Customer Reviews

Scott

5 star:		(6)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Listening to Scott Walker's first solo album more than three decades after its appearance is like entering a parallel universe. Those of us in America who know the Walker Brothers from pop hits like "The Sun Ain't Gonna Shine" and "Make It Easy on Yourself" may be forgiven if we are late to appreciate the genius of their lead singer, born Scott Engel right here in Hamilton, Ohio. His first album was a big hit in England, but it never caught on Stateside. Revel in it now. Scott has often been named the definitive interpreter of Jacques Brel, and here he proves his mettle on classics such as "Mathilde," "My Death," and "Amsterdam." In addition he pays homage to Tony Bennet with "When Joanna Loved Me" and tips his hat to Toni Fisher with a soulful updating of "The Big Hurt." From Vegas to Broadway, he hits the musical heights, without ever resorting to imitation or parody. And, if that weren't enough, he also writes--gorgeously. Consider the baroque architechtonics of what is arguably his masterpiece, "Montague Terrace," where grandeur and pathos blend in a seamless musical tapestry. Underscoring it all is Scott's voice, an exquisite instrument without equal in the pantheon of pop music. Like a reluctant Prometheus, he stands above us lesser mortals and bemoans the vanities that alienate us, one from the other, all in a brooding, perfectly modulated baritone. Consider the poignancy of these words from Scott's self-penned "Such a Small Love": "He speaks, I don't hear a word he's saying, / Hang on to the pine trees and the snow; / Reach out, grab the memories that are left for your hand, / They'll help you get by for a while." Take a trip back in time and enter this parallel world. Your ears will thank you.

"Incredible!" was the only word I could find to decribe the genius of Scott Walker's music. This is "Scott", also known as Scott 1, his first solo record which was released in 1967. Most people say this album is somewhat weaker than the rest, mostly due to MOR covers but Scott 1 still packs quite a punch with three Walker originals, and three Jacques Brel covers...My Death, Mathilde, and the classic Amsterdam. Walker's Brel covers are definitly the definitive English versions. The stunning, intentionally overblown arrangements by Wally Stott, Reg Guest and Peter Knight are sublime, combined with Scott's intriguing lyrics and deep baritone (with perfectly controlled vibrato) voice keep me coming back for more. Scott's own Montague Terrace was preview of things to come in future albums Scott 2 and Scott 3. Scott 4 took a different approach as mentioned in other reviews. Walker's deep, introspective music isn't for everyone, but for those who do enjoy it as I do, this is the type of music you want to play on the biggest sound system at the highest possible volume, I know I do. There's so much power in this music. Five Stars.

For those that don't know , Scott was in a very popular band called the Walker Brothers , who didn't do anything controversial . Scott made up for that when he began releasing records under his own name .

You will read a lot of reviews about Scott that make him out to be super duper . He was a singer who took a lot of chances lyrically and I'm sure some people hate him .

He made people confront things and addressed strange , disturbing or ambitious topics in a very listenable voice .

His first album shows you what to expect - to hear just the orchestral arrangements for his songs are sometimes overwhelming - that's without his singing !

You will know after the first song if you like it or not .
Scott is a singer songwriter but nothing like what you consider that description to usually mean .

His music appeals to the young , alienated or introspective and will show that a whole other side of 60's music existed .
It's not party music .

For me , there's life before you hear him and life after .
He is good for making you feel uncomfortable but somehow glad that you can feel or understand his message .
He does some well known showbiz tunes on this record , then gets you in the gut with one of his own songs to bring you back to reality .

If you buy this record , you will hear a great voice , but you may not like the lyrics . If it touches you however , you will be forever affected .

If you are affected , then move on to albums entitled SCOTT 2 , 3 and 4 .

I have to fall into the cat. of 'loving his solo music the instant I heard it' cat. I was browsing at a local record store a few years back when one of the employees there played some music from one of Scott Walker's albums. I immediately asked who that was they were playing. I know I purchased at least one of his first 4 albums that day and the other 3 were soon to follow.
His existential rainy-day troubadour crooning-a very long winded way of saying great(imho)music, is thought provoking and intellegent music that is very unique in the annals of popular music. As almost all of the other reviewer's have said, his music is not, (I was going to say not for everyone, but in a way it sort of is) it will not be to everyone's taste. Though anyone who might be a little adventurous in their taste in music and who likes finely orchestrated tunes led by a very descriptive vocalist with a great voice shouldn't hesitate to get not only this cd, but also the other 3 first solo cd's of his (Scott 2-Scott 3 and Scott 4). Also, having at least a closet introvert streak can be an added plus for enjoying and finding meaning from these very personal songs. One of my personal favorites from his albums is a very descriptive telling of one of my favorite movies, that being "The Seventh Seal". As I listen to it, I find it hard to imagine anyone describing that movie in song any better than here. It just seems to have captured the essence and feeling of the film perfectly.
I've babled long enough. If you haven't yet, read A. Hickman's critque above. It is very fine and I agree with it whole heartedly. Enjoy no only this but SW's first four albums.

I have enjoyed the first few plays. However you must be in the right mood. You need to listen and think. The album notes are very interesting and a bit over the top. But it is an excellent CD that has not aged with time - it is right into the year of 2011.

Spectrum Culture just published a "Rediscover" feature about this record...

Says the writer:
"Scott's sound is anchored by Stott's amazing instrumental arrangements, a wonderfully lush array of orchestral drama, but it's the voice that raises it to the sublime. Deeply rich, full of vibrato and echo, Walker has rarely since sounded in such fine form as his debut, managing to give full weight to both love songs and drama. Sounding more confident and mature than any 24 year-old singer on their first solo outing ever should, Walker takes to his material like a man who knows that what he's recording is a sheer marvel. And well he should. With the conviction of a young genius, Walker sings of whores and rotten teeth and "A sailor who eats/ Only fishheads and tails," somehow making the finest of baroque pop music out of darkness and filth. Amazing as the music is, it's even more amazing that so few should listen to it nowadays. Or perhaps not."

His full review is available here: [...]

This cd blew my top. What we have here is a unique mix of Mike Flowers Pops-style BIG orchestra music with lyrics more like Lou Reed.
Some people accept Scott Walkers powerful songs, but complain that the "flatulence" of the bombastic arrangement "drowns" the songs. It must, however, be remembered that the arrangements are Scott Walker's own. No evil producer at work here, this is the way he felt his songs should be presented. Those who cry for simple man-and-guitar/piano arrangements misunderstand him.
All Scott Walkers 60's albums are similar to this and highly recommended, only Scott Walker 3 is a bit weaker.

En este disco, aparece la figura de S. Engel como uno de los mejores interpretes de la historia del pop. Es un disco enorme, donde predominan las versiones sobre las composiciones propias (algo que cambia a partir de Scott 3); versiones de Jacques Brel fantasticas como Amsterdam o Mathilde; Tim Hardlin, The Lady Came From Baltimore o Angelica de Weil/Mann. De entre sus composiciones destacar la maravillosa Montague Terrace (In Blue).
Si bien este disco es excelente, el repertorio estupendo y la interpretación fabulosa, no llega a las cotas de emotividad de Scott 3, para mi su cumbre y más personal e irrepetible disco. 4'5 para este disco que no decepcionará a nadie