Pieces of a man gil scott
Gil Scott-Heron: Pieces of a Man by Marcus Baram
Best known for his 1970 polemic “The Revolution Will Not Be Televised,” Gil Scott-Heron was a musical icon who defied characterization. He tantalized audiences with his charismatic stage presence, and his biting, observant lyrics in such singles as The Bottle and Johannesburg provide a time capsule for a decade marked by turbulence, uncertainty, and racism. While he was exalted by his devoted fans as the “black Bob Dylan” (a term he hated) and widely sampled by the likes of Kanye West, Prince, Common, and Elvis Costello, he never really achieved mainstream success. Yet he maintained a cult following throughout his life, even as he grappled with the personal demons that fueled so many of his lyrics. Scott-Heron performed and occasionally recorded well into his later years, until eventually succumbing to his life-long struggle with addiction. He passed away in 2011, the end to what had become a hermit-like existence.
In this biography, Marcus Baram--an acquaintance of Gil Scott-Herons--will trace the volatile journey of a troubled musical genius. Baram will chart Scott-Herons musical odyssey, from Chicago to Tennessee to New York: a drug addicts twisted path to redemption and enduring fame. In Gil Scott-Heron: Pieces of a Man, Marcus Baram puts the complicated icon into full focus.
Gil Scott-Heron - Pieces Of A Man
More by Gil Scott-Heron
Gil Scott-Heron's album Pieces of a Man set a standard for vocal artistry and political awareness that few musicians will ever match. His unique proto-rap vocal style influenced a generation of hip-hop artists, and nowhere is his style more powerful than on the classic "The Revolution Will Not Be Televised. Musically, the track created a formula that modern hip-hop would follow for years to come: bare-bones arrangements featuring pounding basslines and stripped-down drumbeats. Although the song features plenty of outdated references to everything from Spiro Agnew and Jim Webb to The Beverly Hillbillies, the force of Scott-Heron's well-directed anger makes the song timeless. More than just a spoken word poet, Scott-Heron was also a uniquely gifted vocalist.
Borrowing a title and sometimes a tone from Gil Scott-Heron, the Chicago rapper explores religion, consensual sex, and himself. In the pluralistic realm of Chicago rap, one thing seems certain: Mick Jenkins will never suffer a lack of ambition. Stepping into the role of a legend is, for sure, an audacious move, but the appeal of the South Side star has typically been for those with a taste for the maneuvering metaphors and trenchant critiques that afforded Scott-Heron his status. The Healing Component , for instance, was a spiritually charged concept record focused on the impossible task of defining love. Pondering police brutality, racism, and cultural appropriation, that album took stock of social ills in the United States. Pieces of a Man plays like a more personalised counterpoint. If Scott-Heron was like a photographer, snapping society from never-before-seen angles, Jenkins turns the lens on himself.
The album followed Heron's debut live album Small Talk at th and Lenox and departed from that album's spoken word performance, instead featuring compositions in a more conventional popular song structure. Pieces of a Man marked the first of several collaboration by Scott-Heron and Brian Jackson , who played piano throughout the record. Earning modest success after its release, Pieces of a Man has received retrospective praise from critics.
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