One of the most enigmatic figures in rock history, Scott Walker was known as Scotty Engel when he cut obscure flop records in the late '50s and early '60s in the teen idol vein. He then hooked up with John Maus and Gary Leeds to form the Walker Brothers. They weren't named Walker, they weren't brothers, and they weren't English, but they nevertheless became a part of the British Invasion after moving to the U.K. in 1965. They enjoyed a couple of years of massive success there (and a couple of hits in the U.S.) in a Righteous Brothers vein. As their full-throated lead singer and principal songwriter, Walker was the dominant artistic force in the group, who split in 1967.
While remaining virtually unknown in his homeland, Walker launched a hugely successful solo career in Britain with a unique blend of orchestrated, almost MOR arrangements with idiosyncratic and morose lyrics. At the height of psychedelia, Walker openly looked to crooners likeSinatra, Jack Jones, and Tony Bennett for inspiration, and to Jacques Brel for much of his material. None of those balladeers, however, would have sung about the oddball subjects -- prostitutes, transvestites, suicidal brooders, plagues, and Joseph Stalin -- that populated Walker's songs.
His first four albums hit the Top Ten in the U.K. -- his second, in fact, reached number one in 1968, in the midst of the hippie era. By the time of 1969's Scott 4, the singer was writing all of his material. Although this was perhaps his finest album, it was a commercial disappointment, and unfortunately discouraged him from relying entirely upon his own material on subsequent releases.
The '70s were a frustrating period for Walker, pocked with increasingly sporadic releases and a largely unsuccessful reunion with his "brothers" in the middle of the decade. His work on the Walkers' final album in 1978 prompted admiration from David Bowie and Brian Eno. After a long period of hibernation, he emerged in 1984 with an album, Climate of Hunter, that drew critical raves for a minimalist, trancelike ambience that showed him keeping abreast of cutting-edge '80s rock trends.This notoriously reclusive figure, who has rarely been interviewed or even seen in public since his days of stardom, emerged from hibernation in 1995 with a new album, Tilt.
During the next several years, he contributed to soundtracks (To Have and to Hold, The World Is Not Enough, Pola X) and assisted with recordings by Ute Lemper and Pulp. He didn't release another album until 2006. Around that time, the documentary film Scott Walker: 30 Century Man premiered. In 2009, the album Music Inspired by Scott Walker: 30 Century Man appeared featuring songs inspired by the film sung by such various female Walker-devotees as Laurie Anderson and others. Also in 2009, Walker dueted with British singer Natasha Khan on her Bat for Lashes album Two Suns. ~ All Music Guide
Scott, Philips Records, Smash Records (US), 1967.
Scott 2, Philips Records, Smash Records (US), 1968.
Scott 3, Philips Records, Smash Records (US), 1969.
Scott: Scott Walker Sings Songs from his TV Series, Philips Records, 1969.
Scott 4, Philips Records, 1969.
'Til the Band Comes In, Philips Records, 1970.
The Moviegoer, Philips Records, 1972.
Any Day Now, Philips Records, 1973.
Stretch, Columbia Records, 1973.
We Had It All, Columbia Records, 1974.
Climate of Hunter, Virgin Records, 1984.
Tilt, Fontana Records (UK), Drag City (US), 1995.
Pola X, Barclay Records, 1999.
The Drift, 4AD, 2006.
And Who Shall Go to the Ball? And What Shall Go to the Ball?, 4AD, 2007.
Scott Walker: 30 Century Man, Lakeshore Records, 2009.
This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com