Small Talk At 125th And Lenox

黒い吟遊詩人ギル・スコット・ヘロン、1971年リリースの記念すべきファースト・アルバムが24bit/96khz最高音質で復活。久々のCDリイシューです。3人のパーカッション奏者から溢れ出るリズムの海の中、ラップ前史的ポエトリー・リーディングで混沌とした社会に切り込む21歳の若きギル。ハーレムの中心よりその黒き魂が放つ灼熱の詩群は刺激的かつ圧倒的である。初ヴォーカル録音のひとつ「Who'll Pay Reparations On My Soul」はたまらなく美しくグルーヴィーだ。傑作。

Disregard the understated title; Small Talk at 125th and Lenox was a volcanic upheaval of intellectualism and social critique, recorded live in a New York nightclub with only bongos and conga to back the street poet. Here Scott-Heron introduced some of his most biting material, including the landmark "The Revolution Will Not Be Televised" as well as his single most polemical moment: the angry race warning "Enough." Still, he balances the tone and mood well, ranging from direct broadsides to clever satire. He introduces "Whitey on the Moon" with a bemused air ("wanting to give credit where credit is due"), then launches into a diatribe concerning living conditions for the neglected on earth while those racing to the moon receive millions of taxpayer dollars. On "Evolution (And Flashback)," Scott-Heron laments the setbacks of the civil rights movement and provides a capsule history of his race, ending sharply with these words: "In 1960, I was a negro, and then Malcolm came along/Yes, but some nigger shot Malcolm down, though the bitter truth lives on/Well, now I am a black man, and though I still go second class/Whereas once I wanted the white man's love, now he can kiss my ass." The only sour note comes on a brush with homophobia, "The Subject Was Faggots." ~ John Bush|

Disregard the understated title; Small Talk at 125th and Lenox was a volcanic upheaval of intellectualism and social critique, recorded live in a New York nightclub with only bongos and conga to back the street poet. Here Scott-Heron introduced some of his most biting material, including the landmark "The Revolution Will Not Be Televised" as well as his single most polemical moment: the angry race warning "Enough." Still, he balances the tone and mood well, ranging from direct broadsides to clever satire. He introduces "Whitey on the Moon" with a bemused air ("wanting to give credit where credit is due"), then launches into a diatribe concerning living conditions for the neglected on earth while those racing to the moon receive millions of taxpayer dollars. On "Evolution (And Flashback)," Scott-Heron laments the setbacks of the civil rights movement and provides a capsule history of his race, ending sharply with these words: "In 1960, I was a negro, and then Malcolm came along/Yes, but some nigger shot Malcolm down, though the bitter truth lives on/Well, now I am a black man, and though I still go second class/Whereas once I wanted the white man's love, now he can kiss my ass." The only sour note comes on a brush with homophobia, "The Subject Was Faggots." ~ John Bush