I'm New Here

When Spirits came out it seemed a real comeback - a more stripped down, back to basics (jazz) sound. It was good to hear a GSH album like the earlier ones without the drawn out, overfunked sound of some of the 80's albums. For some reason though he never seemed to play most of the songs of this album in concert.

I never thought it'd be 15 years til his next album and the last few years I never thought there would be a new album at all.

'I'm New Here' is a brutal, stark, blast of an album. Like hearing a dead man's last record. I was reminded of American Prayer - there is a ghostly poetry to GSH's vocals here. An aural 'Blood Simple'. Some may not be so keen on this somewhat filmic, voice over, indie style of record, but I think it's an excellent route for GSH in his later years. The aging icon as a source of pre-death wisdom, like Johnny Cash on his American albums.

There are not many musical legends still recording. Gil Scott-heron is undoubtedly one of them and this is a brilliant record for a new decade.

Once upon a time Gil Scott Heron was a dangerous man.
A visionary, brave and inspirationally dangerous man.

Having listened to 'I'm New Here' three times I put
on my 1971 vinyl copy of 'Pieces Of A Man' (it's more
than a bit scratchy and jumpy now!) to remind myself
of just how much of an iconoclast he was. Unafraid to
challenge the very foundations of enduring inequality
under Richard Nixon's tainted kingdom of deceit and lies,
his contribution to the development of black musical
culture and its relationship to political challenge and
progress was both fearless and uplifting in equal measure.

'The Revolution Will Not Be Televised' still packs one
hell of a punch. A heroically scathing cris de coeur.

The last decade seems not to have been a walk in the park
for Mr Scott-Heron but here he is once again with a fine
collection of new songs, interspersed with reflective
poetic interludes. Short and sweet and very moving in
its austerely focussed intensity.

The voice still commands attention. Deeper now and more
than a little rough around the edges but still a unique
instrument with an incalculable ability to communicate
raw emotion and uncomfortable truths.

The contrast between the terrifyingly dark imagery of
'Me and The Devil' and the sweet and tender blues of
'I'll Take Care Of You' could not be greater.
This is a reflection of one of his greatest strengths
as a songwriter and performer : the ability to juggle
hope and despair and to survive the differences.

The stripped down incantation 'New York Is Killing Me',
with its eerily disembodied electronics, crackling and
chaotic percussion and fierce gospel harmonies is as
good as anything he has recorded in his long career.

The siesmic rhythmic pulse accompanying the
distorted vocal treatment of 'The Crutch' creates
a unique soundscape within which the stark lyrics
deliver an almost Biblically apocalyptic wallop!

Richard Russell's uncompromising production brings
great understanding and dignity to Mr Scott-Heron's
fragile but undiminished powers.

The flame still burns brightly!

Essential.

I reviewed the album under CD, but, having bought vinyl and CD, I would strongly advise getting the record. The bonus disc is terrific - throaty, soulful versions of 'Home is Where the Hatred is' and 'Winter in America'. In the introduction to the latter, GSH, has a message to the messengers about fitting music and lyrics. Any GSH fan will want these 'live studio versions.' I don't know whether they are available or will be available in other formats, but great to have.

The record is also beautifully designed, with extra photos, nice thick sleeve. I know...these are trivial, consumerist features, but, come on, half the fun of the record is to lovingly caress the sleeve and pour over it, like it was a religious artifact.

See you at the Festival Hall!