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Gil Scott-Heron - The Middle of Your Day

 
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{Verse 1: Gil Scott-Heron}
Over the hill, you see
The middle of your day
And the Sun says, “It’s time
For you to go your way”

{Verse 2: Gil Scott-Heron}
Go and tell your momma
That you now know what to do
Her love will come in handy
She’s always seen you through

{Verse 3: Gil Scott-Heron}
But there’s no one here to guide you
You got to do it by yourself
Minutes fail you day by day
And there’s really nothing else

{Verse 4: Gil Scott-Heron}
Where were you all morning?
Dodging life inside your heart
Never daring face the dangers
Then attack right from the start

{Verse 5: Gil Scott-Heron}
Go and tell your daddy
He was right in what he said
‘Cause the laws of independence
Don’t apply until you’re dead

{Verse 6: Gil Scott-Heron}
And though you’d like him here to push you
‘Cause you feel a need for help
Minutes fail you day by day
And there’s really nothing else

{Verse 7: Gil Scott-Heron}
How long must we live inside
Chains that anchor us to fear?
How long must we justify
When there’s really nothing here?

{Verse 8: Gil Scott-Heron}
It’s the middle of your day, yeah
Wake up to the middle of your day, yeah
Why don’t you welcome the middle of your day, yeah

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Gil Scott-Heron

Gil Scott-Heron

Song Description

Biography

The American jazz poet and soul musician, Gil Scott-Heron, was notable for his work as a spoken word performer during the 1970s and 1980s.

Gil Scott-Heron is often referred to as “the Godfather of rap” and is acclaimed as one of the genre’s founders. Due to the political consciousness at the root of his work, he is also viewed as being instrumental to the establishment of political rap – “Message to the Messengers” called upon future generations of rap artists and urban poets to speak for change rather than perpetuate current social situations.

Scott-Heron’s lyricism often referenced social and political issues of the time. Themes included the superficiality of mass consumerism, white America’s ignorance of deteriorating living conditions for inner-city residents, and the hypocrisy of black revolutionaries. His critically acclaimed composition, “The Revolution Will Not Be Televised”, takes its title from a popular slogan among the 1960s Black Power movement and alludes to public figures, news coverage, television, and advertising.

Following Scott-Heron’s death in 2011, journalist Greg Kot commented on his style and technique:

Scott-Heron took the news of the day and transformed it into social commentary, wicked satire, and proto-rap anthems. He updated his dispatches from the front lines of the inner city on tour, improvising lyrics with an improvisational daring that matched the jazz-soul swirl of the music. Though celebrated for his political broadsides, Scott-Heron was a master of many styles. He could be playful and mischievous, and he found joy in the power of words and their ability to transform the tragic and tawdry into the comical and uplifting.

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