Gil Scott-Heron - Free Will (1972)

Gil Scott-Heron's third album is something of a mishmash of the first two - part confrontational, spoken word, rhythmic poetry, and part soul-jazz-funk-blues musical genius. On Side 1 - the music side - Gil, backed by many of the same musicians as on "Pieces Of A Man," excels. The title track, "The Get Out Of The Ghetto Blues," "Speed Kills" and "Did You Hear What They Said?" are all classics. Side 2 is a mixed bag, ranging from the blunt, paranoid conspiracy theory of "The King Alfred Plan" to the simple and subtle "Billy Green Is Dead" to the tongue-in-cheek flippancy of "Sex Education: Ghetto Style." Overall a bit of a mixed bag, but still a strong effort with typical Scott-Heron inventiveness and insight.

Check out Discogs for album info:

Free Will

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Gil Scott-Heron - Pieces Of A Man (1971)

Gil Scott-Heron's second album, "Pieces Of A Man," was far more musical than his minimalist, poetic debut. Backed up by a bevy of talented musicians, including Ron Carter, Bernard "Pretty" Purdie, Hubert Laws, and soon-to-be main collaborator Brian Jackson, the album was quite possibly his most cohesive and accessible. Of Scott-Heron's voice, Carter would later say, "He wasn't a great singer, but with that voice, if he whispered it would have been dynamic. It was a voice like you would have for Shakespeare." Dynamic and full of feeling certainly applies to this collection, with not a weak piece to be heard. My fave's include the reworked "The Revolution Will Not Be Televised," the biting, honest "Home Is Where The Hatred Is," and the haunting "Pieces Of A Man." If you're a fan of Gil Scott-Heron, you probably have this already; if not, this is as good a place to start appreciating his genius!

On to Discogs for album info:

Pieces Of A Man

Gil Scott-Heron - Small Talk At 125th And Lenox (1970)

Gil Scott-Heron died just over a week ago, on May 27th, 2011. One of THE black musical pioneers of the 70's, his death passed almost as a footnote; I didn't learn of his passing until several days later when "R.I.P." posts of his better known albums suddenly started appearing on other blogs. Out of the limelight since the early 80's, it's hardly surprising that his end went almost unnoticed; at the same time, the loss of the man many consider the father of Rap and Hip Hop (a title Scott-Heron actively avoided) should probably have received greater coverage. As a high school and college student in the 60's, Scott-Heron studied writing and poetry, and it was through these media that he first garnered attention. He first gave serious consideration to music as a medium for expression in 1969, after the Last Poets played a concert at his university, and in 1970, his debut album, "Small Talk..." was released. Mostly spoken-word, in a live setting and with minimal accompaniment, the album took on varied themes, from the hypocrisy of many black "revolutionaries," to the superficiality of TV and mass consumerism, to the ignorance of the white middle classes regarding difficulties faced in inner-city ghettos. Highlights included "The Revolution Will Not Be Televised," possibly his best known song, along with the title track, "Enough" and "Everyday". This album is hard to find on CD - hopefully his passing brings Scott-Heron's music renewed attention, and a re-issue of his catalogue.

Album information on Discogs:

Small Talk At 125th And Lenox

Syl Johnson - Is It Because I'm Black (1970)

"Is It Because I'm Black" is yet another candidate for the "Best Album I Never Heard" prize. At the time of release, Syl Johnson had been living and recording in the Chicago area for several years. Like many black artists of the time, his writing often took on social issues such as poverty and equality, and with this album, these themes became a unifying focus, to the extent that "Is It Because I'm Black" is considered by some to be the first black, political concept album, and a precursor to such classics as Marvin Gaye's "What's Going On" and Sly & The Family Stone's "There's A Riot Going On." The title track is a drawn out, bluesy, gritty groover, with Syl pleading the case for his race. The song reached #11 on the R&B charts, and was also a minor hit on the Pop charts. "Concrete Jungle," another highlight that broke the R&B top 30, draws parallels between the black experience and that of Native Americans, with the difference being location of their reservations. The album closes strongly with "Right On," a rambling, energetic funk masterpiece. Definitely worth a listen, if you can find it.

Album info. on Discogs:

Is It Because I'm Black

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Brass Construction - Brass Construction (1975)

Brass Construction, originally known as Dynamic Soul, came together in Brooklyn in 1968. They were signed by United Artists in 1975, with their self-titled debut released later that year. Although the funk ensemble recorded at an album-a-year pace over the next decade, "Brass Construction" almost certainly counts as their most successful collection. Brass Construction's dance-funk sound was centred on the horn section, though most songs also featured vocals. The standout track here is the first single, "Movin'," a catchy, energetic, up-tempo dance number that would be the group's only chart topper (reaching #1 on the US R&B chart in 1976). The follow-up, "Changin'," also did well, reaching #24, while "Love" and "Dance" were also strong efforts. The group would only crack the top 10 again once, with the single "Ha Cha Cha" from their second album reaching #8 on the R&B chart in 1977.

Discogs page for album info:

Brass Construction

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Tom Scott & The L.A. Express - Tom Cat (1975)

"Tom Cat" was the second album for the brief-lived Tom Scott & The L.A. Express. Larry Carlton and Joe Sample left after the recording of the group's debut and the sessions backing up Joni Mitchell on her "Court And Spark" album. Robben Ford took over from Carlton on Guitars, and Larry Nash replaced Sample as pianist. "Tom Cat" proved popular and sold well. Highlight tracks included "Rock Island Rocket," "Tom Cat," "Keep On Doin' It" and "Refried." Scott left the band to perform solo after this album, after which the remaining L.A. Express recorded two more albums before calling it quits.

Info. from Discogs:

Tom Cat

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Tom Scott & The L.A. Express - Tom Scott & The L.A. Express (1974)

Saxophonist Tom Scott is probably best known for his TV series compositions, including the theme songs for "Starsky & Hutch" and "The Streets of San Francisco." As a teen, Tom led a jazz ensemble called the Neoteric Trio. He was also a "first-call" (high demand) session musician. Over the course of his career, on top of his own solo and lead work, he played back-up to the likes of the Grateful Dead, Joni Mitchell, Steely Dan, Pink Floyd and Quincy Jones, among others. In 1973, the L.A. Express formed as Tom's backing band. The original lineup featured Max Bennett, John Guerin, Larry Carlton and Joe Sample. This group was short-lived, recording the album "Tom Scott & The L.A. Express" and playing back-up on a number of tracks on Joni Mitchell's "Court And Spark" album. By the time the group's second album "Tom Cat" was recorded, Carlton and Sample had left. The songs on "Tom Scott & The L.A. Express" are all jazz funk instrumentals, with a heavy sax emphasis. Highlights include "L.A. Express," "Strut Your Stuff" and "Sneakin' In The Back" (from which the opening bass riff was sampled by Massive Attack for the song "Blue Lines").

Album info. available on Discogs:

Tom Scott & The L.A. Express

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The Counts - Funk Pump (1974)

The Counts began life in Detroit in 1968 as the Fabulous Counts. In their original incarnation, they were well know for their instrumental prowess, and for backing up solo artists visiting the Detroit area. After releasing the album "Jan, Jan" with Cotillion in 1969, the group moved to Westbound Records, dropping the "Fabulous" from their name, but not from their music. They only released one album with Westbound before moving on again to Aware Records in Atlanta (Westbound chose to focus on Ohio Players and Funkadelic at their expense). None of the three funk albums released by the Counts in the early 70's sold spectacularly, but all charted. The group split up in 1976. The Counts' sound is full-on funky groove - part blaxploitation, part Fatback, part Kool And The Gang - with toe tapping basslines, wa-wa guitars and soaring horns. The slow, jazzy groover "Tecalli" is worth the price of admission all by itself, while the title track, "Magic Ride" and "Flies Over Watermelon" are also strong efforts.

Album info. on Discogs:

Funk Pump

Kool And The Gang - Spirit Of The Boogie (1975)

"Spirit Of The Boogie" is a masterpiece that blends an incredible funk sensibility and energy with reverence for the groups musical and ancestral heritage. In 1975, Kool And The Gang were the kings of funk, and this album was their crowning glory. Even James Brown was in awe, saying, "They're the second baddest out there. They make such bad records that you got to be careful when you play a new tape on the way home from the record store. Their groove is so strong you could wreck." The title track made it to #1 on the Black Singles chart, while "Carribean Festival" reached #6. Both songs also did well on the Pop Singles chart. Two album releases in 1976 ("Love & Understanding" and "Open Sesame") were commercially less successful, and marked the end of KATG's funk period, and the beginning or their transition to disco later in the decade.

Album info. from Discogs:

Spirit Of The Boogie

George McCrae - Rock Your Baby (1974)

When George McCrae recorded "Rock Your Baby," he had been in the music business off and on for over a decade. He was about to give up on music, with plans to return to college to study law enforcement, when the opportunity to do vocals for the track arose out of the blue. Richard Finch and Harry Wayne Casey of KC & The Sunshine Band had recorded "Rock Your Baby" for their own group, but they couldn't hit the high notes. They were going to have Gwen McCrae, George's wife, sing it, but she was late for the session and George recorded it instead. The song became one of the first hits of the disco era, reaching #1 on both the Black and Billboard Pop singles charts in the US. The follow-up single, "I Can't Leave You Alone," also did relatively well, making it into the Top 10 on the Black Singles chart. The ensuing album, also titled "Rock Your Baby" and no doubt helped along by the first single, was a success, reaching #7 on the Black Album chart.

Album info. at Discogs:

Rock Your Baby

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