Free Will (AAA Edition)
Label: Ace
Genre: Soul
$54.99
Availability: In stock
Cut in an all-analogue chain by Frank Merritt The Carvery Studio. When BGP inherited the honour of looking after the Flying Dutchman legacy we discovered that, as well as being almost unparalleled in his discovery of great talent, Bob Thiele also recorded it immaculately. The label’s master tapes sounded exceptional and when it has come to our reissue series have only ever required the most minimal of EQ before transferring them onto disc. With this is mind we have embarked on a series of all analogue re-mastering projects, to bring the listener as close to the sound captured on tape as possible. Our first release was Gil Scott-Heron’s “Pieces Of A Man” which was released early in 2023 and this second outing is “Free Will”. We took the original master tape to Frank Merritt at the Carvery who transferred the audio and mastered it before making this new cut himself. We then had it pressed on 180 gram vinyl and our only wish now is that you drop the needle, sit back and go back to 1972 to enjoy Gil Scott-Heron in his prime.
Gil Scott-Heron’s third album is split down the middle, the first side being a purely musical experience with a full band (including flutist Hubert Laws and drummer Pretty Purdie), the second functioning more as a live rap session with collaborator Brian Jackson on flute and a few friends on percussion. For side one, although he’s overly tentative on the ballad “The Middle of Your Day,” Scott-Heron excels on the title track and the third song, “The Get Out of the Ghetto Blues,” one of his best, best-known performances. The second side is more of an impromptu performance, with Scott-Heron often explaining his tracks by way of introduction (“No Knock” referred to a new police policy whereby knocking was no longer required before entering a house, “And Then He Wrote Meditations” being Scott-Heron’s tribute to John Coltrane). His first exploration of pure music-making, Free Will functions as one of Scott-Heron’s most visceral performance, displaying a maturing artist who still draws on the raw feeling of his youth.
Gil Scott-Heron’s third album is split down the middle, the first side being a purely musical experience with a full band (including flutist Hubert Laws and drummer Pretty Purdie), the second functioning more as a live rap session with collaborator Brian Jackson on flute and a few friends on percussion. For side one, although he’s overly tentative on the ballad “The Middle of Your Day,” Scott-Heron excels on the title track and the third song, “The Get Out of the Ghetto Blues,” one of his best, best-known performances. The second side is more of an impromptu performance, with Scott-Heron often explaining his tracks by way of introduction (“No Knock” referred to a new police policy whereby knocking was no longer required before entering a house, “And Then He Wrote Meditations” being Scott-Heron’s tribute to John Coltrane). His first exploration of pure music-making, Free Will functions as one of Scott-Heron’s most visceral performance, displaying a maturing artist who still draws on the raw feeling of his youth.
