1.Storm Music 	4:51
2.Grandma's Hands 	5:24
3.Is That Jazz? 	3:43
4.Morning Thoughts 	4:37
5.Inner City Blues (Poem: "The Siege Of New Orleans) 	5:46
6.Gun 	4:00
7."B" Movie 	12:10

Bass – Robert Gordon
Drums – Kenny Powell
Electric Piano – Gil Scott-Heron 
Guitar – Ed Brady
Piano, Electric Piano, Organ, Clavinet, Synthesizer, Harmonica – Glen (Astro) Turner
Soprano Saxophone, Alto Saxophone, Flute [Flutes] – Vernon James
Tenor Saxophone – Carl Cornwell, Leon Williams 
Trumpet, Flugelhorn – Kenny Sheffield
Vocals – Gil Scott-Heron 
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Backing Vocals – Clydene Jackson, Julia Waters, Maxine WatersGuitar
Guitar [Bubble Guitar] – Kenny Lazarus
Percussion, Timbales – Larry MacDonald

Although a major across-the-board hit always eluded the poet, singer, and activist Gil Scott-Heron, this album does contain one of his best-known songs. "B-Movie," an extended attack on Ronald "Ray-gun," unleashes 12 minutes of vitriol about the then recently elected president. Beginning with the declaration "Mandate, my ass," it's a laundry list of fears about Reagan, fantasizing that his election meant "we're all actors" in some surreal film. Delivered over a taut funk groove, parts of it are still funny. Elsewhere, Scott-Heron takes an early stab at endorsing firearm control on "Gun"; slows things down for "Morning Thoughts"; and explores reggae's rhythms and revolutionary power on "Storm Music," a direction he'd pursue more fully on his next album, Moving Target. The disc also includes a pair of covers that offer varying degrees of success: Bill Withers' "Grandma's Hands" is a natural for Scott-Heron's warm baritone and a bright soul-jazz arrangement from the Midnight Band, but the version of Marvin Gaye's "Inner City Blues," while it swings convincingly, has a lengthy spoken-word riff that fails to embellish on the pain implicit in the original. Overall, Reflections doesn't capture Scott-Heron at the peak of his game, though anyone who enjoyed the other works from his Arista period certainly won't be disappointed. ---Dan LeRoy, AllMusic Review

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1. On Coming From A Broken Home (Pt. 1)
2. Me And The Devil
3. I'm New Here                         play
4. Your Soul And Mine
5. Parents (Interlude)
6. I'll Take Care Of You
7. Being Blessed (Interlude)
8. Where Did The Night Go
9. I Was Guided (Interlude)
10. New York Is Killing Me              play
11. Certain Things (Interlude)
12. Running
13. The Crutch
14. I've Been Me (Interlude)
15. On Coming From A Broken Home (Pt. 2)

The past decade has been tragically ironic for the iconic Gil Scott-Heron. The man has been the voice of a revolution whose impact reached well beyond the scope of his music; striving to rescue people from the pitfalls of society. The idea that the same man would be severing multiple prison sentences, battling drug addiction and facing a rumored HIV diagnosis in his later years is beyond belief... few have fallen from such heights. Yet, often the most masterful works result from the worst tribulations. Immersed in his personal demons "I'm New Here" follows this mold. Followers of Scott-Heron's career might be thrown off by this record. No, he hasn't lost his mastery of words. Gil is as poignant as ever. His spoken word cuts are comparable to his earliest works and he knows exactly how to use his ailing voice to favor. It's musically and topically where this album is a grand departure from anything he's released. Scott-Heron sounds like he's literally been through hell. He touches on his demise, the fate of his soul, and living with the pain left by the sins he's committed. Tracks like the "New York Is Killing Me" are a kin to "Home is Where the Hatred Is", only further exemplified by the fact that he's no longer playing a role: he's lived it. The production of Richard Russel meets this tone head on by providing a sinister soundscape which is a perfect counterpart to the lyrics. It is more inline with the recent works of Portishead, Burial and Massive Attack than what one would naturally expect from the soul legend. Combining the man's ragged voice and the despair in his words with the dark production is a simply haunting experience. I would honestly NOT recommend this album for people who are ONLY looking for a return to Gil's work with Brian Jackson. Even the tracks that break the bleak mold, borrow more from Hip-Hop than neo-soul. If the idea of combining Small Talk at 125th and Lenox with the atmosphere of American IV: The Man Comes Around over a Live with Me backdrop sparks your curiosity then I would highly recommend the record as the experience will be gorgeous and heartbreaking. While Gil Scott-Heron still commands a response from his audience, he urges in a way that he never has before: that of a tortured soul, begging others not to follow his path. ---Scott D. Gribble

Gdy na kilka tygodni przed premierą, do publicznego użytku oddano stronę internetową imnewhere.net zawierającą pierwsze fragmenty z płyty, stało się jasne, że nowy album nie będzie kalką żadnego ze wcześniejszych dzieł autora The Revolution Will Not Be Televised. Ciepłe, jazz-funkowe kompozycje, będące w latach 70. i 80. znakiem rozpoznawczym Gil Scott-Herona zastąpiły chłodne, depresyjne nagrania oddające ludzką samotność w wielkim mieście. Duża w tym zasługa producenta płyty Richarda Russella współwłaściciela XL Recordings, który pozostając w cieniu takich artystów jak M.IA., Beck’a, czy Toma York’a, a teraz i Gil Scott-Herona odnosi spektakularne sukcesy w muzycznej branży. Warto zastanowić się czyją płytą jest I’m New Here. Czy należy sugerować się widniejącym na okładce obliczem pana Herona czy też zajrzeć głębiej do tzw. liner notes? Najwygodniej byłoby odpowiedzieć wymijająco, przekonując Państwa, że to efekt kolektywnej pracy w studiach XL. Niestety to nie jest prawda, bowiem Gil Scott-Heron jest gościem na własnej płycie. Argumenty popierające powyższy stan rzeczy są niepodważalne. W niespełna 30 minutach (tyle trwa płyta) mieszczą się m.in., cztery wywiady, trzy covery, dwa użyte sample oraz pokaźne zaplecze muzyków zaproszonych do udziału w projekcie. Jednakże nie należy deprecjonować nowego albumu, tym bardziej, że nagrania autorstwa pana Herona - choć stanowią mniejszość I’m New Here - w swej doskonałości sycą w pełni. Podobnie jak cztery wywiady, trzy covery i dwa użyte sample. Niechęć autora płyty do tworzenia nowych tekstów i melodii jest zrozumiała, w końcu nagrał 15 płyt. W latach świetności, pan Heron zachowywał twórczą aktywność, na co nie mógł pozwolić sobie w ostatnich dwóch dekadach, które spędził głównie w więzieniu na walce z uzależnieniami oraz chorobą (jest nosicielem HIV). Stąd prawdopodobnie decyzja o zapożyczeniu utworów od innych twórców. Utworów, które doskonale oddają stan ducha i umysłu ojca chrzestnego rapu.

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