Scott [Remaster]

Performer: Scott Walker
Engineer: Peter J. Olliff
Producer: John Franz
Distributor: Fontana Distribution

Notes: Originally released in 1967, SCOTT is the debut record by rock & roll musician, Scott Walker. Personnel: Scott Walker (vocals). Audio Remasterer: Simon Heyworth. Liner Note Author: Keith Altham. Author: John Keats. Arrangers: Peter Knight Singers; Reg Guest; Wally Stott. Following the dissolution of the Walker Brothers in 1967, Scott Walker (born Noel Scott Engel) embarked on an adventurous solo career, steering the dramatic pop sensibility of his former group into darker, stranger waters. On this debut, the American-born/British-based crooner assertively stakes out his territory as one of the preeminent interpreters of Jacques Brel (as translated by Mort Shuman) by offering up three of the often macabre French songwriter's compositions--the galloping "Mathilde," the gloriously melancholy "My Death," and the gloomy "Amsterdam." Even more notable, however, are Walker's original numbers, particularly "Montague Terrace (In Blue)" and "Such a Small Love," which pull listeners in with delicate intros, only to dive headlong into bombastic orchestral passages that, remarkably, are kept in check by Walker's bold baritone voice and emotive lyrics. Although the singer's enigmatic aesthetic isn't for everyone, those who fall under his spell are strongly affected, as revealed in the work of admiring artists such as David Bowie, Bryan Ferry, Nick Cave, and Pulp's Jarvis Cocker. While BOY CHILD is the best introduction to the fascinating performer, this is the ideal point of departure for delving further into Walker's early--and most influential--material.

Noel Scott Engel, better known as Scott Walker, was born in the US, but found fame in the UK as a member of the Walker Brothers, who became teen pop idols in England in the 1960s. After the group's demise, Walker's darker, artier side eventually came to the fore, and he began a quirky solo career that encompassed Jacques Brel covers, moody, saloon-singer crooning, and avant-garde tendencies. He became the quintessential cult figure, inscrutable and highly influential, though after the '70s his works were few and far between.

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