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.

Whats the difference between male and female passion? If love is a drug, what are its side effects? Rhye makes chill-out music, but it never quite lets your mind switch off.

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.