Robert Fried

Nous ne parlons pas tous le même langage sexuel. Chacun a sa personnalité. Pourtant, nous ne connaissons souvent qu'une seule approche de la sexualité, que nous croyons universelle et à laquelle nous devrions nous conformer.
Or, il n'existe pas un, mais cinq langages sexuels : mental, sensuel, émotionnel, physique et énergétique.

And we're certainly glad he did! We're confident you're familiar with the tremendous impact of songwriter and lyricist Robert Hunter's work with the Grateful Dead. He may have been the sixth member unseen, but his contribution to their songs stands testament to their everlasting effect on generations of Dead Heads.

The best of his New Orleans recordings for the label’s two records recorded in 1994 Swamp Boogie (studio) and 1998 Sing Sang Sung (live) on one CD. It starts off with Jr. Walker & The Allstars classic “Cleo’s Back” which was featured in a big Tom Hanks’ Hollywood soundtrack for Extremely Loud & Incredibly Close and track two “Mean Little Woman” featured in HBO’s Treme. Little Freddie, born Fread Eugene Martin, probably made himself and the label some nice sync license pocket change on those two placements and even some performance royalties on the latter which he also wrote. Always good to see a label get an artist paid. Beyond the first two tracks this album makes a lot of sense. Pairing down the two albums into one may seem strange especially when a CD could easily contain both holding up to 80 minutes. But here it’s the quality of the program that showcases the many styles Freddie has distilled into his very own brew. A get the party started nice variety of sounds and tempos mixing instrumentals with vocals without overdoing it.

When one thinks of Max Reger's organ music, his intensely chromatic and densely textured fugues are the first examples to come to mind, especially his imposing Fantasy and Fugue on B-A-C-H. Yet there are several smaller, simpler pieces of a more casual nature that are sampled on Robert Benjamin Dobey's 2006 album, The Intimate Reger. Not all the selections here were intended to be informal or low-key: the opening Consolation, Op. 65/4, and several of the chorale preludes are typical products of Reger's elaborate invention and serious-minded counterpoint, and because of their religiosity, they seem more appropriate in a solemn liturgical setting than on a recital of light music.