 Artist: Gil Scott-Heron: mp3 download Genre(s): Rap: Hip-Hop funk Jazz Discography:  Small Talk at 125th and Lenox Year: 2001 Tracks: 14  Free Will Year: 2001 Tracks: 20  Moving Target Year: 2000 Tracks: 7  Ghetto Style Year: 1999 Tracks: 21  Pieces of a Man Year: 1995 Tracks: 11  Spirits Year: 1994 Tracks: 10  Reflections Year: 1993 Tracks: 7  The Revolution Will Not Be Televised Year: 1990 Tracks: 17  The Real Eyes Year: 1980 Tracks: 8  Best of Year: Tracks: 18 One of the close important progenitors of tap music, Gil Scott-Heron's aggressive, no-nonsense street poetry elysian a legion of intelligent rappers spell out his piquant songwriting skills placed him square in the R&B charts later in his calling, backed by more and more contemporaneous production courtesy of Malcolm Cecil and Nile Rodgers (of Chic). Born in Chicago just transplanted to Tennessee for his early years, Scott-Heron exhausted most of his high long time in the Bronx, where he knowing firsthand many of the experiences which later made up his songwriting material. He had begun perpetration to writing before achieve his adolescent eld, however, and completed his first volume of verse at the sure-enough age of 13. Though he tended to college in Pennsylvania, he dropped banned later on one year to reduce on his writing vocation and earned plaudit for his novel, The Vulture. Encouraged at the remainder of the '60s to start recording by legendary malarky manufacturer Bob Thiele -- wHO had worked with every major jazz great, from Louis Armstrong to John Coltrane -- Scott-Heron released his 1970 debut, Small Talk at 125th and Lenox, divine by a volume of poetry of the same nominate. With Thiele's Flying Dutchman Records until the mid-'70s, he signed to Arista shortly later on and launch success on the R&B charts. Though his jazz-based operate of the early '70s was toughened by a slicker disco-inspired intersection, Scott-Heron's message was as clear as of all time on the Top 30 individual "Johannesburg" and the figure 15 stumble "Angel Dust." Silent for nigh a decennium, later the discharge of his 1984 private "Re-Ron," the proto-rapper returned to transcription in the mid-'90s with a message for the gangsta rappers wHO had come in his wake; Scott-Heron's 1994 record album Hard deglutition began with "Message to the Messengers," pointed square at the rappers whose influence -- positive or negative -- meant much to the children of the nineties. In a touching turn of irony which he himself was ready to joke some, Gil Scott-Heron was born on April Fool's Day 1949 in Chicago, the boy of a Jamaican professional association football musician (wHO exhausted time playacting for Glasgow Celtic) and a college-graduate mother wHO worked as a bibliothec. His parents divorced early in his life, and Scott-Heron was sent to live with his nanna in Lincoln, TN. Learning musical and literary instruction from her, Scott-Heron also well-read around prepossess firsthand, as he was one of trey children picked to integrate an unproblematic school in nearby Jackson. The ill-use proven to much to assume, however, and the eighth-grader was sent to New York to live with his mother, number one in the Bronx and afterward in the Hispanic neighborhood of Chelsea. Though Scott-Heron's experiences in Tennessee must consume been hard, they proven to be the seed of his writing career, as his first volume of verse was written round that sentence. His pedagogy in the New York City school organization also proven beneficial, introducing the youth to the work of Harlem Renaissance poet Langston Hughes as easily as LeRoi Jones. After publishing a novel called The Vulture in 1968, Scott-Heron applied to Pennsylvania's Lincoln University. Though he spent less than one year in that location, it was enough time to encounter Brian Jackson, a likewise minded musician wHO would afterwards become a all important collaborator and inherent division of Scott-Heron's banding. Given a minute of photograph -- largely in magazines like Essence, which called The Vulture "a strong start for a author with important things to read" -- Scott-Heron met up with Bob Thiele and was encouraged to start a euphony life history, indication selections from his script of poetry Small Talk at 125th & Lennox piece Thiele recorded a collective of idle words and casimir Funk musicians, including bassist Ron Carter, drummer Bernard "Pretty" Purdie, Hubert Laws on transverse flute and alto saxophone, and percussionists Eddie Knowles and Charlie Saunders; Scott-Heron also recruited Jackson to play on the book as piano player. Most significant on the record album was "The Revolution Will Not Be Televised," an fast-growing polemist against the major media and white America's ignorance of progressively deteriorating conditions in the inner cities. Scott-Heron's mo LP, 1971's Pieces of a Man, expanded his kitchen range, featuring songs such as the title track and "Peeress Day and John Coltrane" which offered a more straight-ahead approach shot to song structure (if not content). The following year's Free Will was his final for Flying Dutchman, however; later a conflict with the label, Scott-Heron recorded Wintertime in America for Strata East, then touched to Arista Records in 1975. As the number one creative person signed to Clive Davis' new label, much was riding on Scott-Heron to redeem top-notch material with a chance at the charts. Thanks to Arista's more focused agitate on the charts, Scott-Heron's "Johannesburg" reached number 29 on the R&B charts in 1975. Important to Scott-Heron's success on his outset deuce albums for Arista (Number one Minute of a New Day and From South Africa to South Carolina) was the influence of keyboardist and quisling Brian Jackson, co-billed on both LPs and the de facto loss leader of Scott-Heron's Midnight Band. Michael Jackson left hand by 1978, though, going away the musical direction of Scott-Heron's career in the capable custody of producer Malcolm Cecil, a vet producer wHO had midwifed the funkier direction of the Isley Brothers and Stevie Wonder sooner in the decennary. The number one single recorded with Cecil, "The Bottle," became Scott-Heron's biggest strike yet, peaking at number 15 on the R&B charts, though he quiet made no waves on pop charts. Producer Nile Rodgers of Chic too helped on production during the 1980s, when Scott-Heron's political attack grew regular more fervent with a new target, President Ronald Reagan. (Several singles, including the R&B hits "B Movie" and "Re-Ron," were specifically directed at the President's conservative policies.) By 1985, however, Scott-Heron was dropped by Arista, exactly later the discharge of The Best of Gil Scott-Heron. Though he continued to hitch around the world, Scott-Heron chose to discontinue recording. He did reelect, however, in 1993 with a contract for TVT Records and the album Booze. |
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