Customer Reviews

I'm New Here

5 star:		(10)
4 star:		(7)
3 star:		(3)
2 star:		(2)
1 star:		(1)

 

 

The past decade has been tragically ironic for the iconic Gil Scott-Heron. The man has been the voice of a revolution whose impact reached well beyond the scope of his music; striving to rescue people from the pitfalls of society. The idea that the same man would be severing multiple prison sentences, battling drug addiction and facing a rumored HIV diagnosis in his later years is beyond belief... few have fallen from such heights. Yet, often the most masterful works result from the worst tribulations. Immersed in his personal demons "I'm New Here" follows this mold.

Followers of Scott-Heron's career might be thrown off by this record. No, he hasn't lost his mastery of words. Gil is as poignant as ever. His spoken word cuts are comparable to his earliest works and he knows exactly how to use his ailing voice to favor. It's musically and topically where this album is a grand departure from anything he's released. Scott-Heron sounds like he's literally been through hell. He touches on his demise, the fate of his soul, and living with the pain left by the sins he's committed. Tracks like the "New York Is Killing Me" are a kin to "Home is Where the Hatred Is", only further exemplified by the fact that he's no longer playing a role: he's lived it. The production of Richard Russel meets this tone head on by providing a sinister soundscape which is a perfect counterpart to the lyrics. It is more inline with the recent works of Portishead, Burial and Massive Attack than what one would naturally expect from the soul legend. Combining the man's ragged voice and the despair in his words with the dark production is a simply haunting experience.

I would honestly NOT recommend this album for people who are ONLY looking for a return to Gil's work with Brian Jackson. Even the tracks that break the bleak mold, borrow more from Hip-Hop than neo-soul. If the idea of combining Small Talk at 125th and Lenox with the atmosphere of American IV: The Man Comes Around over a Live with Me backdrop sparks your curiosity then I would highly recommend the record as the experience will be gorgeous and heartbreaking.

While Gil Scott-Heron still commands a response from his audience, he urges in a way that he never has before: that of a tortured soul, begging others not to follow his path.

(8.5/10)

It's been quite some time now since Gil Scott-Heron's last record (Spirits) came out, long enough to make me question, between the inactivity of recording and his recent legal problems, whether or not Scott-Heron, whose political activist voice we so desperately missed during the Bush presidency, would ever return. Featuring a modern vibe from producer Richard Russell, Scott-Heron mixes blues covers, originals and spoken word pieces to great effect-- passionate to the point of painful, disarming in its honesty and at times fierce. In fact, if there was a criticism to make, it's that the record is brief (around 30 minutes). But brief as it may be, "I'm New Here" is a powerful record, and certainly one we've been waiting for.

The album has that feel of exorcism to it, whether it's the demons of stereotype ("On Coming From a Broken Home") or those more recent (the title track). Sparse instrumentation in a highly modern context-- more modern than you think an elder statesman of music like Scott-Heron could pull off, provide a backdrop for his world weary voice, having lost some of its smooth delivery but still capable of summoning extraordinary depth of emotion. I never thought I'd hear anyone match the haunted Robert Johnson, but Scott-Heron takes on the blues great on "Me and the Devil" and matches him. Likewise, he expresses a pragmatic tenderness on "I'll Take Care of You" and an odd regretfulness on "Running".

Something stops me from thinking of this like Scott-Heron's masterpieces of old-- maybe its the lack of political commentary, maybe it's the lack of explosive joy that his previous records all seemed to have-- there's no "Red, Black & Green" or "Your Daddy Loves You" or "B-Movie" on this one. But look, it's hard to speak of what could have been on an album I never expected to see. It's a great record on its own merits. Highly recommended.

After waiting so many years to hear new music from Gil Scott-Heron --- one of my very favorite artists/musicians/poets/singers ---- I was both eager, and scared, when I herar this album was being released. I read all the stuff about his "ravaged" voice and the shortness of this album, and the lack of "new" material, but that wasn't going to stop me from buying it. And I'm glad I did; this is great stuff. Maybe his voice doesn't quite have the same depth and dynamics it used to, but to my ears it's still powerful, and so are these songs. Okay, maybe it's not accurate to call everything on this album "songs," but these tracks, or pieces, or whatever you wanna call them, are very haunting and moving. This album is a definite keeper in my collection. I needed to hear this. And I think all Gil Scott-Heron fans should do likewise. We need this man. Welcome back!

I've been delaying writing a review for this one for a while. As a life long Gil Scott-Heron fan I wanted to make sure I really let this one sink in before I reviewed it. This is a tough album to review at any rate; I'm sure a lot of Gil's fans would have loved a return to the work they remember from the 1970's after waiting sixteen years since his last release, but Gil is Gil. He has never pulled any punches, and he's not about to start now. It's no secret that Gil has a drug problem, has fallen victim to the worst of what he sang about in his classic song about addiction "The Bottle", and has been to prison since his last album was released. He doesn't gloss anything over with "I'm New Here". The many spoken word clips (and I say clips because in some instances they are not poems or full spoken word pieces, but could more aptly be described as studio banter) that make up half of this disc are confessions, self deprecating jokes in some instances, and thoughts from Gil. The two part "On Coming From a Broken Home" is more of a fully formed spoken word poem, and is the exception. Most listeners probably had the same reaction as I did when first hearing Gil's version of Robert Johnson's "Me And The Devil": that Gil's voice has seen better days. However, I saw Gil perform in New York city in November 2009, and his vocals were noticeably smoother than on some of the songs on "I'm New Here". I can only conclude that this strained vocal style was a production choice, and an odd one considering that Gil has never had to scream or strain his voice in order to convey emotion in the past. His vocals on the more relaxed title track and the standard "I'll Take Care Of You" are easier on the ear, and are that much more effective. Also effective is Gil's mix of restrained singing and spoken word on the track "I'm New Here".

To conclude, I had mixed emotions after listening to this album for the first time, and would have rated it two or three stars at best. Yes, I felt sad that Gil has fallen on hard times, and I was disappointed that this disc didn't leave me wanting to play it again. But I can appreciate the honesty and courage that it took for Gil to release such an album, when most music today is as transparent as saran wrap. As I stated before, I saw Gil perform in NYC in November of 2009, right before this album's release. He showed up over an hour late for the show, and did stand up comedy for the first 45 minutes, which was hysterical. Through it all the man had not forgotten how to laugh, and how to make others laugh. When he finally did sit down at the Fender Rhodes and play a few songs it was about the time that the show should have been over. However, I didn't take my eyes off the stage once. The naysayers may say, "Yeah, but you should have seen him with the Midnight Band back in the day...", but I can tell you, I had tears rolling down my face when Gil sang "Pieces Of A Man" that night. Through all the trials of his life, Gil still had not lost the power to communicate his gift and to reach people. This disc may not be the comeback album that any of us were hoping for, but it is an honest portrait of a broken man. Listen with open ears...

Ok, strip.

Strip those expectations and memories of Gil Scott Heron before you even place I'm New Hear in the CD player. This is no Midnight Band. This is no Ron Carter and Bernard Purdie. This is no "Lady Day and John Coltrane" or "Bottle" or "Possum Slim." This is no Pieces of a Man, no Winter in America, no It's Your World.


Strip. Gil Scott Heron has: this is a old poet with a modern album, no movement, no revolution, no long ago essays about a world long gone.

This is Gil Scott Heron, after jail and by himself and doing some of his best poetry, ever. Modern sound designs and spare backgrounds buffer Heron's new writing about broken homes, memories, age and loss.

Strip away that young machine gun rap about the revolution not being televised. The modern Heron's voice has a rasp of a ex-insurrection grandfather, deep and strained and in the deep soul pocket. (The cover may give you a notion why.) But this actually works: it adds wisdom and credibility to the weathered feel of this album. Go you one better: when I first heard some of the more soul geared tracks on a indie radio station, I thought I was listening to remixes of old Lou Rawls.


Strip the 1960s and the 19Scott Heron's and everything we knew of this master's work of so long ago.

Once stripped, your gonna love this.

Our heroes and favorites -- no matter how revered in our personal pantheons -- can be hard to love as they age and get to AARP age. The ravishes of time and vices on the beautiful falsetto of Brian Wilson, the troubadour par excellence voices of Bob Dylan and Leonard Cohen, and the velvet tones of Billie Holiday can make even devoted fans turn and run back to the discs of their primes (instead of their last or latest discs). Now we add Gil Scott-Heron to the list. But it is precisely his descent into the deepest levels of hell and his return from there that makes the quality of his voice -- the cracks now in what was that amazingly smooth baritone -- the key message here. I was already captivated by his take on Robert Johnson's "Me and the Devil" on the radio before I realized who it was. Everything you need to know about him, his last few years and what it is to be him now is captured in that one track in particular (listen to his "The Bottle" and that tune back-to-back and you have stunning bookends for his career). He has lived what Robert Johnson first sang about and is now looking for the place where his "soul can catch a Greyhound bus and ride." Make no mistake: this is a blues album...and just like some the Delta's best, it can be hard to listen to if you are wanting to be lulled by soft beauty or pleasant sounds. But no record has hit me this hard and made me pull to the side of the road to relish it since the first time I heard Grandmaster Flash's "The Message," Alanis Morissette's "You Ought To Know" or Brian Wilson's "Surf's Up" (all the blues in their own way). This has already sealed a place on my list of Best 10 of 2010. Who knew that Dylan, Gil Scott-Heron and Joe Bonamassa would each in his own way make Charlie Patton the center of their universes and, in turn, bring him into the 21st century.

Although this CD is short it does not fail to deliver a performance that is breathtaking. Gil Scott-Heron is a true master of the spoken word. The way he weaves his poetry and social views with the music makes the listener to notice and think about the issues at hand. At first I was disappointed that this CD is only around 28 minutes long but that disappointment evaporated by the time the title song, I'M NEW HERE was playing. I have had at one point all of Gil Scott-Heron's albums but have not had the chance to find the CD versions which I plan to remedy some day soon. I'M NEW HERE is fresh and provocative - a true pleasure.BridgesThe Revolution Will Not Be Televised

I saw Gil back in the 70's and all I can say is wow. I also had the opportunity to meet him and cherish the memory. Somehow I have managed to collect ALL his releases on CD. No, I won't admit to the cost of the Japanesse releases! I am so impressed by this CD. Gil didn't recruit those who owe him their careers, he released an album on his terms. You won't find anything like it out today, not because it isn't good, it is beyond good! Beat poetry with a touch of rap and a dash of jazz,...and a twist of country! All things considered, this is a masterpiece! Street sounds abound woven in like a hot summer night. Props to his grandma for taking care of him and props to Gil for sending her his love. Gils life has been a hard one marked by drugs and jail but in the end we are all richer for his insight and his guts. This is only a sign of things to come. I can only dream of his next release and hope that the Grammys can figure out a category to give I'm New Here and Gil the attention they deserve.

Honestly, I never thought Gil Scott-Heron would ever return to recording. This new album, although short, is absolutely fantastic. It posesses a haunting beauty that grabs you by the throat and doesn't let go until you feel every nuance, every ounce of lived life in the ragged, torn voice. The poems and lyrics dig deep into places you did not think you'd ever go. I sincerely hope this is not a one-off, and that this great return will inspire more recordings from Scott-Heron. He certainly deserves to be revered as the major artist he still is.

Only sounding like the Scott-Heron of old on the spoken word parts - of which there are too few - this album tries to be a lot of things but fails at all of them. It is not a welcome return to form, it is not the return of an artist at the level of master, it is not engaging, it is not accessible.

Scott-Heron expresses a lot of wear-and-tear here, more than most people are probably prepared for that don't know he's had a rough go of life for the last couple of decades. This record makes it abundantly clear that he need not put out another record unless a) he stops trying to sing altogether and focuses on spoken word pieces, and b) he spends more time crafting more poignant spoken word pieces. The background work is mostly forgettable and loose, probably to accomodate an artist well past his prime, settling for dirges and riffs. The album isn't risk-taking; it's bad.

If you're a completist, knock yourself out. If you're a fan, this might make you more sad than anything else.