Small Talk at 125th and Lenox

Editorial Reviews
Amazon.com
Twenty-one-year-old Gil Scott-Heron had yet to make the full transition from poet to musician when he recorded his provocative 1970 debut, Small Talk at 125th and Lenox. His words, though--his gleaming anger, his brutal honesty, and his shocking wit--fill in the soundtrack on their own, chattering and dancing like the simple but persuasive percussion that drives most of the album. Scott-Heron paints the black experience of his time in bold strokes--by turns ironic ("Whitey on the Moon"), critical ("Brother"), and solemn (appropriately enough on the quiet "Paint It Black"). Unfortunately, on the disappointing, inflammatory "The Subject Was Faggots," Scott-Heron becomes the very name-calling oppressor he speaks out against throughout the rest of Small Talk. --Michael Ruby

Tracks:

Introduction: The Revolution Will Not Be Televised
Omen
Brother
Comment No. 1
Small Talk At 125th & Lenox
The Subject Was Faggots
Evolution (And Flashback)
Plastic Pattern People
Whitey On The Moon
The Vulture
Enough
Paint It Black
Who'll Pay Reparation On My Soul?
Everyday

Album Description

Remastered reissue of 1970 album. Packaged in a digipak reproduction of the original artwork. The full title is 'A New Black Poet-Small Talk at 125th and Lenox'.

Album Details

Twenty-four bit digitally remastered with restored original artwork.

Average customer rating:

He sure is and was one the last poets
Political spoken word.
Poetry of the Revolution
Gil Scott-Heron was simply a man.
the fountainhead

Small Talk at 125th and Lenox
Gil Scott-Heron
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Winter in America
The First Minute of a New Day
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ASIN: B000005MLX
Release Date: 1995-05-23

Tracks:

Intro
The Revolution Will Not Be Televised
Omen
Brother
Comment #1
Small Talk At 125th And Lenox
The Subject Was Faggots
Evolution (And Flashback)
Plastic Pattern People
Whitey On The Moon
The Vulture
Enough
Paint It Black
Everyday

Amazon.com

Twenty-one-year-old Gil Scott-Heron had yet to make the full transition from poet to musician when he recorded his provocative 1970 debut, Small Talk at 125th and Lenox. His words, though--his gleaming anger, his brutal honesty, and his shocking wit--fill in the soundtrack on their own, chattering and dancing like the simple but persuasive percussion that drives most of the album. Scott-Heron paints the black experience of his time in bold strokes--by turns ironic ("Whitey on the Moon"), critical ("Brother"), and solemn (appropriately enough on the quiet "Paint It Black"). Unfortunately, on the disappointing, inflammatory "The Subject Was Faggots," Scott-Heron becomes the very name-calling oppressor he speaks out against throughout the rest of Small Talk. --Michael Ruby

Customer Reviews:

He sure is and was one the last poets.......2005-08-02

A blues poet even if the only sound you hear, apart for the last two tracks, is his voice and bongos. But this is the scheme and the inner seed of blues. He uses terms Robert Johnson was not allowed, the rage of someone who doesn't want to be in an underdog position and his attack to the systems has names and faces.
At the same time he makes you laugh teasing and fooling the central power in Washington D.C. Ok it was many years ago but this sort of modern "call and response" (all by hisself) can still scare.
The music in the end arrives with "Who'll pay repairation on my soul": same political and social topic but, hey, that's pure soul.
A big applause.

Political spoken word........2005-06-03

In 1970, Gil Scott-Heron was a young man, expressing his frustration in the most honest means he knew-- his poetry. He performed it live, backed on this particular record mostly by two percussionists (with three tracks featuring his piano playing a couple of those with another vocalist). The words are of the period, and of the age he was, and they range from brilliant ("The Revolution Will Not Be Televised") to amusing ("Whitey on the Moon") to somewhat embarassing ("The Subject Was F*****s") social commentary. I suspect Scott-Heron would be somewhat embarassed by at least some of this material, but it is largely brilliant.

Musically it is straightforward, with simple hand percussion rhythms set up behind him, Scott-Heron let's forth his words in a suitably dramatic fashion. Honestly, I think his words speak best for him, so I'll quote a few pieces:

"Martin is dead. With Martin as our leader, we prayed and marched and marched and prayed. Things were changing, things were getting better, but things were not together.

"With Malcolm as our leader, we learned and thought and thought we had learned. Things were changing, things were getting better, but things were not together.

"And now it is your turn: we are tired of praying and marchign and thinking and learning. Brothers want to start cutting and shooting and stealing and burning. You are 300 years ahead in equality, but next summer may be too late".

The above quote is from "Evolution (and Flashback)". If it appeals to you, check this record out, the truly great material on the album is like this.

Poetry of the Revolution.......2004-05-09

If you are looking for the musical brilliance that you hear on other Gil Scott Heron records with seoaring woodwinds and lyrical piano/keyboard look at another album such as "Winter in America."

"Small Talk" is Gil's critical dissertation on the state of America as we were awakened from the Psychedelic daze of the '60's and dillusions of triumph only to realie that little had been accomplished and darker days lay ahead.

The majority of the tracks on this album are Gil reading poetry accompanied only by bongos. If you have litened to the more musical albums by Gil Scott Heron and have been moved by his lyrics and messages then check this out. These are the original poems out of which was born his musical career. It's especially interesting, especially on "The Revolution Will Not Be Televised", to compare the rawness of the original lyrics to corporate censored versions of later releases.

As with any message it is important to remember not to critique it for where it may go astray but rather where it hits the nail on the head. No one person can have all of the answers. As a community we can draw upon the positives from each member to make the world an overall better place. Gil may go astray at times but we should support one another rather than become divided.

Of not, track 7, "Evolution (and Flashback)" is a brilliant standout.

Gil Scott-Heron was simply a man........2002-04-20

Okay, before I go any further, yes, there is a track on this LP that uses a term that is considered derogatory of homosexuals. Yes, it is perhaps an illustration of ignorance. But I think it's important that it is continuously included in reissues of this unique and important album.

Gil Scott-Heron was a man, an outspoken man. That was his beauty as a poet, as a street reporter, as the original rapper. On this album he speaks as he sees things. This isn't about image or album sales like most "rap artists" albums are these days.

So yeah, his outlook isn't politically correct. However, it is important that Gil Scott-Heron is not approaching the subject of homosexuality in judgmental manner really... Maybe I'm wrong, but I don't see it that way and I think it would be a shame if that was the only reason you did not expierence this piece of art.

This is the recorded example of one man's poetry, one man's expierence, one man's hopes, one man's call for action - This is a recording of a small talk (with percussion!) on 125th and Lenox Avenue and it is powerful enough for me to claim 'it needs to be heard.'

the fountainhead.......2001-10-20

There are only three essential records for the formation of rap: "The Last Poets"-The Last Poets, "Sex Machine"- James Brown, and this one. It is his best work, probably because it's so raw and informed, but still believable. Though released a generation ago, he still packs a punch talking about issues that have plagued America since the days of William Lloyd Garrison. His politics are gritty to anyone who isn't black, but that is the point. It takes brains to appreciate art and wit. It takes none to be offended by them.
Sonically, it's even more current. The sessions are basically off-the-cuff numbers with his piano, vocals, and some congero friends of his. As much as you might call him a provocateur, he forces you to look at the problems we would otherwise sweep under the rug.
Rap groups like Public Enemy are descended from this work, but they don't have the originality of this. Personally, I think rap has been dead since 1989 with De La Soul's "3 Feet High and Rising". You be the judge and review these. However, I shall always miss the days when rap really was something and not just the watery disco and cliche' samples that today's groups call rap/hip-hop.

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