He began recording in 1970 with the LP Small Talk at 125th and Lenox with the assistance of Bob Thiele Flying Dutchman Records, co-writer Brian Jackson, Hubert Laws, Bernard Purdie (who later recorded "Delights of the Garden" with The Last Poets), Charlie Saunders, Eddie Knowles, Ron Carter and Bert Jones, all jazz musicians (see 1970 in music). The album included the aggressive diatribe against white-owned corporate media and middle-class America's ignorance of the problems of inner cities in songs such as Whitey On The Moon.
The 1971 Pieces of a Man used more conventional song structures than the loose, spoken word feel of his first, though he didn't reach the charts until 1975 with "Johannesburg". His biggest hit was 1978's "The Bottle", produced by Heron and longtime partner Brian Jackson, which peaked at #15 on the R&B charts (see 1978 in music).
In 2001, Gil Scott-Heron was sentenced to one to three years' imprisonment in New York State for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003. On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. Scott-Heron's sentence was to run until July 13, 2009. He was paroled on May 23, 2007. The reason given for the violation of his plea was that the clinic refused to supply Scott-Heron with HIV medication. This story led to the presumption that the artist is HIV positive.
After his release, Scott-Heron began performing live again, starting with a show at SOBs in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titled The Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.
He was arrested October 10, 2007, the day before a scheduled (but ultimately cancelled) second SOBs performance, on felony possession of cocaine charges. However, he has continued to make live appearances at various US venues during the course of 2008 and 2009, including further appearances at SOBs in New York. He has also stated in interviews that work is continuing on his new album, which will consist mainly of new versions of some of his classic songs plus some cover versions of other artists' work.
Having originally planned to publish The Last Holiday in 2003, before it was put on hold, Canongate Books now tentatively intend to issue it in January, 2011. The book was due to be previewed via a website set to be launched on April 1, 2009, but this did not appear.
Mark T. Watson, a student of Scott-Heron's work, dedicated a collection of poetry to Gil titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. The book was published in the UK in 2004 by Fore-Word Press Ltd. Scott-Heron recorded one of the poems in Watson's book Black & Blue due for release in 2008 as part of the album Rhythms of the Diaspora by Malik & the OG's on the record label CPR Recordings.
Gil Scott-Heron released his new album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, 'I'm New Here' is Scott-Heron's first album in thirteen years.The pair started recording the album in 2007, with the majority of the record being recorded over the last twelve months with engineer Lawson White at Clinton Studios in New York. In 2009, a new Gil Scott-Heron website, www.gilscottheron.net , was launched with a brand new track 'Where Did The Night Go' made available as a free download from the site.
In 2011, Scott-Heron released "We're New Here" a remix album which was a collaboration with Jamie xx, a member of the British indie band The xx. Scott-Heron died in New York City on May 27, 2011.
Bicentennial Blues
Gil Scott-Heron Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And few people doubt that America is the home of the blues
As the bluesicians have gone all over the world carrying the blues message
And the world has snapped its fingers and tapped its feet right along with the blues folks
But, the blues has always been totally American
As American as apple pie
As American as the blues
As American as apple pie
Why should the blues be so at home here
Well, America provided the atmosphere
America provided the atmosphere for the blues and the blues was born
The blues was born on the American wilderness
The blues was born on the beaches where the slave ships docked
Born on the slave man's auction block
The blues was born and carried on the howling wind
The blues grew up a slave
The blues grew up as property
The blues grew up in Nat Turner visions
The blues grew up in Harriet Tubman courage
The blues grew up in small town deprivation
The blues grew up in big city isolation
The blues grew up in the nightmares of the white man
The blues grew up in the blues singing of Bessie and Billie and Ma
The blues grew up in Satchmo's horn, on Duke's piano and Langston's poetry, on Robeson's baritone
The point is
That the blues has grown
The blues is grown now, full grown
And you can trace the evolution of the blues
On a parallel line with the evolution of this country
From Plymouth Rock to acid-rock
From 13 states to Watergate
The blues is grown
But not the home
The blues is grown
But the country has not
The blues remembers everything the country forgot
It's a bicentennial year and the blues is celebrating a birthday
And it's a bicentennial blues
America has got the blues and it's a bicentennial edition
The blues view might amuse you
But make no mistake, it's a bicentennial year
A year of hysterical importance
A year of historical importance
Ripped off like donated moments from the past
200 years ago this evening
200 years ago last evening
And what about now?
The blues is now
The blues has grown up and the country has not
The country has been ripped off
Ripped off like the Indians
Ripped off like jazz
Ripped off like nature
Ripped off like Christmas
Man-handled by media overkill
Goosed by aspiring vice presidents
Violated by commercial corporations
A bicentennial year
The year the symbol transformed into the B-U-Y centennial
Buy a car
Buy a flag
Buy a map
Until the public in mass has been bludgeoned into bicentennial submission
Or bicentennial suspicion
I fall into the latter category
It's a blues year
And America has got the blues
It's got the blues because of partial deification
Of partial accomplishments
Over partial periods of time
Halfway justice
Halfway liberty
Halfway equality
It's a half-ass year
And we would be silly in all our knowledge
In all our self-righteous knowledge
When we sit back and laugh and mock the things that happen in our lives
To accept anything less than the truth
About this bicentennial year
And the truth relates to 200 years of people and ideas getting by
It got by George Washington
The ideas of justice, liberty and equality
Got cold by George Washington
Slave-owner general
Ironic that the father of this country
Should be a slave owner
The father of this country a slave-owner
Having got by him
It made it easy to get by his henchman
The creators of this liberty
Who slept in the beds with the captains of slave ships
Fought alongside black freed men in the union army
And left America a legacy of hypocrisy
It's a blues year
Got by Gerald Ford
Oatmeal man
Has declared himself at odds
With people on welfare, people who get food stamps
Day care children, the elderly, the poor, women
And people who might vote for Ronald Reagan
Ronald Reagan, it got by him
Hollyweird
Acted like a actor
Acted like a liberruuuuuuuulllzz lolz
Acted like General Franco when he acted like governor of California
Now he acts like somebody might vote for him for president
It got by Jimmy Carter
Skippy
Got by Jimmy Carter and got by him and his friend the colonel
The creators of southern-fried triple talk
A blues trio
America got the blues
It got by Henry Kissinger
The international godfather of peace
A piece of Vietnam
A piece of Laos
A piece of Angola
A piece of Cuba
A blues quartet
And America got the blues
The point is that it may get by you
For another 4 years
For another 8 years
You stuck
Playing 2nd fiddle in a blues quartet
Got the blues looking for the first principle
Which was justice
It's a blues year for justice
It's a blues year for the San Quentin 6
Looking for justice
It's a blues year for Gary Tyler
Looking for justice
It's a blues year for Rev. Ben Chaves
Looking for justice
It's a blues year for Boston
Looking for justice
It's a blues year for baby's on buses
It's a blues year for mothers and fathers with babies on buses
It's a blues year for Boston
And it's a blues year all over this country
America has got the blues
And the blues is in the street looking for the 3 principles
Justice, liberty and equality
We would do well to join the blues looking for justice, liberty and equality
The blues is in the street
America has got the blues
But don't let it get by us.
The song Bicentennial Blues by Gil Scott-Heron expresses the idea that America has the blues, and not just in a musical sense. The blues resonates deeply with the American experience, as it was born out of the country's history of slavery, oppression, and inequality. Scott-Heron argues that the blues is as American as apple pie, and that America provided the perfect atmosphere for the creation of this uniquely American form of music.
In the lyrics, Scott-Heron traces the evolution of the blues alongside the evolution of the country, from its founding to the present day. He points out the hypocrisies and injustices that have characterized America's history, from the treatment of Native Americans to the slavery that gave rise to the blues itself. Scott-Heron laments that America has been "ripped off" and "man-handled" by corporations and politicians, and that the promise of justice, liberty, and equality remains partial and incomplete.
Throughout the song, Scott-Heron emphasizes the importance of seeking truth, justice, and equality. He calls on listeners to join him and the blues in the struggle for these ideals. The song ends with a warning not to let the blues, or the injustices that it embodies, get by us.
Line by Line Meaning
Some people think that America invented the blues
America is often credited with inventing the blues, which has spread around the world carrying its message.
And few people doubt that America is the home of the blues
The blues has always been considered to be an authentic and truly American art form.
As the bluesicians have gone all over the world carrying the blues message
Blues musicians have traveled extensively, spreading the message and influence of the blues globally.
And the world has snapped its fingers and tapped its feet right along with the blues folks
As the blues has spread around the world, people everywhere have embraced its rhythms and beats.
But, the blues has always been totally American
Despite its global influence, the blues is a uniquely American art form tied to the country's history and culture.
As American as apple pie
The blues is as American as a popular and quintessential American dessert.
The question is why?
Gil Scott-Heron poses a question about why the blues is so at home in America.
Why should the blues be so at home here
The question reiterates the idea that the blues is uniquely American and asks why that might be the case.
Well, America provided the atmosphere
The blues was born out of the particular historical and cultural conditions present in America.
America provided the atmosphere for the blues and the blues was born
The blues emerged from the very particular historical and cultural conditions present in America at its birth.
The blues was born on the American wilderness
The origins of the blues can be traced back to the earliest settlements on the American frontier.
The blues was born on the beaches where the slave ships docked
The blues grew out of the horrific conditions faced by those brought to America on slave ships.
Born on the slave man's auction block
The blues emerged from the sale and purchase of human beings as property, one of the most dehumanizing aspects of American history.
The blues was born and carried on the howling wind
The blues grew out of the collective cries of those who suffered under the harsh conditions of American history.
The blues grew up a slave
The blues was shaped by the experiences of those who were enslaved and forced to endure unimaginable cruelty and hardship.
The blues grew up as property
The blues evolved in the context of a society that viewed enslaved people as commodities to be bought and sold like any other property.
The blues grew up in Nat Turner visions
The blues was shaped by the vision of those who like Turner, sought to overthrow the system of slavery through direct action.
The blues grew up in Harriet Tubman courage
The blues was shaped by the courage and determination of people like Tubman who helped others to escape from slavery and find freedom.
The blues grew up in small town deprivation
The blues responded to the harsh realities of poverty and deprivation faced by many people living in small towns across America.
The blues grew up in big city isolation
The blues was shaped by the isolation and dislocation experienced by many people living in America's big cities.
The blues grew up in the nightmares of the white man
The blues grew out of the experience of those who suffered under the oppressive structures and nightmares imposed upon them by those in power.
The blues grew up in the blues singing of Bessie and Billie and Ma
The blues was shaped by the singing of iconic voices like Bessie Smith, Billie Holiday, and Ma Rainey.
The blues grew up in Satchmo's horn, on Duke's piano and Langston's poetry, on Robeson's baritone
The blues was shaped by the music and poetry of iconic figures like Louis Armstrong, Duke Ellington, Langston Hughes, and Paul Robeson.
The point is that the blues has grown
The blues has evolved and changed over time in response to shifting cultural and historical circumstances.
The blues is grown now, full grown
Today, the blues is an established and recognized art form with a rich history and influence.
And you can trace the evolution of the blues
It is possible to trace the development and growth of the blues over time.
On a parallel line with the evolution of this country
The blues has evolved alongside and reflects the changing social, political, and cultural conditions in America.
From Plymouth Rock to acid-rock
The evolution of the blues can be traced from the earliest days of American history to the countercultural movements of the 1960s and '70s.
From 13 states to Watergate
The evolution of the blues parallels the history of the United States, from its founding to contemporary political scandals.
But the country has not
Despite the growth and evolution of the blues, America itself has not progressed as much as it should.
The blues remembers everything the country forgot
The blues acts as a reminder of the darker and less palatable aspects of American history and culture that have been forgotten or ignored by mainstream society.
It's a bicentennial year and the blues is celebrating a birthday
The bicentennial year marks an important anniversary for America and the blues, which has been shaped by the country's history and culture.
America has got the blues and it's a bicentennial edition
America is feeling the weight of its history and the blues has taken on a special significance in this bicentennial year.
A year of hysterical importance
The bicentennial year is a time of great importance and significance to Americans.
A year of historical importance
The bicentennial year is an important moment in the country's history.
Ripped off like donated moments from the past
The bicentennial celebration is seen as a shallow and superficial way of engaging with America's past and history.
And what about now?
Gil Scott-Heron asks a rhetorical question about the current state of the country in light of its history.
The blues is now
The blues is a living, breathing art form that continues to evolve and grow to this day.
It's got the blues because of partial deification
The blues reflects America's partial or incomplete progress towards its own lofty ideals of justice, liberty, and equality.
Over partial periods of time
America's progress towards a society of justice, liberty, and equality has been slow and piecemeal, leaving many groups and individuals behind.
It's a half-ass year
The bicentennial year is seen as a half-hearted attempt to celebrate and reflect on America's past and present.
In all our self-righteous knowledge
Gil Scott-Heron criticizes those who feel like they have all the answers about America and its history.
To accept anything less than the truth
Gil Scott-Heron implores Americans to seek the truth about their country's history and present conditions.
It made it easy to get by his henchman
The deification of George Washington made it easier for other powerful figures in American history to ignore or perpetuate injustice and inequality.
The creators of this liberty
Gil Scott-Heron references the Founding Fathers, who established America's political system and ideals.
Left America a legacy of hypocrisy
Despite their lofty ideals, the Founding Fathers left a legacy of hypocrisy and contradiction due to their ownership of slaves and other morally questionable actions.
It's a blues year all over this country
The blues reflects the experiences and struggles of people all over America.
The blues is in the street
The blues is a voice of the people and can be heard in the streets and communities across America.
Looking for justice, liberty, and equality
The blues and the people who embrace it are searching for fundamental concepts that America has sometimes failed to embody in its history and present reality.
We would do well to join the blues looking for justice, liberty and equality
Gil Scott-Heron encourages Americans to embrace the values and goals expressed through the blues and join the fight for justice, liberty, and equality.
But don't let it get by us.
Gil Scott-Heron implores Americans not to let the bicentennial year or any other year pass without reflecting deeply on America's history and struggles for a better future.
Contributed by Caden O. Suggest a correction in the comments below.
Bill Hunter
These words are more appropriate now than ever - the man was a genius
john thijm
The blues grew up in Satchmo’s horn, on Duke’s piano and Langston’s poetry, on Robeson’s baritone, on Gil Scott’s rap.
alex Villarreal
Amen, may we let it be heard and respected. The fight for your rights never stops.
Basil Shahiyd
Golden classic!!!
RIP Gil.
David Whiteis
RIP Gil -- Where is your voice now, when we need it more than ever?
Slim Jim Longfoot
Up to us now.
john thijm
He handed us the relay baton and now it’s up to us to carry it a little further and hand it over to some else.
Mr C
Yes, the 'Blues' is as American as apple pie, but it's interesting that we in the UK took it to our hearts and loved it!
aaronl22
What a deep voice too
Dayna Gratefull
America has still got the blues...