He was like a novelist mapping one’s book in chapter form. Boy Child successfully bookmarks a specific era of his work, but also he was a conceptualist who spent time thinking out chapters in his life. He rarely looked back for a specific styling but used his past to build on to continue his musical explorations. The pleasure of Scott Walker’s career is listening and watching him move from one form of song style to the next. When he recorded and wrote these songs, he was a storyteller and a master of that medium. The influence of Brel is acute concerning the intensity of Scott’s narrative and his choice of words to express the story. Boy Child, and rightfully so, only focuses on Scott’s songwriting, except for The Rope and Colt, written by Harold David. As a solo artist, Scott covered other songwriters, such as Michel Legrand (can’t go wrong with a Legrand tune), Tim Hardin, Andrè Previn, Henry Mancini, and Jacques Brel. The reissue is a Record Store Day release with the original liner notes by Marc Almond, and the new edition has essays by Jarvis Cocker and Neil Hannon.
I believe Martin Callomon (sometimes known as “Cally”) put together this remarkably focused package. He made his bowl of soup with those ingredients, which became his solo recordings of that late decade.īoy Child is a remarkable compilation because of its intelligence and taste. While others in his field were admiring Howlin’ Wolf, The Everly Brothers, Walker was enticed by the talents of writers such as Albert Camus, Jean Genet and the more experimental literature that was produced in those years. She introduced him to this artist, and Scott obsessed over his music, image, and French/Belgian culture. Scott’s brain and heart got ripped apart when he heard the recordings of Jacques Brel at a girlfriend’s house. He tore up the rule books of pop music procedure in those years and invented an English-speaking version of the French chanson. But Boy Child is a collection of solo Scott recordings from 1967 to 1970. I went back to the 1984 release of Climate of Hunter and then purchased a best of The Walker Brothers compilation. The compilation album that came out in 1990, Boy Child, was my first real introduction to the music of Scott Walker. I knew of The Walker Brothers and their history and heard the hits, but that was it. His heart and brain seemed to be placed in Saint Germain des Prés on the Left Bank of Paris. He was a journeyman of that period, but his thinking and aesthetics were far from the local London scene. Here was a teen idol who didn’t play by the rules of stardom. While fellow musicians vocally marveled at the talents and genius of Jimi Hendrix, The Beatles, and others, Walker was into Jazz, Jack Jones, and Jean-Paul Sartre.
The very image of Scott Walker is so different from the others of that era. Walker was very much minded in another part of the psyche that approached new sensations through vocabulary. Although as a pop singer, he spoke English to the press and that world. He was a creature who was spiritually from the Existential 1950s, a self-made obsessive on European cinema and literature.
BEST SCOTT WALKER SONGS MOD
From the Mod world to the Hippies, Scott wouldn’t have any of that. Here is an artist that wandered through the landscape of the pop music world yet, marched to his liking as he participated in the mechanics of music stardom in England 1960s. There are pop singers, and then there is Scott Walker.
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