make It Alone'’ είναι ένα άλλο αγαπημένο τραγούδι με μια μελωδία που ακόμα ηχεί φρέσκο και πρωτότυπο μετά από σχεδόν 45 χρόνια. Η δεύτερη πλευρά του δίσκου έχει περισσότερες μουσικές απολαύσεις, το ευχάριστο “Easy Time Now”, το “Abe’s Blues” με πολλά gospel στοιχεία και το “Top Of The World” το οποίο δεν είναι τίποτα λιγότερο από μια εκπληκτική Hard Rock και Jazzy σύνθεση. Ένας δίσκος που δεν θέλει κόπο για να ακουστεί αλλά ευχάριστη διάθεση και τρόπο….Αντώνης Δριβελόπουλος -….~

Credits 
Bass [Fender], Trumpet [3rd], Vocals – Gary Van Scyoc 
Lead Guitar, Vocals – Bill Peters (2) 
Saxophone – Marty Fogel 
Trumpet, Brass [Misc] – Paul Squire 
Vocals [Lead], Drums – Alan Abrahams (2) 
Vocals, Keyboards, Trumpet [2nd] – Adam Ippolito

Tracklist 
A1 People Gonna Talk 3:01 
A2 I Put A Spell On You 4:45 
A3 Neighbor, Neighbor 2:48 
A4 I Can’t Make It Alone 4:58 
B1 Easy Time Now 3:18 
B2 Abe’s Blues 5:20 
B3 Wake Up Mr. Charlie 2:49 
B4 Out Of Town 1:34 
B5 Top Of The World 2:43 

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Born Again “Born Again Pagan” 2011 (Recorded in 1969-1972) US Heavy Psych Blues Rock

Born Again “Born Again Pagan” 2011 (Recorded in 1969-1972) US Heavy Psych Blues Rock

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The group was formed in Marin County (Northern California) under the name “Red Mountain”. They went to Los Angeles in the hope of finding success there and glory. Local producer Roger Dollarhide took the guys under his wing and recorded with them several tracks in late 1969 and early 70s in “Sun West Studios” in Hollywood, which first appeared on the album “Born Again Pagan” in 2002. In addition, guitarist Larry Otis participated in the recording of the soundtrack for the film “The Velvet Vampire”, and these entries were also included in the collection. In 2005, it was reissued by the Shadoks Music company with the addition of seven bonus tracks….~

This release is primarily a mix of heavy blues/psych hard rock, with fuzz guitar, and some more conventional country rock and blues rock with psych influences, harmonica, and guitar. The major portion of this album (and best part, to my ears) was recorded between 1969~72. Five of the seven bonus tracks were recorded between 1999~2004 and are, for the most part, off the pace of the earlier tracks. Still, two of them: “Om Namah Shivaya” and “Milk & Honey”, are good. Of the other two, the alt. mix of “Sandcastle” is also good, but not so much as the released version. But it’s the ‘69~'72 stuff that really hits the spot, particularly “Boiling Point”, “Barnyard Blues”, “No Good reason”, and “Sandcastle”, all of which are superb. Also included is a nice 4 page booklet with lots of band history and some pics - unusual for a Shadoks release. But if your thinking about this for the bonus mat'l, you could do worse things with your money, but better things too….by…tymeshifter ….~

This once elusive CD, pressed in very finite units as it were, was a surprise for me to find at a reasonable price. As expected, and as described by the seller, this release by Pagan does not disappoint. That precious era of 1969-71, psych fading to progressive heavy rock, is represented here in their 1970-71 recording of this album. There may be one or two lesser tracks on the disc, but it is 90% heavy-blues psych, a satisfying mix of the two with plenty of fuzzy bass and guitar, similar to Blueberry Pancake (heavy fuzz-bass). Don’t hesitate to buy this gem, and recommend it to all collectors you know of the specified era….~

It seems to confuse, Born Again is the band name and Pagan (Born Again Pagan) is the album title. 7 bonus tracks were added to the analog board (released in 2002) from Rockadelic by the unexploded sound source of 69 to 70 years and it was made into a CD. 
Basically it is a heavyweight with keynote blues, but it can be said that it was a band that had a wealth of talent with a wide range of expressive power, from acoustic psychedelic tone to high acid value instincts, Marine County in California). There are vocals and guitars, and the songs themselves are glossy and sexy, so you can feel the majestic style. Especially Larry Otis’ expressive guitar work looks like Paul Kozov was improved….~

Personnel: 
Brice Sullivan — vocals, harmonica, keyboards 
Larry Otis — guitar 
Steve Avery — guitar 
Stuart Ramsay — bass 
Rod Moxie — bass, guitar 
Lloyd Wick — drums

Tracklist 
A1 Barnyard Blues
A2 Radio X
A3 No Good Reason
A4a Boiling Point
A4b Three Pipers
A5 Laurie Waltzing
B1 Sand Castle
B2 Good Blues
B3 She’s Gone
B4 Comin’ Back Strong
B5 Lie Me Down 

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