The Revolution Begins: The Flying Dutchman Masters

Editorial Reviews

All Music Guide - Thom Jurek
Gil Scott-Heron's first three albums for Bob Thiele's Flying Dutchman label have been reissued many times over by a variety of different labels and distributors. While Small Talk at 125th and Lenox and Pieces of a Man have been universally celebrated for their musical, poetic, and militant vision, Free Will, the final date for the label, has been the subject of much debate over the decades. On the original LP, one side featured songs and the other spoken word. While Brian Jackson had been Gil's musical partner since before Pieces of a Man was recorded, he was never given his proper due as a co-composer and collaborator. Free Will reveals that collaboration and balance in ...
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Editorial Reviews

All Music Guide - Thom Jurek
Gil Scott-Heron's first three albums for Bob Thiele's Flying Dutchman label have been reissued many times over by a variety of different labels and distributors. While Small Talk at 125th and Lenox and Pieces of a Man have been universally celebrated for their musical, poetic, and militant vision, Free Will, the final date for the label, has been the subject of much debate over the decades. On the original LP, one side featured songs and the other spoken word. While Brian Jackson had been Gil's musical partner since before Pieces of a Man was recorded, he was never given his proper due as a co-composer and collaborator. Free Will reveals that collaboration and balance in full. Before recording, Jackson wanted more music, Gil wanted more spoken word; they got both and the album is all the better for it. It is the contrast and juxtaposition on that recording that provided the impetus for the Dean Rudland-compiled The Revolution Begins: The Flying Dutchman Masters. Disc one features all of the Scott-Heron and Jackson songs recorded for the label, regardless of which album they appeared on. From "Lady Day and John Coltrane," "Home Is Where the Hatred Is" which, it turns out, Scott-Heron may have been singing into a mirror all along, and by home, he wasn't referring to his family, but America itself, and the second version of "The Revolution Will Not Be Televised" with musical backing, to "Pieces of a Man," "Who'll Pay the Reparations On My Soul," and more, all play out in an intense, soulful, funky, beautifully remastered, hour-long set. Disc two contains all of the spoken word material, which includes virtually all of Small Talk at 125th and Lenox, the second half of Free Will, and other pieces, including the liberal-baiting "The Subject Was Faggots" and "Wiggy." The lone deviation is "Artificialness," on which Scott-Heron fronts Pretty Purdie & His Playboys on a spoken word blues shuffle. The final disc contains an alternately assembled version of Free Will. While shoddy and edited versions of some of its tracks appeared on an earlier RCA compilation, these are the full alternate takes, carefully remixed from original multi-track session tapes, with particular attention paid to the source material. As such, an entirely different Free Will is on display with a real feel for session flow, despite the separation of music and poetry on it; it's not better or worse, but very different. It is a treasure trove of kinetic studio energy with an abundance of free-flowing ideas in process. The Revolution Begins does present a problem, however. By jumbling recordings into what, in essence, is a pair of anthologies, Small Talk and Pieces of a Man are dislocated from their original contexts, which creates an unnecessary separation between music and poetry that were initially regarded as a multi-dimensional and holistic force. Though that shift in history and intent is present, it's far from a deal breaker, because all of the material on The Revolution Begins is unassailable.
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Product Details

  • Release Date: 12/4/2012
  • Label: Ace Records Uk
  • UPC: 029667060806
  • Catalog Number: 6706080
  • Sales rank: 34,841

Tracks

Disc 1
  1. 1 Lady Day and John Coltrane (3:36)
  2. 2 Home is Where the Hatred is (3:21)
  3. 3 Save the Children (4:27)
  4. 4 The Revolution Will Not Be Televised (3:07)
  5. 5 Did You Hear What They Said? (3:29)
  6. 6 Pieces of a Man (4:54)
  7. 7 Speed Kills (3:16)
  8. 8 Everyday (4:22)
  9. 9 I Think I'll Call It Morning (3:31)
  10. 10 When You Are Who You Are (3:22)
  11. 11 Free Will (3:32)
  12. 12 Or Down You Fall (3:13)
  13. 13 The Needle's Eye (4:50)
  14. 14 The Middle of Your Day (4:30)
  15. 15 A Sign of the Ages (4:02)
  16. 16 Who'll Pay Reparations On My Soul? (5:14)
Disc 2
  1. 1 The Revolution Will Not Be Televised (3:22)
  2. 2 Whitey On the Moon (1:59)
  3. 3 No Knock (2:12)
  4. 4 Small Talk At 125th and Lenox (1:22)
  5. 5 Billy Green is Dead (1:30)
  6. 6 Sex Education: Ghetto Style (0:52)
  7. 7 The Vulture (4:35)
  8. 8 The Prisoner (9:26)
  9. 9 ...And Then He Wrote Meditations (3:13)
  10. 10 Plastic Pattern People (2:53)
  11. 11 The Get Out of the Ghetto Blues (5:09)
  12. 12 Artificialness - Pretty Purdie & The Playboys (3:07)
  13. 13 Ain't No New Thing (4:32)
  14. 14 Brother (2:36)
  15. 15 Evolution (and Flashback) (3:22)
  16. 16 The King Alfred Plan (2:48)
  17. 17 Enough (4:13)
  18. 18 Paint It Black (0:32)
  19. 19 Omen (1:46)
  20. 20 Wiggy (1:38)
  21. 21 Comment #1 (4:28)
  22. 22 The Subject Was Faggots (3:11)
Disc 3
  1. 1 Did You Hear What They Said? (3:30)
  2. 2 The Middle of Your Day (4:41)
  3. 3 Free Will (2:57)
  4. 4 The Get Out of the Ghetto Blues (5:05)
  5. 5 Speed Kills (3:19)
  6. 6 The King Alfred Plan (3:01)
  7. 7 No Knock (2:03)
  8. 8 Wiggy (1:29)
  9. 9 Ain't No New Thing (2:42)
  10. 10 Billy Green is Dead (1:33)
  11. 11 ...and Then He Wrote Meditations (1:33)
  12. 12 No Knock (2:09)
  13. 13 Free Will (2:49)
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Album Credits

Performance Credits
Gil Scott-Heron Primary Artist, Vocals
Ron Carter Bass, Electric Bass
Hubert Laws Flute, Piccolo, Saxophone
Chuck Rainey Electric Bass
Brian Jackson Flute, Piano, Electric Piano, Vocals, Bells
David Barnes Percussion, Vocals
Cornell Dupree Guitar
Burt Jones Electric Guitar
Eddie Knowles Percussion, Conga
Billy Nichols Guitar
Horace Ott Conductor
Norman Pride Bongos, Conga
Neal Rosengarden Harpsichord, Tambourine
David Spinozza Guitar
Harold Wheeler Piano, Electric Piano
Johnny Pate Conductor
Jerry Jemmott Bass
Charlie Saunders Percussion, Conga
Pretty Purdie Drums
Technical Credits
Brian Jackson Composer
Ray Hall Remixing
Horace Ott Arranger
Nick Robbins Mastering
Gil Scott-Heron Composer
Bob Thiele Producer
Chuck Stewart Cover Photo, Back Cover Photo
Dean Rudland Liner Notes, Source Material
Raymond Ross Cover Photo
Bernard Purdie Composer
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