Recording Career, Con’t
Scott-Heron recorded and released only four albums during the 1980s: 1980 and Real Eyes (1980), Reflections (1981) and Moving Target (1982). In February 1982, Ron Holloway joined the ensemble to play tenor saxophone. He toured extensively with Scott-Heron and contributed to his next album, Moving Target the same year. His tenor accompaniment is a prominent feature of the songs “Fast Lane” and “Black History/The World.” Holloway continued with Scott-Heron until the summer of 1989, when he left to joinDizzy Gillespie. Several years later, Scott-Heron would make cameo appearances on two of Ron Holloway’s CD’s; Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.
Ain’t No Such Thing as a Superman
Scott-Heron was dropped by Arista Records in 1985 and quit recording, though he continued to tour. The same year he helped compose and sang “Let Me See Your I.D.” on theArtists United Against Apartheid album Sun City, containing the famous line, “The first time I heard there was trouble in the Middle East, I thought they were talking about Pittsburgh.” The song compares racial tensions in the US with those in apartheid-era South Africa, implying that the US was not too far ahead in race relations. In 1993, he signed to TVT Records and released Spirits, an album that included the seminal track “‘Message to the Messengers”. The first track on the album criticized the rap artists of the day. Scott-Heron is known in many circles as “the Godfather of rap” and is widely considered to be one of the genre’s founding fathers. Given the political consciousness that lies at the foundation of his work, he can also be called a founder of political rap. Message to the Messengers was a plea for the new generation of rappers to speak for change rather than perpetuate the current social situation, and to be more articulate and artistic. Regarding hip hop music in the 1990s, he said in an interview:
They need to study music. I played in several bands before I began my career as a poet. There’s a big difference between putting words over some music, and blending those same words into the music. There’s not a lot of humor. They use a lot of slang and colloquialisms, and you don’t really see inside the person. Instead, you just get a lot of posturing.—Gil Scott-Heron