Free Will (album)
| Free Will | ||||
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| Studio album by Gil Scott-Heron | ||||
| Released | August 1972 | |||
| Recorded | March 2–3, 1972 RCA Studios (New York, New York) |
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| Genre | Soul, jazz-funk, jazz poetry, jazz, proto-rap | |||
| Length | 36:43 | |||
| Label |
Flying Dutchman/RCA FD-10153 |
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| Producer | Bob Thiele | |||
| Gil Scott-Heron chronology | ||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| Allmusic |   |
| Down Beat | |
| The Guardian | |
| The Philadelphia Inquirer | |
| PopMatters | (favorable) |
| Virgin Encyclopedia | |
Free Will is the second studio album by American recording artist Gil Scott-Heron, released in August 1972 on Flying Dutchman Records. Recordings sessions for the album took place on March 2 and 3, 1972 at RCA Studios in New York City, and production was handled by producer Bob Thiele. It is the follow-up to Scott-Heron's critically acclaimed studio debut, Pieces of a Man (1971), and it is the second album to feature him working with keyboardist Brian Jackson.Free Will is also Scott-Heron's final studio album for Flying Dutchman. The album reissued on compact disc in 2001 by Bluebird Records with alternative takes of eight tracks from the original album.
Free Will featured a format which divides the LP's two sides, musically. The first side is made up of five recordings done by Scott-Heron and the entire band, which once again featured Brian Jackson playing a major role as he did on the previous album, Pieces of a Man. Unlike that album, Free Will is shorter in length with tracks below the three and a half minute mark. The title track opens up the album with a meditation on personal responsibility. One of Scott-Heron's best known performances, "The Get out of the Ghetto Blues" is a moving ghetto warning and features bluesy instrumentation by pianist Brian Jackson and guitarist David Spinozza. The second side functions more as a live rap session with Brian Jackson on flute and a couple of percussionists. "Ain't No New Thing" emphasizes Scott-Heron's black pride, which he previously displayed on his debut album, by presenting an argument about the placement of black culture into the American mainstream:
We used to white people tryin' to rob us
Why don't they try stealing some of this poverty
It ain't no new thing … anything they don't understand
They try to destroy
We used to having black innovators
copied and sent back to us
We used to having people try to rob us,
it ain't no new thing
...
Wikipedia