Scott Walker

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Scott Walker (born Noel Scott Engel; January 9, 1943 to March 22, 2019) was an American-born British singer-songwriter, guitarist, and record producer.

Walker was known for his unique baritone voice and an unorthodox career path, going from 1960s pop icon to 21st-century avant-garde.

Walker's greatest success came in the United Kingdom, where his first three solo albums debuted in the top ten.

He lived in the United Kingdom from 1965 to 1970, rising to prominence in the 1970s as frontman of the pop music group the Walker Brothers, then regressing to a more experimental style on late-60s baroque pop albums such as Scott 3 and Scott 4 (both 1969).

He reunited with the Walker Brothers in the mid-1970s after his solo work did not sell well.

Walker revived his solo career from the mid-1980s to 2018, debuting as Stockhausen in this period.

On his death, the BBC recalled him as "one of the most enigmatic and influential figures in rock history."

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Life and career

Noel Scott Engel was born in Hamilton, Ohio, United States, the son of Elizabeth Marie (Fortier), who was from Montreal, Quebec, Canada, and Noel Walter Engel. His father, an oil industry manager, whose careers led to the family's relocation to successive homes in Ohio, Texas, Colorado, and New York. In 1959, Engel and his mother settled in California. Engel spent time as a child actor and singer in the mid to late 1950s, including performances in two Broadway musicals, Pipe Dream and Plain and Fancy. Eddie Fisher, a singer and TV presenter, has been championed by Fisher's television show several times. Engel also cut some records, including one named "Misery," which saw him briefly promoted as a teen idol.

Engel had already changed his appearance and direction when he arrived in Los Angeles. Stan Kenton and Bill Evans, a self-confessed "Continental suit-wearing natural enemy of the Californian surfer" and a fan of European cinema (in particular Ingmar Bergman, Federico Fellini and Robert Bresson) and the Beat poets, were interested in the contemporary jazz of his time. Scott played bass guitar well enough to get session work in Los Angeles as a youth, despite attending art school and expanding his interests in cinema and literature.

He encountered guitarist and singer John Maus, who was using the stage name John Walker on a fake ID to enable him to perform in clubs while under the age of 60, in 1961. Judy and the Gents, a John Walker's sister Judy Maus, was supported by the Surfaris before joining other artists to tour as the Surfaris (although they did not perform on the Surfaris). Engel and John Walker first met as the Walker Brothers in early 1964, and later in the year, collaborating with drummer Gary Leeds, whose father paid for the trio's first trip to the United Kingdom.

The Walker Brothers, as a trio, cultivated a glossy-haired and elegant family image. Each of the participants took the name "Walker" in honor of Maus' Maus. Walker used the name Walker ever since, with the notable exception of returning to his birth name for his first solo album Scott 4 and being recognized in songwriting credits. John began as the guitarist and the group's lead singer, with Gary on drums and Scott playing bass guitar and mainly singing harmony vocals. The group had appeared on television shows Hollywood A Go-Go and Shindig, and had produced initial recordings by early 1965, but the group's true success lay in the future and overseas.

Leeds had recently toured the United Kingdom with P.J. Although working as a session drummer. Proby, and the British pop culture convinced John and Scott to try their luck with him. In early 1965, the Walker Brothers arrived in London. "Pretty Girls Everywhere" - their first single (with John Stones as the lead singer) crept into the charts, but did not achieve great success. "Love Her" – Scott's more prominent chart hit and he became the group's frontman, with more prominent baritone in the lead.

"Make It Easy on Yourself," a Bacharach/David ballad's next generation, lands at No. 10. On the first day of publication in August 1965, there was 1 on the UK Singles Chart (number 16 on the US charts). The second No. 1s in the United Kingdom announces that they are back for their second No. 2 after being struck again with "My Ship Is Coming In" (number 3 UK). 1 (number 13 in the United States) "The Sun Ain't Shine Any More" shot to the top in early 1966 and quickly thereafter; their fan club grew to include more members than the Beatles' official fan club. Despite the fact that there is no evidence that the Walker Brothers, especially lead singer Scott, rose to pop star status, despite the fact that their fan base was larger than that of the Beatles.

It was never a problem to find suitable materials. The Walkers' 1960s sound mixes Phil Spector's "wall of sound" methods with symphonic orchestrations starring Britain's top performers and arrangers, including Ivor Raymonde. Throughout this period (alongside their named designer, Johnny Franz and engineer Peter Oliff), Scott was a "parallel, if invisible Walker Brothers" who was regarded as a "parallel, if invisible Walker Brothers). Many of their former numbers had a driving beat, but images of their third album, Images, was a hit in 1967 ballads.

By 1967, John Walker's musical presence on the Walker Brothers had waned (although he sang lead on a cover of "Blueberry Hill" and contributed two original compositions), contributing to tensions between him and Scott. "There was a lot of pressure" at the time, and Scott was finding the company a chafing experience: "There was a lot of pressure." I was coming up with all the boys' stuff, and I was having to find songs and getting the sessions together. And now it was just me on top of me. "I think I just became irritated with it all." The Walker Brothers' disbandement happened despite being together for a brief period of Japan in 1968. Artistic inconsistency and the demands resulting from a frenzying pop stardom culminated in his dissolution the same year.

Walker departed the Walker Brothers' mantle for his solo career and pursued in a style clearly seen on Images. This was, in the beginning, a continuation of his previous band's success. Walker's first four albums, titled Scott (1967), Scott 2 (1968), and Scott Sings Songs from his TV Series (1969), all sold in large quantities, with Scott 2 reaching the top of the British charts.

Walker's earlier teen fame was mixed with a more idiosyncratic approach (which had been hintled at in songs like "Orpheus" on the Images album). Although his vocal style remained consistent with the Walker Brothers, he now operated a fine line between classic ballads, Broadway hits, and his own creations, as well as risqué recordings of Jacques Brel songs (translated by Mort Shuman, who was also responsible for the hit musical Jacques Brel, Alive and Well in Paris). Walker's own original songs of this period were inspired by Brel and Léo Ferré as he explored European musical roots while simultaneously expressing his own American experience and reaching a new maturity as a recording artist.

Walker's success as a producer aided in his growth as a producer. In 1968 (during the brief Walker Brothers reunion and tour of Japan), he released a single with the Japanese rock band the Carnabeats, starring Gary Walker on vocals. Terry Smith, the Walker Brothers' musical director and guitarist, made a solo album on return to the United Kingdom. Walker also produced Ray Warleigh's First Album in 1968. "Warleigh's] album, which was released on December 13 and September in the following year, had little in common with Scott's more esoteric progressive jazz, and the result veered more toward a more muzak fusion than the jazz fusion.' Scott Walker produced John Maus' solo "Woman" in 1968.

Walker's personal relationship with fame, as well as the increased focus on it, posed a threat to his mental stability. He became withdrawn and distant from his audience. He began researching contemporary and classical music in 1968, which included a sojourn in Quarr Abbey, a Catholic Benedictine monastery in Ryde on the Isle of Wight, to study Gregorian chant, sparking a fascination with lieder and classical musical styles.

Walker was given his own BBC television show, Scott, a solo Walker's performance of ballads, big band hits, Brel songs, and his own compositions at the height of his fame in 1969. Archival footage of the performance is extremely rare, as archives were not preserved. However, live on Air 1968-1969's selections from the show were also released in 2019. In subsequent interviews, Walker has stated that a self-indulgent complacency had crept into his repertoire by the time of his third solo album. Scott Walker Sings Songs from his TV Series exemplified the challenges he was facing in trying to strike a balance between his own creativity and his employer Maurice King, who seemed to be determined to mold his protégé into a new Andy Williams or Frank Sinatra. Despite the loss of the Scott TV show, the aforementioned companion LP Scott Walker Sings Songs from his TV Series was a commercial success, debuting at number ten of the UK Albums Chart, and Walker's last album to do so.

Walker's fifth solo LP, Scott 4 in 1969, after being parted company with King. This was his first attempt to be made entirely of self-penned content, despite his latest dip into passivity. Soon after, the album containing songs from the TV series was deleted. Walker's decision to let Scott 4 know as Scott Engel, according to reports, contributed to the company's demise. All subsequent re-issues of the album have been published under his stage name.

Walker then went through a period of self-confessed artistic decline, during which he spent five years as a performer "by rote, just to get out of contract" and endosing himself with alcohol. His latest album, 'Til the Band Comes In (1970), showed a notable difference between the two camps. Side A had original content (mostly co-written with new boss Ady Semel), while Side B had almost entirely cover versions. Walker revert to cover versions of famous film hits, as well as a serious obsession with country music in the's post. Any Day Now (1973), Stretch (1973), and We Had It All (1974) contain no original content.

Walker, a 2006 film "lost years" in terms of innovation, referring to his "lost years" in terms of creativity. He has also admitted to abandoning his course due to outsi

Walker's career had come to an end by the mid-1970s, and he joined John Maus and Gary Leeds to revive the Walker Brothers in 1975. Only months after its debut, their first comeback single, a cover of Tom Rush's "No Regrets," from the album of the same name, reached No. 7 in the UK Singles Chart. However, the parent album debuted at number 49 in the UK Albums Chart, only at number 49. The two singles from the upcoming album Lines (the group's title track) and "We're Alone") both failed to chart, and the album fared no better.

The Walkers collaborated on an album of original material that was in stark contrast to the country-flavoured tunes of the previous 1970s albums, despite the imminent demise of their record label. Each of the Brothers wrote and performed their own songs on their own album, resulting in Nite Flights, which was released in 1978. Scott's, the final four John's, were among the first four songs on the album, while the middle pair were by Gary. Scott's four songs, "The Electrician," "Shut Down," and "Fat Mama Kick," were his first original compositions since "Til the Band Comes In," were his first original compositions since the MOR brand and sound were cultivated after Scott's commercial demise. Scott's songs, especially "The Electrician," was to be a forerunner to his forthcoming solo projects.

Despite a warm critical reception (with his contributions particularly lauded), Nite Flight's sales figures were still poorer than those of Lines. The band was on the old hits and ballads, not to mention the songs from their new album, on the support tour. The Walker Brothers' waning enthusiasm for a stalemate on the revival circuit, perhaps compounded by Scott's growing reluctance to sing live. By the end of 1978, the group was no longer without a single contract, and Scott Walker entered a three-year absence with no updates.

The compilation Fire Escape in the Sky: The Godlike Genius of Scott Walker, which featured tracks chosen by Julian Cope, boosted interest in Scott Walker's career in 1981. Walker signed with Virgin Records, building on the compilation's critical and lucrative success.

Climate of Hunter, Scott Walker's first solo album in ten years, was released in 1984. The album expanded Walker's already-complex and scary approach to Nite Flights. Although it was based in 1980s rock music (and containing guest appearances by contemporary stars Billy Ocean and Mark Knopfler), it was a fragmented and trance-like approach. Any of its eight songs lacked either names or a clearly identifiable melody, with only Walker's sonorous voice serving as the link to previous work. Climate of Hunter, like Nite Flights before it, was greeted with critical praise but low sales. Plans to tour were initiated, but no plans were fulfilled. A second album for Virgin was expected to be released (with Brian Eno and Daniel Lanois assisting), but the project was cancelled early sessions. Walker was recalled by the brand soon after.

Walker stayed away from music in the late 1980s, with just a brief cameo appearance in a 1987 British television commercial (alongside other 1960s pop icons) to maintain his fame. He did not return to public view until the early 1990s, when his solo and Walker Brothers' work was lauded again. During this period, Walker's first four studio albums were released on CD for the first time, and the compilation album No Regrets – The Best of Scott Walker and The Walker Brothers 1965-1976 hit number four on the UK Albums Chart. Walker's return to regular active duty was slow and cautious. The single "Man From Reno" was co-written and co-performed by him in 1992 for the soundtrack of the film Toxic Affair, alongside Goran Bregovi. He started working on a new album after being signed to Fontana Records. In the meantime, David Bowie covered Scott's song "Nite Flights" on his Black Tie White Noise record, which also included the Walker inspired 'You've Been Around'.

Tilt was first introduced in 1995, and the research into Climate of Hunter was extensive. It was more distinctly avant-garde than its predecessor, with Walker now described as "an anti-matter clash of rock and modern classical music" as "indescribably barren and utterly bleak" in La Scala and "unquestionably bleak..." Though Walker was backed by a full orchestra again, this time with alarming percussion and industrial effects; and, although album opener "Farmer in the City" was a melodic work on which Walker practiced his familiar ballad voice, the remaining pieces were harsh and demandingly avant-garde.

The life and death of Pier Paolo Pasolini (and his friendship with Ninetto Davoli), cockfighting, the First Gulf War, a conflation of Adolf Eichmann and Caroline of Brunswick's trial, as well as a man examining Che Guevara's remains were among the topics on view.

Walker performed "I Threw It All Away" under Nick Cave's direction in 1996, making him a member of the film To Have and To Hold. In 1998, he recorded "Only Myself to Blame" (for the Bond film The World Is Not Enough) and also wrote and produced the soundtrack for Léos Carax's film Pola X, which was released as an album. On her album Punishing Kiss, he wrote and produced two songs for Ute Lemper, which is credited as N.S. Engel. (Lullaby, one of them, is only available on the Japanese version of the CD).

Walker curated the annual summer live music festival in London, which has a tradition of celebrity curators. He did not appear at Meltdown himself, but he wrote the music for Richard Alston Dance Project's item Thimblerigging. He spent the next year as a producer on Pulp's 2001 album We Love Life (whose album "Bad Cover Version") includes a parody of "the second half of 'Til The Band Comes In").

Walker was given a prize in October 2003 for his contribution to music by Q magazine, which was presented by Jarvis Cocker of Pulp. At the premiere, Walker was greeted with a standing ovation. This award had only been given to Phil Spector once, the first time to him, and second to Brian Eno. Five Easy Pieces, a retrospective box set spanning Walker's time with the Walker Brothers, his solo career (including film soundtracks), and the two pieces created for Ute Lemper followed shortly. In early 2004, Walker was signed by 4AD Records, a British independent record label.

Scott Walker's first new album in 11 years, The Drift, was released on May 8, 2006. The album's critical acclaim received a Metacritic score of 85.

The Drift was a continuation of the surreal, menacing, partially abstract approach on Climate of Hunter and Tilt in both composition and atmosphere. It featured jarring contrasts between loud and quiet sections; instrumentation was similar to Tilt's use of rock instruments and a large orchestra; but the album also included disturbing sound effects such as the terrified braying of a donkey, a demoniac Donald Duck impression, and (during a recording sequence caught an orchestral percussionist punching a large piece of raw meat). The torture, disease, the friendship and eventual death of Mussolini and his mistress Clara Petacci, as well as a conflation of the 9/11 attacks with Elvis Presley and his dead twin brother Jesse. Walker seemed to be more at ease with media interest, announcing the desire to produce albums more often and hinting at significant changes in the content of his own works, if and when it suits him. In an interview with The Wire, although he speculated at the possibility of touring with a small, five-piece band, this never happened.

The recipient of this award, who was chosen by Mojo readers and Mojo4music listeners, has had a fruitful career on a global basis," Mojo and radio celebrated Scott Walker with the MOJO Icon Award in June 2006. It was presented by Phil Alexander. Scott Walker: The 30 Century Man was produced by New York film producer Stephen Kijak in 2006 (Cinemania and Never Met Picasso). Interviews with David Bowie (executive producer of the film), Radiohead, St., Gavin, Friday, and several other musicians associated with Walker have been filmed over the years. Scott Walker's World Premiership: 30 Century Man took place in London as part of the 50th London Film Festival. Scott Walker, "30 Centuries Man" on The Independent's list of "ten must-see films" at the 50th London Film Festival, was one of them. In May 2007, as part of the Imagine... collection, presented by Alan Yentob, a documentary about Walker containing a substantial portion of footage from the film was shown on BBC1 in May 2007.

Walker performed "Darkness" as part of Plague Songs, a collection of songs for the Margate Exodus project, a retelling of the Book of Exodus, Moses' tale, and his quest for the Promised Land. Artangel had ten singer-songwriters write and record a song influenced by one of the ten biblical plagues. The ninth installment of Walker's "Darkness" evocation appears.

Walker won On September 24, 2007, and Who Shall Go to the Ball?

And What Shall Go to the Ball?

This is a limited, never-to-be-repressed edition. To a performance by London-based CandoCo Dance Company, the 24-minute instrumental work was performed by the London Sinfonietta with solo cellist Philip Sheppard as music. The recording is now out of stock. Drifting and Tilting: Scott Walker's Songs appeared at The Barbican in London from November 13 to August 15, 2008. It contained eight songs, two from Tilt, "Farmer in the City" and "Patriot (a single)" and "Patriot (a single)" – as well as the rest from The Drift: "Cossacks Are," "Jesse," "Benito's Dream"), "Jolson and Jones," "Cue," "Molson and Jones," "Molson and Jones," "Guarson and Jones," Each song was performed in a music-theatre style, with vocal parts taken by a variety of artists, including Jarvis Cocker, Damon Albarn, and Dot Allison. On the track "The Big Sleep" from her 2009 album Two Suns, Walker collaborated with Bat for Lashes. He wrote the score for Jean Cocteau's 1932 play Duet for One, which was performed in the Linbury Studio in June 2011.

Bish Bosch, Walker's last solo album, was released on December 3, 2012, and it received generally favorable feedback. Walker collaborated with Soused, an experimental drone metal duo that was released on October 21, 2014. Walker produced the score for Brady Corbet's film The Childhood of a Leader in 2018; it was followed by the score for Corbet's film Vox Lux, which also featured Australian singer-songwriter Sia.

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