Customer Reviews

1980

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1980 is a little different than what you may expect from Gil Scott Heron, though with its title and neon frame, you probably would not arrive here expecting the 1970s poetry rap experiments.

This is extremely danceable, with beats approaching disco. But is a tough disco that relies on a funk impulse, and never orchestration.

By this point, Heron had become a full fledged and excellent singer, not just a poet singing. His voice here is well integrated into the mix. Despite his passion, Heron always kept a clean and natural singing style, and this serves 1980 quite well.

Different approach, same Gil Scott Heron, and as always, that equals a buy.

What can you say about Gil. I first got this album when I entered the Navy and in my opinion it is some of he and Brian Scott's best work. Their range of songs goes from the political aspect to a positive retrospective state of mind. Gil has always spoke to the "Power Structure" in America and this album does not vary from that theme. I've also ordered "Reflections", and I am hoping that it comes as fast as this one did.1980

truly an amazing album.

if you like your funk with a socially conscious message, cop this one as soon as you can. :)

I have to admit that as timeless as Gil's music is, context can be helpful.

The amazing thing is that the struggles he inspires around the issues he confronts in his music are still important. This CD touches on a bunch of them and they have staying power because of the memorable melodies, beats and lyrics.

Hold on: Immigration; Shut'em Down: Nukes; 1980: Colonialism; Push Comes to Shove: committment and Late Last Night: the business of show business.

1980 basically heralds the end of conquistador type colonalism, whether here or on some other planet! Push Comes to Shove is a poignant reminder that abandoning the struggle comes at a high personal and societal price...a modern take on the "which side are you on" theme.

Sha Mot is about popular revolt against tryanny [By the way,"Shah Mot" is subtitled "the shah is dead"] This relates to the Iranian revolution (1979) when the American Embassy in Iran was overrun. At his live show, photos of the Sha of Iran (well documented now to have been an American installed dictator) were superimposed over photos of Nixon hence..."Look closely who does it resemble..." The song was a call for 'the people' to embrace the power of mass action. "Take it to the street, tell everybody you meet, do whatever you do whenever you feel the war drums beat" Too bad he wasn't around for the Arab spring but as Gil would say "what goes around comes around."

In short if you are trying to decide whether to buy this and if you like any of GSH's other CDs, buy this one, you won't be disappointed.

As the blues/soul/jazz music world mourns the loss of the great Gil Scott Heron, the album 1980 may not be known to all fans.

And it is very much Gil moving in to 1980, with the title track making me feel like i'm back there too. Some cool effects and backing vocals give a hint of the era as a backdrop to Gil's strong, timeless voice.

There's a bit of fusion to this album, and it is a unique Gill / Brian offering, and right up there in the top 4 with Its Your World, First Minute Of a Brand New Day and Secrets.

Willing is a song that makes you feel like you can do anything, and Corners is a effortlessly timed and crafted piece that oozes natural musicianship and coolness.

The politically driven opening track, Shut Em Down, delivers the message of everyone needing to think for themselves and not just those with the loudest voice. Oh and its funky.

Gil Scott Heron and Brian Jackson, lyrically and musically can deliver you to somewhere else and make you feel like you are really there. Long live the music of the godfather of rap, you were, and are a corner in my life.

Considering the creative and minor commercial success of Secrets,a very electronic/synthesizer heavy production this next (and as it turned out last) collaboration with Brian Jackson turned out to be a very different type of affair. Very much aware that this would be his introduction to the new decade it could've easily two albums fodder for Gil Scott album to get his full poetic/political juices flowing. And just for this alone there was plenty to write about. Another election year,new transition in government and a more conservative one at that. In the end Gil looked to take a more sociological and less individualized approch here. Sure he'd always dealt with that condundrum with his subject matters. But appropriately referred to as the black,jazz/funk musical equivilant of Bob Dylan he was facing some of the same creative decisions as "his Bobness" was at this same era: how much of his own spiritual sense and/or social outcry should be involved in what he did. In the end...the result was more surprising than one might think.

Despite it's neon-studded cover art featring Gil and Brian posed in the circular TONTO synthesizer complex this albums basic musical sound is far less electronic than before,relying a lot heavier on the synthesizers as a rhythm/orchestral element than anything else. "Shut 'Em Down" does start off the album in a compulsive funk burst regarding "no nukes" era environmentalism. "Alien (Hold On To Your Dreams)",with it's almost surreal jazzy midtempo rhythms explores the socio econmic troubles of the modern day immigrant,legal and otherwise. Songs such as "Willing","Corners" and "Push Comes To Shove" deal with,in their technically complex funk style ways a similarly complex issue of change;dealing with transitions of...well even within the songs many sorts,political and personel alike-if the two actually are disconnected somehow. The title track,with it's P-Funk like space alien voice and subject matter finds an extraterrestrial viewing the present change of decade from an outsiders viewpoint. The rhyhmically comple jazz-funk of "Shah Mot"...well I am not sure what this means but it seems to have to do with some spiritual identity crisis. It may leave those not in the know guessing as to it's actual message. The album leads off with some slow grinding groove in "Late Last Night",finding Gil....well writing about his own writers block,if you can imagine that.

Somehow after this release Gil Scott Heron and Brian Jackson came to the sudden conclusion that it was time for the two of them to part ways to pursue seperate musical ventures. For Brian Jackson,he seemed to take a journey underground somewhat and I myself haven't heard much about him after this release. Gil however was not quite at the end of his road yet. And even when it seemed he was there would be several comebacks to get through before he left us on this Earth. The type of creative process Gil Scott Heron represented was very much the civic minded idealist-optimistic about changes in society but showing grave concern for human carlessness in other matters. Because this is a far more plain spoken than his previous two releases,the music was probably rendered more organic and slick as a result,with a certain gloss over the funk representing to a degree the urban centered post-disco R&B ethic. So while not musically as futurist as what came before he does showcase musics general transition at the time to a somewhat more old fasioned approch. And matched to the lyrics that it is it's very appropriate.