1980 can be viewed as a precursor for the venomous rants Gil Scott-Heron would unleash on the eventual Reagan-led White House. Loaded with perceptive and poignant observations on the state of America as it advanced into a new and uncertain decade, 1980 is a powerful final album of '70s for Scott-Heron and his partner Brian Jackson. Amazingly, Scott-Heron's focus at the close of the decade is strikingly similar to his focus on his 1970 debut, Small Talk at 125th and Lennox; namely that social and political change has yet to come to many Americans, despite the advancements in technology and other seemingly less significant realms. The enemies are the same: nuclear power and big business ("Shut Um Down"), oppressive governments ("Shah Mot"), and racism ("Willing"). On the title track, Scott-Heron's gaze is set on the future with an eye on the past as well. When he sings, "Boogie-Woogie's somewhere in the lost and found," he's not only speaking of the changes in music, but also in popular culture. There is a hint of resentment on his part that this musical style, like other revolutionary African-American innovations, has been progressively stolen, mined, sterilized, and eventually discarded. This is not to say that the music throughout the album is marked by regret or sorrow. The spacy synthesizers, background vocals, and use of horns, along with Jackson's always-extraordinary arrangements, give the album a quality that matches the aura of the period without forgetting past musical styles. The descriptive "Alien (Hold on to Your Dreams)" is the album's most enduring song, vividly portraying the plight of Mexican illegal aliens living in Los Angeles and offering an uplifting refrain.
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AllMusic Review by Jeff Schwachter