Gil Scott-Heron-Im New Here-CD-FLAC-2010-THEVOiD | Music | FLAC | 148.14 MiB
Soul | English FLAC 650 kb/s VBR
DRIFT INTO THE VOID
Info
Artist | Gil Scott-Heron
Title | I'm New Here
Genre | Soul Format | Album (CD)
Source | CD Time | 28:16
Label | XXL Recordings Store | 2010
Catalog | XLCD471 Rip | 2020-10-06
Bitrate | 712 kbps Size | 155.03 MB
Freq | 44.1 kHz Encoder | FLAC 1.3.1
Tracks
01. On Coming From A Broken Home (Part 1) 2:20
02. Me And The Devil 3:33
03. I'm New Here 3:33
04. Your Soul And Mine 2:02
05. Parents (Interlude) 0:18
06. I'll Take Care Of You 2:58
07. Being Blessed (Interlude) 0:12
08. Where Did The Night Go 1:14
09. I Was Guided (Interlude) 0:14
10. New York Is Killing Me 4:29
11. Certain Things (Interlude) 0:08
12. Running 2:00
13. The Crutch 2:44
14. I've Been Me (Interlude) 0:16
15. On Coming From A Broken Home (Part 2) 2:15
Notes
One of the most important progenitors of rap music, Gil Scott-Heron's
aggressive, no-nonsense street poetry is equal parts politically conscious
activism, cultural awareness, polemic, and social commentary, inspired a
legion of intelligent rappers. His engaging songwriting skills - often with
longtime musical partner Brian Jackson - placed him on the jazz charts, and
later in his career, the R&B charts as well. Early recordings, such as
1971's "Pieces Of A Man" and 1975's "Winter In America", showcased his
spoken word poetry and commentary, and more conventional songwriting chops
that scored him a deal with the then-fledgling Arista Records run by Clive
Davis.
"I'm New Here" is a shock. It's a wallop filled with big nasty beats, a
wide range of sonic atmospheres, and more - sometimes unintentional -
autobiographical intimacy than weve heard from Scott-Heron than ever
before. Produced by XL Recordings head Richard Russell, "I'm New Here" is
his first record in 16 years. It is a scant 28 minutes and doesn't need to
be a second longer. It's unlike anything he's previously recorded, though
there is metaphoric precedence in his earliest, largely spoken word albums.
Its production pushes forcefully at the margins, and Scott-Heron embraces
it without a hint of nostalgia.
It opens with "On Coming From A Broken Home", the first of a two-part poem
that bookends the album. Over a piano and a sampled string loop (from Kanye
West's 'Flashing Lights'), he reflects on his upbringing filled with strong
female figures and an unconventional structure, with a startling epiphany
at the end. It segues immediately into a slamming read of Robert Johnson's
"Me And The Devil", with enormous hip-hop drums, sampled strings, and sonic
effects that create a sense of brooding menace as Scott-Heron wails with
bracing rawness to hair-raising effect. Just as quickly, the album shifts
dramatically.
A lone acoustic guitar introduces the Bill Callahan-penned title track.
Scott-Heron recites the verse but sings its refrain: 'No matter how far
wrong gone/You can always turn around'. It feels like he's speaking into a
mirror with a dawning awareness of who - and what - he's become as he
accepts it. He now owns this song. A Burial-like wall of effects over a
cello loop introduces "Your Soul And Mine". It's Scott-Heron's unflinching
look at death, and the way it feeds, yet ends with a warrior's words: 'So
if you see the vulture coming/Flying circles in your mind/Remember there is
no escaping/For he will follow close behind/Only promise me a battle/For
your soul, and mine'.
It's not all darkness, however. A reading of Bobby Blue Bland's "I'll Take
Care Of You", features Gil's soulful piano with a small string section. He
sings it tenderly, in a now-raspier but still deeply expressive voice; it
stands out sonically, but belongs here because of its intimacy. "New York
Is Killing Me", based on a John Lee Hooker blues, has been reinvented with
almost entirely new lyrics and arrangement. Singers from the Harlem Gospel
Choir; handclaps, bass drums, cymbals, synths, and guitar are treated
spatially by Russell; Scott-Heron's lead vocal roars from the center. "The
Crutch" is a burning atmospheric poem about a junkies life.
Scott-Heron doesnt distance himself from his subject; it isnt mere
observation, but an empathic elegy, and Russells suffocatingly close
production brings it home. Forty years after his debut, "I'm New Here"
contains the artful immediacy that distinguishes Scott-Herons best art.
The modern production adds immeasurably to that quality, underscores his
continued relevance in reflecting the times, and opens his work to a new
generation of listeners while giving older ones a righteous jolt.
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