YMMV / Scott Walker

  • Awesome Moments:
    • The orchestral crescendo in "The Electrician"
    • "The Seventh Seal", the impressive retelling of Ingmar Bergman's famous film.
    • "Get Behind Me" from the same album.
  • Broken Base: Some of his fans, such as Marc Almond, revere his Walker Brothers and late 60s solo work, and can't stand the more recent stuff from Tilt onwards. He also has younger fans who love everything from Tilt onwards and regard his earlier stuff as bizarrely middle-of-the-road.
  • Covered Up: His versions of Jacques Brel's "Mathilde", "Jackie" and "Ne Me Quitte Pas" ("If You Go Away") are often considered the definitive English versions.
  • Dork Age: His post-Scott 4 records, or as Scott calls them, his "wilderness years". The Walker Brothers' Nite Flights is considered the point he leaped out of it and started tunneling through hell.
  • Ear Worm: Of the later work, "Farmer in the City".
  • Epic Riff: The opening guitar in "Cossacks Are."
  • Funny Moments: One wouldn't expect any from his later nightmare music, but "SDSS1416+13B (Zercon, A Flagpole Sitter)" from Bish Bosch throws so many put-down one-liners that it manages to be hilarious despite the dissonance and crippling wailing. "Jolson and Jones" from The Drift also features a saxophone donkey, plus the line "I'll punch a donkey in the streets of Galway!" shouted multiple times.
  • Narm: His delivery of the absurd lyric "A CUTE CUTE in a STUPID-ASS way!" in "Jackie." The original French in Jacques Brel's version (beau, beau, beau et con à la fois) makes much more sense, but is hard to convey in English with the right number of syllables.
  • Nightmare Fuel: The majority of his music come Nite Flights. Much of "The Electrician" builds a creepy, dangerous atmosphere. The entirety of each album starting from Tilt live on it.
  • Tear Jerker:
    • Almost all of Scott 3. They may not even be particularly "sad" songs; they're just that rich, beautiful and emotionally resonant.
    • Same with Scott 4's "Boy Child".
  • True Art Is Angsty: His later music is nightmarish, grotesque, and sometimes violent.
  • True Art Is Incomprehensible: If the 30 Century Man documentary showed anything, it's that Scott doesn't take himself too seriously. He just writes and records what's in his head, warped as that head may be.