Will Hermes — American Author born on December 27, 1960,

Will Hermes is an American author, broadcaster, journalist and critic who has written extensively about popular music. He is a longtime contributor to Rolling Stone and to National Public Radio's All Things Considered. His work has also appeared in Spin, The New York Times, The Village Voice, The Believer, GQ, Salon, Entertainment Weekly, Details, City Pages, The Windy City Times, and Option. He is the author of Love Goes To Buildings On Fire: Five Years in New York That Changed Music Forever, a history of the New York City music scene in the 1970s... (wikipedia)

Whether the issue was black political power or nuclear power, Scott-Heron didn't mince words. His comeback record, 'I'm New Here,' doesn't mince words either, but instead of political battles, these songs suggest he's fighting personal ones.
When I discovered Gil Scott-Heron, I discovered a musical hero, a man who spoke baritone truth to power over jazzy funk at a time when funky music was primarily about shake, shake, shaking your booty.
Adele Adkins' retro-soul debut, '19', was striking less for her songs than for that voice: a voluptuous, slightly parched alto that swooped and fluttered like a Dusty Springfield student trying to upstage her teacher, or at least update the rules.
Comeback records always worry me, especially when they're made by one of my heroes, and I'd heard stories about Gil Scott-Heron recently, about drug arrests and prison terms and other troubles. I wasn't prepared for the ravaged shakiness of his voice on this record or the raw spoken word pieces or the dark electronic backgrounds.
'Rhye' clearly plays with notions of sexual identity, and it has made a concerted effort to keep its own identity mysterious. Its love songs are gender-neutral, the members have declined to appear in their own videos, and you'd be hard-pressed to find a photo of the duo that doesn't cast them in shadows.