Music / Scott Walker
"Go seek the lady who will give, not take away.
Naked with stillness, on the edge of dawn she strays.
Night starts to empty, that's when her song begins,
She'll make you happy, she'll take you deep within."
—"Boy Child", 1969

are you
Six feet
flung at
in the
— "Jesse", 2006

Scott Walker (born Noel Scott Engel, January 9, 1943) is an American-British songwriter and singer. His recorded work spans six decades and exhibits such extreme Genre Shifts that he's been described as "Andy Williams reinventing himself as Stockhausen".

He was born in Ohio and the family settled in California. He started out in The '50s as a teenage pop singer, then became a session musician. In The '60s he relocated to London and became the lead singer of the Walker Brothers, a three-man Teen Idol group with fellow singers John Maus and Gary Leeds, neither of them really called Walker. They had a string of hit singles including "My Ship Is Coming In", "The Sun Ain't Gonna Shine Anymore" and "Stay With Me Baby", rivaling the Beatles in popularity with British youth. Scott still became dissatisfied with the band's sound, and he made a series of increasingly-strange albums (creatively-titled Scott, Scott 2, Scott 3 and, yes, Scott 4). He developed a love for the music of Jacques Brel, and made several memorable cover versions of Brel's work. Scott 1 through 3 each reached the British Top 5, but his growing experimentation led to the commercial failure of Scott 4.

The Walker Brothers split up in 1968. During the early 1970s Walker made a number of solo albums that skirted into Easy Listening territory; he admits today he made these because he was in career slump and needed to make a living.

The Walker Brothers briefly reunited in the mid-Seventies and even had a hit single with "No Regrets", but they broke up again soon after. Shortly before their breakup in 1978, the band's label went under and permitted the band to record one last album without any restrictions. This prompted Scott to return to songwriting and record his darkest and most experimental music up to that point. These comprised the first four much-acclaimed tracks to the Walker Brothers album Nite Flights, which went on to influence everyone from David Bowie to Ultravox ("Vienna" can be directly linked to Nite Flights' "The Electrician"). Bowie named Scott Walker as one of his main influences and biggest idol, and nearly went to pieces when Walker recorded a personal greeting for his 50th birthday.

In 1981, Walker's reputation received an additional boost with the successful release of the tribute album Fire Escape in the Sky: the Godlike Genius of Scott Walker, featuring tracks selected by dedicated Fanboy Julian Cope. Walker's own songwriting had been starting to sound Darker and Edgier and his artistic output, if not his income, began to revive with the critically acclaimed but commercially unsuccessful 1984 album Climate of Hunter. He didn't release another album until 1995's Tilt, when it became apparent that a full-scale Genre Shift had happened: in place of the sardonic/romantic tone of the '60s and '70s and the ominous electronic balladry of the '80s, Walker was now in Nightmare Fuel territory with massively doomy strings, disturbing Word Salad lyrics and a new, ghostly tenor voice in place of his previous warm baritone.

Since then, he's gone on to release increasingly disturbing but rather brilliant albums at occasional intervals, most recently 2012's Bish Bosch. 2006's The Drift is considered one of his greatest and most terrifying records.

In 1970 he took out British citizenship and has lived in England ever since. On receiving an award in 2003, he said of England "I couldn't have made the records I've made in any other place."

In 2006 he was the subject of a feature-length documentary by Stephen Kijak entitled Scott Walker: 30 Century Man.

Not to be confused with the (as of 2012) Republican governor of Wisconsin.


The Walker Brothers:

  • Take it Easy with the Walker Brothers (1965)
  • Portrait (1966) - Not released in America
  • The Sun Ain't Gonna Shine Anymore (1966) - Released in Portrait's place in the U.S.
  • Images (1967)

Going Solo:

  • Scott (1967)
  • Scott 2 (1968)
  • Scott 3 (1969)
  • Scott 4 (1969)
  • 'Til the Band Comes In (1970)

The "Wilderness Years"

  • The Moviegoer (1972)
  • Any Day Now (1973)
  • Stretch (1973)
  • We Had it All (1974)

Walker Brothers Reunite:

  • No Regrets (1975)
  • Lines (1976)
  • Nite Flights (1978)

Nightmare Music:

  • Climate of Hunter (1984)
  • Tilt (1995)
  • Pola X (1990) - Film soundtrack
  • The Drift (2006)
  • And Who Shall Go to the Ball? And What Shall Go to the Ball? (2008)
  • Bish Bosch (2012)
  • Soused (2014, collaboration with Sunn O))))

His music is featured in the following films:

His work provides examples of:

  • Added Alliterative Appeal: "Plastic Palace People".
  • Angsty Surviving Twin: In "Jesse", a despairing Elvis Presley tries to communicate with his stillborn twin brother.
  • Break-Up Song: "No Regrets". Tom Rush may have written it, but the Walker Brothers are the ones who had a hit with it.
  • Careful with That Axe: Walker pulls this off surprisingly well during "SDSS14+13B (Zercon, A Flagpole Sitter)".
  • Cool Old Guy: He's 70 but making the edgiest and most extreme stuff he's ever made, and nobody could accuse him of being a nostalgia act or relying on his back catalogue. He himself admits that he doesn't even listen to his own music. When he won a Q magazine award in 2003, he asked somebody at his table what was the music that was playing as he was returning to his seat. It was one of his own songs, recorded only nine years earlier.
  • Cover Version:
    • The majority of his 60s recordings were covers of Pop standards, including the Walker Brothers' best known songs: "Make it Easy on Yourself" and "The Sun Ain't Gonna Shine Anymore". Most significantly, his first three albums had several Jacques Brel songs on them, including "Mathilde", "Jackie", "Amsterdam", "Next", "If You Go Away"...
    • Every album from The Moviegoer through We Had it All was comprised of covers, the former being of film theme songs.
  • Darker and Edgier: Each Scott album was darker than the one before, and then this trope hit full throttle after the late 1970s.
  • Death Song: He likes writing these. "Farmer in the City" seems to be one for Pier Paolo Pasolini, while "Clara" is sung by the dead Benito Mussolini to his mistress Clara Petacci while their bodies are hanging upside-down from a gas station.
  • Drone of Dread: Used frequently starting with Scott 3 and usually dissonant. Taken to its logical conclusion in his 2014 Drone Metal collaboration with Sunn O))), Soused.
  • Epic Rocking: His songs stretch to as far as 9 minutes on Tilt and 12 on The Drift, culminating in the 21-and-1/2 minute "SDSS14+13B (Zercon, A Flagpole Sitter)" on Bish Bosch.
  • Everything Is an Instrument: His modern albums have rather... interesting choices for instruments — machetes, ball bearings, garbage cans on top of crates, and a side of pork for his percussionist to punch to get the right sound for a corpse being beaten with a stick.
  • Genre Shift: From mainstream Baroque Pop and Chanson in the '60s, through country-rock in the 70s and dissonant New Wave electropop balladry in the '80s, to unclassifiable Chanson From Hell ever since the mid-'90s.
  • Human Popsicle: "30 Century Man" provides the page quote.
  • Lighter and Softer:
    • 'Til the Band Comes In. Co-writer Ady Semel is credited for editing out anything that would "offend old ladies."
    • Bish Bosch, though not as dramatically. It's more sparse and less aurally overbearing than The Drift, and it has an overall more playful feel to it in comparison, such as with the farting section in "Corps De Blah" and the vaudevillian insult jokes in "Zercon, A Flagpole Sitter".
  • Literary Allusion Title: "Orpheus", "The Seventh Seal"
  • Long Title: "The Old Man's Back Again (Dedicated To The Neo-Stalinist Regime)", And Who Shall Go to the Ball? And What Shall Go to the Ball?, "SDSS14+13B (Zercon, A Flagpole Sitter)", "The Day the "Conducator" Died (An Xmas Song)"
  • Loudness War: With the exception of Soused (which comes in at a borderline DR7), he has consistently averted this trope throughout his career.
  • Lyrical Dissonance:
    • "30 Century Man" is a cheery little ditty about being cryogenically frozen because you can't handle the complexities of modern life.
    • Often goes the other way: the music's intensity gives new weight to lines like "I brought nylons from New York."
  • Minimalistic Cover Art:
    • Scott 1, 2, and 4 and 'Til the Band Comes In are simply pictures of the man himself.
    • Bish Bosch is just the album title smeared in white paint against a black background.
  • New Sound Album: His first four solo albums were darker, more ambitious and less romantic than the stuff he did with the Walker Brothers, but he then got diverted into making what amounted to MOR albums before stealthily edging his way back into darker and more ambitious territory in the 80s and 90s. By the time of 2006's The Drift he was making some of the most terrifying music ever recorded.
  • Obligatory Bondage Song: "Brando", from his collaboration with Sunn O))), is about the punishment Marlon Brando took on-screen and how it could act as fetish appeal. The line "A beating would do me..." is repeated.
  • Scary Musician, Harmless Music: Inverted since the 1990s. Walker himself comes across as charming, soft-spoken and rather shy, but since Tilt his music has been the stuff of nightmares.
  • Something Completely Different:
    • Right in the middle of the rich, string-drenched Scott 3 comes "30 Century Man", a short track (less than two minutes!) with just Scott and an acoustic guitar.
    • Nite Flights, with gleeful, murderous abandon. Before then, Scott and the Walker Brothers were doing MOR Pop and Country music. Cue their record label going under and giving the band free reign to do what they wanted, thus Nite Flights' forays into Art Rock, Disco, No Wave, and dark Electronic Music.
  • Take That!: "SDSS14+13B (Zercon, A Flagpole Sitter)" is loaded with vaudevillian insult jokes. A small sampler:
    "If shit were music, you'd be a brass band."
    "Look, don't go to a mind reader, go to a palmist. I know you've got a palm."
    "Does your face hurt, 'cause it's killing me!"
    "You're so boring that you can't even entertain doubt!"
  • The Trope Without a Title: The third, fifth, sixth and seventh songs on Climate of Hunter are respectively titled "Track Three", "Track Five", "Track Six" and "Track Seven".
  • Vocal Evolution: Averted, despite his long career: he hasn't toured in years, and the resulting lack of strain on his voice means that he can still do whatever he wants with it. Bish Bosch shows in a couple tracks that, despite sticking to a medium-low register for the last few decades, he can still hit some higher notes quite easily.
  • Word Salad Lyrics: He's been prone to it for much of his career, but he's really been tossing those salads since Climate of Hunter.
  • 0% Approval Rating: The titular figure recalled in "The Day the 'Conducator' Died": Romanian Communist head of state Nicolae Ceaușescu, who was overthrown and executed on Christmas Day, 1989.

"Play it cool
And saran wrap all you can"