Gil Scott-Heron – Moving Target – New LP

Moving from plenty of funky numbers to the reggae of "Ready or Not," from the blues of "Blue Collar," to his rap-poetry / jazz workout with the marathon closer "Black History / The World," giving the background and then moving into plans for today and the future, throughout it all, his eye focused keenly on the happenings of the world unfolding, continuing the vision he and his contemporaries had explored for the past decade and before, some of the sounds making it clear this comes from the early 1980s but also ignoring some of the styles and clearly coming out of the social commentary the early 1970s, another essential outing from Gil Scott-Heron.  -- winch

AllMusic Review by Dan LeRoy: "Gil Scott-Heron's last proper album for more than a decade, Moving Target was recorded after a period of intense touring (hence the title) and, perhaps understandably, finds the Midnight Band playing a larger role than usual. It also may reflect the group's travels, as the typical, tastefully jazzy R&B and funk grooves -- like set-opener "Fast Lane" and "Explanations" -- are supplemented with more exotic sounds. Like Stevie Wonder, for whom he and the Midnight Band opened a tour in 1980, Scott-Heron and his bandmates were experimenting with reggae. "No Exit" has clear echoes of Bob Marley, while "Ready or Not" is a sultry island jam. Both tunes also had themes more personal than political, a shift noticeable elsewhere on the album (even "Washington D.C.," with its seemingly obvious subject, is as much about the resilient spirit of D.C.'s citizens as it's about the city's politicians). That's somewhat surprising, given that Scott-Heron had recently enjoyed success with "B-Movie," a pointed attack on then-president Ronald Reagan. But "Blue Collar" is a populist manifesto that gives shout-outs to working folks in a variety of professions across the fruited plain before concluding with the dispirited chorus, "There ain't no place we ain't been down," and "Black History/The World" offers nearly ten minutes of Afro-centric theorizing, beginning with a spoken introduction that hearkens back to Scott-Heron's sarcastic, poetic beginnings and ends with a plea for peace and world change."

Recording Studios:
Blas Studio/Springfield, Va.
March 25-27 & May 28-29 1982
Townhouse/London, England
April 9-12 1982
The Manor/Oxford, England
April 19-21 1982
Record Plant/Los Angeles, Cal.
June 7-17 (Recorded & Mixed)
A&M/Los Angeles, Ca.
Mastering, July 1982.