This is the 3rd album of french doom/death metal band Inborn Suffering. Inborn Suffering first formed in Paris back in 2002 and over the course of the following eight years they established themselves as masters of doom, spinning tragic tales across foundations of colossal riffs and ethereal melody. They performed alongside fellow overlords of the doom/death underground like Swallow The Sun, Saturnus and Mourning Beloveth and produced two critically acclaimed albums - Wordless Hope and Regression To Nothingness - before stepping away from the scene in 2012. It would be eleven years before Inborn Suffering began to stir again, but when the flame of creativity was alight once more, the new music began to flow…

Here is one of the most underrated French albums, but also one of the most sought after, finally reissued by Musea. Visitors was actually a one-shot band gathered around producer Jean-Pierre Massiera, and including about twenty musicians. Besides the rhythm section, the stress was here put on the keyboards (Hammond organ & Mini-Moog) and on choirs that remind of Vanilla Fudge. The band performs a sophisticated music based on numerous breaks and refined developments. Let's also mention beautiful parts by Didier Lockwood's violin, who was here playing for the first time on an album. The music goes from a Yes kind of Progressive rock to elaborated Seventies British bands (Cressida, Gracious!) and to the beginnings of jazz-rock.

Arhoolie's Texas Sharecropper & Songster is a recording made in 1960, during the blues revival. Prior to the blues revival, Mance Lipscomb was an unknown, and his discovery was one of the positive byproducts of the revival. He was a great country-blues man, and this is perhaps his greatest effort, capturing him running through a number of traditional songs. Most of the songs are augmented by his jackknife slide guitar, and all feature his raw, haunted vocals, which make these classic songs sound timeless.

This late 1969-70 British group (recording at Abbey Road for EMI's progressive Harvest label) manages to sound authentically American on this collection of 1920's & 1930's blues, folk & jug band songs (though an actual jug is played on only a few tunes). They are traditional tunes. When this album failed commercially, two members exited, and the reconstituted group shortened their name to "Panama Limited", started making limited use of electric instruments and started writing original songs influenced by Captain Beefheart.

Organist Barbara Dennerlein performs nine of her originals on this enjoyable set. The music ranges from funky jams to more complex hard bop, with most songs being a bit quirky and full of subtle surprises. Dennerlein has long had her own sound (a major achievement on organ) and she is also heard on piano during two numbers, which is a rarity for her. Her sidemen on this set include such adventurous musicians as trumpeter Randy Brecker, David Murray or David Sanchez on reeds, and trombonist Frank Lacy, and every player gets a chance to be heard.