Probably one of the most unique artists that appeared in the 20th century. Scott Walker is a remarkable singer of course, but what is even more interesting is that he's a singer that was placed in the teenage world of England and Europe, and as an American who has a strong taste in European culture, that goes beyond being a mere fan. If one can transform oneself into another being or spirit, Scott Walker succeeds greatly.
"Scott" is the first of many albums, and although he only wrote three songs out of the 12 cuts, each one has his stamp or personality tattoed on the grooves. For one, it is a mature work done by a young man. While Mick & Keith were concerned about getting a "Connection" or the Fab Four reflecting on Lovely Rita, Scott was meditating on "My Death." For a pop album of that period, 1967, it must have stood out like a diseased object, swelling with strings and orchestration, and then Scott's voice cutting through the arrangements like a hot knife cutting bread. One can compare his work at the time with the Sinatra world of the 1950s, specifically his ballad albums, but the truth is Scott's take is more internal, private, and of course, angst.
None of the covers on this album are obvious. Even though they are written by classic songwriters like Mann/Weil, Wayne Shanklin, and Andre Previn, it's mostly unknown material, at least to my knowledge and ears. The big discovery here is both his Jacques Brel obsession, and one of the first singers to dwell into his work in English, and his songwriting. "Montague Terrace (In Blue)," "Such a Small Love," and "Always Coming Back to You" sound like classic songwriting from an earlier era. He has nothing in common with his age group of fellow writers. Scott comes from an alternative universe, and listening to "Scott" is still a discovery of something new that seems to come from an imagined past.
