Sometimes gems are found in the most unusual places. Well, the public library isn’t that unusual, particularly our town library, which has a nice collection of CDs.

But there are rarely recently released albums. So when I found the new Gil Scott-Heron title I’m New Here, his first in 13 years, I was surprised and delighted.

I’ve always been a fan on Heron’s and his unusual and effective mix of R&B, soul, blues, vocals and spoken word that burst on the contemporary music scene in the early 1970s. His poetry, containing a mixture of political awareness, life experience, insight and character, penetrates the listener because of his distinctive voice with its tortured, raspy world-worn quality. There is no denying, his art definitely has been a major influence and precursor to today’s rap and hip-hop artists.

The album has a string of narrations, many interludes between tracks, that help tie this compact 28 minutes together for an overpowering listening experience. Heron advises on the back of the album to stop, sit down and listen to this music, not on a portable player, in the car or through any of the many electronic devices available today. Listen to it like his generation listened in a room through a genuine music system without distractions. You won’t be disappointed if you do. When you’re finished, share it with someone and do it all over again.

The opening narration, On Coming From A Broken Home (Part 1), sets the scene of Heron’s upbringing in the South with his grandmother, whom he dearly loved, in a house devoid of men and how he was “full grown before he knew he came from a broken home.” It easily segues into a most interesting interpretation of Robert Johnson’s Me And The Devil, with a hypnotic, trip-hop rhythm track that works so well, at once establishing Heron’s relevancy today and updating his sound. And oh that voice, unlike any other in the music world.

The title track features spoken word and melody in an acoustic guitar folk structure that at times reminds one of Leonard Cohen’s storytelling style. More modern, electronic sounding rhythm accompanies Heron’s narration on Your Soul And Mine that talks of the ghetto and the separation of mothers and their children, which sets off a battle for one’s soul.

Words of family, heritage and support continue to run through the tracks, including the brief Parents that opens into Brook Benton’s wonderful I’ll Take Care Of You and Heron’s tender but rough take on this classic soul ballad.

The album flows through Heron’s road through a tough existence in New York with drugs, drinking, mistakes, betrayal, realization, guidance and ultimately recognition and redemption.

Other highlights include New York Is Killing Me sung over the tense uptempo tap dance rhythm, reminding of the fast-paced, runaway existence of the city and its trials, “The doctor don’t know it, but New York is killing me.”; Running, a powerful narrative of a life path, which plays on the word in endless combinations against a cityscape of background drums, echo and subtle electronics; and The Crutch, another spoken word piece on the effects of drugs on the soul, again against a sparse backdrop.

Heron’s poetry is so packed with meaning and expression that 2 minutes flies by like 20 seconds and each track takes repeated listenings to capture the essence of all Heron is saying.

The album comes full circle with On Coming From A Broken Home (Part 2) in which Heron sees his mother’s sacrifices and the path of her life and although his roots are from a broken home, it was anything but because of the support of family. He says: “My life has been guided by women, but because of them, I’m a man. God bless you my women and thank you.”

When you first listen to the record, it goes by so quickly. Though 28 minutes is brief,  every moment is packed with intensity and a lesson in economy.

The album is brilliantly produced by Richard Russell, who in large part is responsible for this recording because of his desire to work with and champion Heron. The atmospherics are the perfect setting for Heron’s poetry, combining to deliver one of the best and most unforgettable listening experiences I’ve had in a long time. Find this record, bring it home, put it on a proper stereo system, turn the lights off and let it pass through you. It’s certain to touch something inside.