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Track Listings
| 1. On Coming from a Broken Home (Part 1) |
| 2. Me and the Devil |
| 3. I'm New Here |
| 4. Your Soul and Mine |
| 5. Parents (Interlude) |
| 6. I'll Take Care of You |
| 7. Being Blessed (Interlude) |
| 8. Where Did the Night Go? |
| 9. I Was Guided (Interlude) |
| 10. New York Is Killing Me |
| 11. Certain Things (Interlude) |
| 12. Running |
| 13. The Crutch |
| 14. I've Been Me (Interlude) |
| 15. On Coming from a Broken Home (Part 2) |
Product Description
Review
It’s been a long, hard road to redemption for Gil Scott-Heron, the influential musician, poet and author, whose last full-length album, Spirits, was released 16 years ago. In the interim, he’s been in and out of jail on various drug-related offences, his taste for narcotics sapping the creative impulses that once burned so brightly. Scott-Heron’s saviour came in the unlikely shape of XL Records boss Richard Russell – the man responsible for rave classic The Bouncer by Kicks Like a Mule – who offered to produce an album by the singer during his stint in Rikers.
Their collaboration is bookended by a cracked, two-part reminiscence of Scott-Heron’s roots titled On Coming From a Broken Home, which is based around a typically fastidious piece of wordplay. There’s a wonderfully circuitous spectrum of influences at work on the song – Kanye West has sampled Scott-Heron in the past, this track is built from a refrain from the hip hop star’s Flashing Lights, which borrows from a song by Scott-Heron’s peer in the 70s socio-political music scene, Curtis Mayfield.
Scott-Heron has an intuitive way of grasping work written by others and skewing it to fit his own austere worldview. He covers Bobby Bland’s I’ll Take Care of You and Robert Johnson’s Me and the Devil, but the most surprising addition is the title track, a version of a song by downcast indie rockers Smog. Scott-Heron appropriates the piece for his own use, as a way of reintroducing himself to the world (“No matter how far wrong you’ve gone, you can always turn around,” he muses), while also addressing the past (“I had an ego on me the size of Texas. I forget. Does that mean big or small?”).
He continues to dissect the past and realign himself with the present throughout, carefully pouring all his life experience into every syllable and drawing on the triumphs and aberrations that shaped him. Meanwhile, Russell is careful never to intrude, instead using deathly silence and the dolorous thud of treated drum sounds to provide a stark backing. The one shaft of light that pierces a hole through the centre of the record is New York is Killing Me, which approaches something resembling exuberance via the upbeat clop of a handclap-driven beat.
I’m New Here is an unlikely but triumphant return, packed full of sadness, experience and an underlying feeling of someone making peace with their mistakes and regrets. --Nick Neyland
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Customer Reviews
Most Helpful Customer Reviews
79 of 81 people found the following review helpful
By Graham Chapman
TOP 1000 REVIEWER
Format:Audio CD|Amazon Verified Purchase
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.
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.
35 of 36 people found the following review helpful
Format:Audio CD
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.
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.
14 of 15 people found the following review helpful
By Graham Chapman
TOP 1000 REVIEWER
Format:Vinyl|Amazon Verified Purchase
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!
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!
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4.1 out of 5 stars
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Most Recent Customer Reviews
5.0 out of 5 stars
Simply Brilliant
This is one of those rare albums that is more than a collection of music, it is a complete work of art in itself. Read more
Published 6 months ago by John Stephenson
5.0 out of 5 stars
Classic! Gil Scott-Heron leaves us with THIS.
My first intro to GSH was with 'Johannesburg' playing in the background in the movie 'House Party 2'. Read more
Published 12 months ago by jaytei
5.0 out of 5 stars
Great service!
Prompt delivery (Royal Mail). This 12" vinyl album was appropriately well packaged and arrived in excellent condition. Will definitely choose this seller again.
Published 19 months ago by Steve Farr
5.0 out of 5 stars
classic album
I own roundabout 3000 albums, this is definitely in top ten. Probably the best album made this century. Read more
Published 22 months ago by ts
5.0 out of 5 stars
Still a brilliant musician with a challenging message
This is a fantastic piece of music, I have been an admirer of Gill Scott Heron since he produced The Revolution Will Not Be Televised. Read more
Published 22 months ago by Linda Carter
5.0 out of 5 stars
Background mood music it ain't!!
I can't think of a single other current artist capable of making an album of this depth and soulfulness. It's superb. Read more
Published on 19 Mar 2011 by molondas
5.0 out of 5 stars
A 30-minute modern masterpiece
I don't want to overstate the case (I'm not one given to hyperbole) but there's more meaning and emotion in a single syllable sung by Gil Scott-Heron than can be mustered,... Read more
Published on 7 Jan 2011 by flagondry
5.0 out of 5 stars
Still the best...
Gil never fails to move me or stimulate my thinking. This album reflects Gil's personal journey - at times painful to listen to, at others one can rest in his amazing voice.
Published on 14 Sep 2010 by Gill
5.0 out of 5 stars
Back to the future?
On this album, Gil has gone back to a more spoken-word style but this time using minimalist electronic sounds rather than percusion. Read more
Published on 22 Aug 2010 by Mike The Coach
4.0 out of 5 stars
My first introduction to GSH
This cd was recommended by a friend. Enjoyed every second of this recording, well worth adding to any music collection.
Published on 2 July 2010 by J. Orden
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