April 1, 2025 • 49 mins
In this 2nd part of HP's look at the music of Scott Walker, the focus is on Walker's post-60's output. HP examines the arc of Walker's later career, from commercial downturns to creative breakthroughs. You think you know Scott Walker from his first 4 solo albums? Think again.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
In the last episode, I talked about the genius of
Scott Walker's quartet of solo albums from the late sixties.
Speaker 2 (00:27):
As I mentioned in that episode.
Speaker 1 (00:29):
If Walker's career ended right then and there, his place
in the music pantheon would still be assured. But I
also alluded to the fact that Scott Walker didn't stop there,
and furthermore, I claimed you wouldn't believe where his music
took him. In this second part of my examination of
Walker's music, I'm going to take you through his post
(00:50):
sixties output, the ups, the downs, and the downright what
the fucks of his later albums. Tonight, allow me to
reintroduce you to Scott Walker. Hello, listeners to another episode
(01:16):
of Noise Junkies. I'm hp this episode, I'll be continuing
my discussion of Scott Walker, this time focusing on the
work that came after his fabled run of solo albums
produced in the late sixties. To catch everyone up, Walker's
nineteen sixty nine album Scott four had just been released
to middling critical and commercial reception at the time. By
(01:38):
Walker's own estimation, this plunged him into a deep depression,
during which he tried self medicating through drink. His record
company called him to the carpet, demanding that he make
a commercial record. The first of these more commercial efforts
was nineteen seventies Till the Band Comes In. And to
be fair, it's actually not a bad record. Sure, a
(02:01):
lot of the weirdness had started to go out of
his writing, but there's still wheat among the chaff if
you look deeper. At first listen, the song Time Operator
is a slow, smoky blues number that swings well enough,
but listen closely to the lyrics, and the trademark Scott
Walker twist is still there. The narrator of Time Operator
(02:23):
is a lonely man sitting in his darkened room. He
narrates this song while carrying on a conversation with an
operator's recorded time announcements. For those listeners too young to remember,
back before cell phones, home computers and all the other
technology we take for granted, you used to be able
to call a special phone number and a recording would
(02:45):
give you the current time. It would sound like this.
Speaker 3 (02:49):
At the tone, the time will be four fifty six
and twenty seconds.
Speaker 1 (02:56):
To be fair, this kind of thing was considered archaic
even in my time, but it was still available when
I was a kid. Anyway back to time, Operator, the
song's narrator, has fallen in love with the recorded operator's
voice on the phone and is carrying on a strange
parasocial relationship with it. He can't afford to pay his
(03:17):
water or electric bills, but makes sure to pay his
phone bill, if only to maintain any type of emotional connection.
The song is both incredibly poignant and exceedingly weird at
the same time.
Speaker 4 (03:30):
And I wouldn't care if you're uglyuse here with.
Speaker 5 (03:40):
The lights out, I couldn't see.
Speaker 6 (03:48):
You.
Speaker 7 (03:49):
Just picture Paul Newman and girl.
Speaker 8 (03:54):
He looks a lot like me.
Speaker 4 (04:03):
Time of Oparata. Take the time to take the time
to come over here, because we got so much in common.
(04:26):
Seems it's hard for us to sleep.
Speaker 9 (04:31):
With all the dazzle in the street.
Speaker 1 (04:54):
Elsewhere on the album is the song The War Is Over,
subtitled Sleepers. The lyrics describe the quiet stillness that follows
the end of a war, but in this case, it's
not the lyrics that draw you in. It's the music.
The vibe is almost like a sigh after a storm passes,
the relief after something terrible has ended. The lyrics stop
(05:17):
short of declaring a perfect ending, but it feels like
this one will be good enough at least for now.
Speaker 6 (05:38):
Everything still, everything silent.
Speaker 9 (05:45):
As after.
Speaker 6 (05:51):
We lie here listening tonight, closed down, still like a child,
wait for the sides to decide once again, just when
(06:14):
they look here to stand.
Speaker 7 (06:22):
Ware to leave.
Speaker 10 (06:25):
Our world hother.
Speaker 11 (06:31):
It really isn't flared outside the scene. The water is over,
Raise your brids, the worries over.
Speaker 9 (06:49):
Tell your deepest dog goodbye.
Speaker 1 (07:03):
The next four albums Walker released continued this commercial and
creative slide. They would feature no original material whatsoever. Nineteen
seventy two's The Moviegoer was comprised of cover versions of
songs pulled from various movie soundtracks. Nineteen seventy threes any
Day Now featured songs written by Jimmy Webb, Randy Newman,
(07:26):
and Bill Withers. Also from nineteen seventy three, the album
Stretch was more of the same, with covers of the
same writers in a light country style. In nineteen seventy
four's We Had It All went even further in the
country style, featuring songs by Billy Joe Shaver, Jerry Reid,
and Gordon Lightfoot. This four album String is the definition
(07:49):
of diminishing returns, and even a casual listener can hear
Walker going through the motions. Walker himself has referred to
this as his wilderness period, and it's worth noting that
their relative unavailability in later years was due in part
to his dissatisfaction with these albums. Walker eventually blocked CD
(08:11):
re releases of this material, though all of them eventually
saw release without his approval. His solo career edits nadir.
Scott reunited with the Walker Brothers and the album No
Regrets followed in nineteen seventy five. The production style was
still very much in the country folk van and once
(08:31):
again there are no originals, only cover songs. But the
cover of Tom Rush's No Regrets was a hit in
the UK, reaching number seven in the UK Singles Chart
in early nineteen seventy six.
Speaker 12 (08:45):
The hours it were yours, eh Kulin, empty rooms, the
thoughts we.
Speaker 9 (08:55):
Used to share and now keep alone.
Speaker 12 (09:03):
I woke last night and spoke to you, not thinking
you were gone, and it felt some strange to light
a week along. There's no regrets, no tears, Goodbye, I
(09:34):
don't want you back.
Speaker 13 (09:39):
We don't cry again, say goodbye.
Speaker 1 (09:56):
The Walker Brothers released another album, Lines, in nineteen seventy six.
Stylistically similar to No Regrets, it featured no originals and
failed to chart. It was back to the drawing board
for the Walker Brothers, but then came nineteen seventy eight
and the album that changed everything for Walker, Night Flights.
(10:19):
After the commercial failure of both No Regrets and Lines,
the Walker Brothers had enough money from their label to
make one more record. They spent the entirety of nineteen
seventy seven writing songs before returning to the studio. Scott,
who had not written a song since nineteen seventies till
the Band Comes In, was reportedly inspired to write again
(10:40):
after hearing Joni Mitchell. He also brought David Bowie's album
Heroes to the studio, where it was apparently used as
the main reference for what would eventually become Night Flights.
Night Flights was interesting in that each group member had
their own allotment of songs credited solely to that individual.
Scott had the first four tracks, Gary Leeds had the
(11:03):
next two, and John Mouse had the final four. It's
been described as more like three miniature solo albums than
a true group effort. The sound of Night Flights is experimental,
much more experimental than any of the music produced by
Scott or the Walker Brothers up to that point. It's
hard to characterize it. There's elements of new wave, funk,
(11:25):
avant garde. It's not difficult to hear the influence that
Bowie's Heroes album had on it. The sound is sleek
and electronic, and Walker sings in an almost plaintive tone.
His lyrics are much more abstract, eschewing the tight melodrama
of his earlier work to focus on texture and mood.
(11:46):
Here's a bit of the title track, night Flights.
Speaker 2 (12:05):
There's no hold.
Speaker 10 (12:10):
The moving has come.
Speaker 5 (12:12):
Through, the danger brushing you turns its face into.
Speaker 9 (12:19):
The heat and runs and tunnels.
Speaker 5 (12:25):
It's so cold, the dark dug of five dogs, the
stitches torn and broke, the Roumi's fistu choke has hint.
Speaker 14 (12:41):
The blood light last trips over and close on.
Speaker 15 (12:50):
Night Flights, The broken lets stand, the West Brass.
Speaker 7 (12:57):
The world.
Speaker 10 (13:03):
We will because I'm not prows O promise only all.
Speaker 1 (13:33):
David Bowie would later cover Night Flights on his nineteen
ninety three albums Black Tie, White Noise.
Speaker 2 (13:54):
It's no.
Speaker 10 (13:57):
Stupid thing has come true.
Speaker 8 (14:03):
The danger passing you.
Speaker 16 (14:07):
He turns its face into the nast and runs the tunnels.
Speaker 17 (14:16):
It so.
Speaker 15 (14:21):
The dog dug up, my knocks, the stitches toll and roll.
Speaker 10 (14:29):
The love, make missy joke as.
Speaker 14 (14:33):
Him the bloodlight.
Speaker 16 (14:39):
Glass straps over, the goes on nine lights, roll the
X where the expressed the walls.
Speaker 3 (14:56):
Be my love. We will be gone O night but
promised way oh.
Speaker 1 (15:32):
One Scott Walker song, in particular, would point toward the
extreme shift his music would take. The song, titled The Electrician,
is ominous, bleak, difficult to penetrate, and downright creepy as
hell Lyrically, it concerns the CIA's involvement in sketchy dealings
in South America in the nineteen seventies, specifically their use
(15:55):
of torture. The song puts the listener into the twisted,
sadistic mind of one such torturer, the beauty of the
strings and classical guitar running headlong into the dark fantasies
of the song's narrator.
Speaker 8 (16:21):
Baby, it's slow when lad's go low. There is no help.
Speaker 14 (16:38):
No, He's drilling through the sides to.
Speaker 10 (16:55):
Night, through the dark hill, screaming.
Speaker 14 (17:01):
Are you love? Notes culling me and kill Me.
Speaker 2 (17:07):
And kill Me.
Speaker 10 (17:14):
If Jack but as No, You'll die in your dreams
and but Chuck and.
Speaker 14 (17:24):
Jump not Ha No You'll thrill me and from Me and.
Speaker 17 (18:28):
Chi.
Speaker 1 (19:12):
Night Flights was well received by critics, but the sales
figures were no better than their previous album. The Walker
Brothers lost their record deal, and the band eventually went
their separate ways once again. Scott Walker spent the next
several years in relative obscurity, with no new releases, solo
or otherwise. In nineteen eighty four, Walker re emerged with
(19:34):
his first solo album in a decade climate of Hunter.
This album would build on the tone set by Night
Flights and go even further. In the two thousand and
six documentary Scott Walker, Thirtieth Century Man, producer Peter Walsh
explained that the musicians were instructed to record their parts
without knowing the melody to any of the songs. The
(19:56):
melody was a closely guarded secret, and in fact, Talker
hadn't even recorded any demos that might hint at a melody.
Scott's intent was to keep everything off kilter and uneasy.
The tracks were mysterious and obscure. Nearly half the tracks
didn't even have proper names. Track three is called Track three,
(20:17):
and tracks five, six and seven are called Track five,
Track six and Track seven. Besides a group of ACE
Studio musicians, including future soundtrack composer Mark Eischam on trumpet,
there were some surprising guest artists on this album. Track
three featured Caribbean queen singer Billy Ocean on backing vocals.
Speaker 10 (20:42):
Run to recognize the blood of us Clive, but without this.
Speaker 5 (20:47):
Prison, he is disraeved in his eyes. Roof Kiste that
lymba has.
Speaker 9 (20:59):
Sick eat.
Speaker 5 (21:03):
Record cast off that made me hustle.
Speaker 10 (21:09):
L free.
Speaker 5 (21:16):
From the wholest of lake corners. The miracle enters the streets,
shining with rain. He is shaking to wash the murder away.
The shadows of the sun made the sun of shadows.
Speaker 11 (21:35):
It's never nice when I die that desert founds under.
Speaker 9 (21:40):
And so on lightings, sleepers waiting.
Speaker 10 (21:43):
There with wolves in their sides. In describe the good dry.
Speaker 1 (22:15):
In the closing track, Blanket roll Blues featured acoustic guitar
from Dire Strait's Mark Knopfler.
Speaker 7 (22:22):
H m hm.
Speaker 2 (22:52):
When I.
Speaker 9 (22:55):
Cross the river.
Speaker 2 (23:00):
With a heavy blame could rule that no body with
it not a song.
Speaker 18 (23:30):
I if you provisions, some for comfort.
Speaker 7 (23:43):
Some for come, but I.
Speaker 2 (23:53):
Nobody with me.
Speaker 12 (24:01):
Not a.
Speaker 1 (24:26):
Seven out of the eight tracks were composed by Walker,
but Blanket Roll Blues is credited to Tennessee Williams and
Kenyan Hopkins. The only song written by Williams. It was
originally featured in the nineteen fifty nine film The Fugitive Kind,
sung by Marlon Brando. Climate of Hunter would receive mixed
(24:46):
critical reception upon release and was another commercially unsuccessful album
for Walker. Like much of Walker's work, it has been
critically reevaluated over time and is now rightfully considered one
of Walker's most important solo ALB albums. It seems like
Walker's albums are always ahead of their time. Walker would
go silent for the rest of the nineteen eighties on
(25:08):
into the nineties, only releasing one single in nineteen ninety two,
Manned from Reno for the soundtrack to the film Toxic Affair.
Walker finally re emerged in nineteen ninety five with the
album Tilt, his first in eleven years. Tilt took Walker
into even darker and more ominous directions dissonance, repetition, and
(25:30):
atmosphere are prioritized over conventional song structure. Walker sings in
an almost operatic fashion, his trademark baritone, mellowing and becoming
more emotive, more elastic, to fit the mood of his compositions.
Here's opener, Farmer in the city, Do.
Speaker 19 (26:03):
I hear twenty one twenty one twenty one? I give
you twenty one twenty one twenty one? Do I hear
twenty war twenty war twenty one? I give you twenty
(26:31):
one twenty one twenty.
Speaker 20 (26:47):
Is is this nice?
Speaker 21 (26:49):
You are mistake? I'm a farmer in the city. Dark
from house's.
Speaker 20 (27:04):
Against the sky. Every night I must wonder why horn
it's on the left, nay.
Speaker 18 (27:24):
Keeps wrinkling, wrinkling.
Speaker 22 (27:32):
Then higher above me. He can't go by A man
(27:56):
from reel from the back, that cob on the from
the still.
Speaker 23 (28:12):
A meta renumber that dream which talked about it dream
some minute times.
Speaker 1 (28:32):
Elsewhere. The song Patriot moves from lush strings to mechanized beats,
to ambience and back again to.
Speaker 9 (28:45):
See how they were. I brought no from ook.
Speaker 24 (29:06):
Some had butterflies, some had flags abroad nolang.
Speaker 14 (29:27):
From mood you.
Speaker 9 (29:33):
Hord flood butterflies. Some had spokes. The good news is
you cannot refuse the bad news.
Speaker 8 (30:01):
He is very.
Speaker 25 (30:03):
The new.
Speaker 16 (30:08):
To not you.
Speaker 9 (30:13):
Your son is old.
Speaker 15 (30:16):
To any law.
Speaker 9 (30:20):
Who asks, so good? That wasn't it theod.
Speaker 7 (30:31):
That's of marade, that's it passive?
Speaker 9 (30:38):
Hasn't it?
Speaker 7 (30:39):
Will lose desidh.
Speaker 9 (31:16):
The lose Zone, die.
Speaker 7 (31:24):
H oh newssidjon and Never sold Own.
Speaker 9 (31:44):
And Never sold Own.
Speaker 1 (31:55):
Child was critically lauded upon its release, announcing a new
era in Scout Walker's evolution as an artist, but yet again,
Walker continued to avoid expectations or easy categorization. He wrote
and produced the soundtrack for the film Pola X in
nineteen ninety nine. He also recorded several singles, including the
(32:16):
song only Myself to Blame, which appeared on the soundtrack
to nineteen ninety nine's Bond film.
Speaker 9 (32:22):
The World Is Not Enough.
Speaker 1 (32:24):
This song is notable in it's seeming returned to Walker's
more conventional crooning style.
Speaker 9 (32:39):
Ofve w to way past Midnight.
Speaker 6 (32:45):
I've driven for day, I've tried to forget in soul.
Speaker 19 (32:56):
Many way.
Speaker 26 (32:59):
I've hew other arts, but they don't feel the same.
And I've only myself.
Speaker 2 (33:14):
To blame.
Speaker 9 (33:18):
From city.
Speaker 2 (33:21):
To city, I still see your feel.
Speaker 9 (33:29):
It follows me around.
Speaker 24 (33:33):
All over.
Speaker 19 (33:36):
Blame.
Speaker 26 (33:39):
I shouldn't look back, but I do just the same,
and I've only myself.
Speaker 1 (33:57):
But apart from these and a few other spreads pieces,
Walker would not release another solo album until two thousand
and six. Is the Drift, eleven years after the release
of Tilt. Perhaps not coincidentally, this was the same gap
between Climate of Hunter and Tilt. Somehow, the Drift was
even more menacing, more ambient, and disquieting than Tilt. The
(34:22):
song Jesse depicts an imaginary nightmare suffered by Elvis Presley
as he endures visions of nine to eleven, Presley's stillborn brother.
Jesse is used as a metaphor to convey the loss
of the Twin Towers in the attack.
Speaker 25 (34:59):
Cakes and Black Cookine. No one holds too much tusc
(35:37):
not you, no choy, A word of musa, no needle
(35:58):
cook love.
Speaker 7 (36:00):
MH.
Speaker 15 (36:16):
Farmon is a tall, tall tower, a building left of
the eye.
Speaker 10 (36:25):
Jesse, Are you Listener? It coves its roots and channel
on the Memphis moon Line. Jesse, are you Listener?
Speaker 1 (37:13):
The track Clara famously featured the sound of a percussionist
beating a slab of raw pork with his bare hands.
The song is about the execution of Italian dictator Benito
Mussolini and his mistress Claretta oh.
Speaker 9 (37:27):
H Sun name dipped in mon in the deadlight like
what happened in.
Speaker 6 (37:41):
America, but bress so still heavy flow in strength, the
(38:13):
up golden show, the teeth stilted flow.
Speaker 1 (38:25):
Half of the songs on The Drift stretch out to
six minutes or longer, with a couple running over ten
minutes in length. Again, it's all about creating an atmosphere
of dread and menace. I'll be honest with you, this
is not an album that I listened to with any
great regularity. The unremittingly bleak feel is just too much
for me to want to revisit too often. But ultimately
(38:47):
The Drift as an album is an utterly remarkable and
complex journey. The warm reception of The Drift seemed to
signal a new productive era for Scott Walker. The excellent
documentary Scott Walker Thirtieth Century Man was released in two
thousand and six. The movie featured many interviews with folks
who admired and were influenced by Walker, including David Bowie,
(39:10):
Brian Eno, and Sting More Crucially, it featured extensive interviews
with Scott Walker himself, who was always extremely private and
rarely granted interviews for most of his post sixties career.
Walker spoke honestly and intelligently about his life and music
in the documentary, revealing himself as less the menacing provocateur
(39:32):
and more the ever seeking artist and creative force he was.
Speaker 10 (39:37):
You shouldn't take the songs too literally.
Speaker 17 (39:40):
Often I'll take a political idea or an idea that
we all know, and that's the springboard to another place,
to another sort of world. And and that's the same
in this case.
Speaker 12 (39:50):
You know.
Speaker 17 (39:51):
So in the end it almost comes down to a
personal message of a self of some kind. And ultimately
your work is yourself. Everything in my world because I
have a very night marrish imagination. I've very I have
very bad dreams all my life and things. So everything
in my world is big. It's way out of proportion.
Speaker 1 (40:14):
His final solo album, bish Bosh, was released in twenty twelve.
Here he takes the menacing, noisy atonal music of the
Drift to new heights of expression. Melody is all but absent.
What is left is loud, aggressive, shocking bursts of noise
and texture. It's as if, after all these decades, Walker
(40:36):
has distilled his music down to its barest, brutal essence.
Speaker 9 (40:40):
The song core de.
Speaker 1 (40:42):
Blah begins almost ambiently before erupting in a scrum of
drums and the sounds of barking dogs and other animals,
before shape shifting yet again.
Speaker 6 (40:52):
Bill long shriek ahld li offly because on Waiting Blue
they contry the stay.
Speaker 27 (41:18):
The chase look keeps sleeping, colestroll Pa Joe, crawl with so, but.
Speaker 10 (41:48):
Keep to Cary love whistener.
Speaker 9 (41:53):
In the channel, So toss.
Speaker 10 (42:03):
Charging on the pertle scripe.
Speaker 15 (42:07):
To God's great conversation through the stubborn.
Speaker 9 (42:19):
Protc thing.
Speaker 5 (42:24):
No lor no odds too more charnic mot in the masco.
Speaker 1 (42:44):
The track Tar kicks off with a wall of screeching
distortion before morphing into what sounds like knives being sharpened
over and over, eventually giving way the stings of guitar
drums and bass drones.
Speaker 9 (43:31):
Let nose whistle girls out.
Speaker 7 (43:33):
The hair.
Speaker 18 (43:42):
Dropper had only out record drunk.
Speaker 6 (43:55):
God creates than an animal birch, God.
Speaker 9 (44:01):
Creates animals in the saloon let its tut tut to
Nettle so back shun.
Speaker 2 (44:30):
Again.
Speaker 1 (44:31):
Over half the tracks on Dishbosh play out for six
minutes or longer. Track four titled s d SS one
four one six plus one three B subtitled Zirkhon a
Flagpole Stter goes on for an astonishing twenty one minutes
and forty two seconds.
Speaker 6 (44:49):
It is a.
Speaker 1 (44:49):
Remarkable journey within the journey of the album as a whole.
As with the Drift, I confess that this isn't an
album that I revisit very often. It is a worthy
adventure to be but a profoundly disquieting experience. Nevertheless, the
fact that Scott Walker could make music this fearless, this confrontational,
(45:09):
at almost seventy years old, is nothing short of inspirational.
In my opinion, it marks him as an artist of
the highest order, a person unafraid to express himself without compromise.
That's probably the best word to describe this stretch of
his work, uncompromising. Bishbosch was greeted with some of the
(45:30):
best reviews of Scott Walker's entire career, and though it
was his last solo album, he would continue to work
and compose over the next several years. He recorded a
collaboration with Noise Drowne Pioneer's son Oh on the twenty
fourteen album SOUST. He would also compose the scores to
several more films, twenty fifteen's The Childhood of a Leader
(45:52):
in twenty eighteen's Vox Lux, which starred Natalie Portman and
Jude Law. Walker died in London on March twenty second,
twenty nineteen, at the age of seventy six. Tributes poured
in from the likes of Tom Yorke, Jarvis Cocker.
Speaker 8 (46:08):
And Mark Alman.
Speaker 1 (46:10):
So what to make of Scott Walker's musical legacy. In
a rare interview with Jarvis Cocker in twenty seventeen, Walker
admitted that he never went back and re listened to
any of his past recordings. He was quoted as saying,
with that kind of thing, with any past recordings, I'm
like don Quixote being confronted by the Night of Mirrors.
(46:31):
All I ever do is hear the false I never
hear anything else, So I never listen. For Walker, there
was evidently no past, only the future, only that next
project that would move him further along on his artistic odyssey.
As I mentioned before, although I'm not partial to these
late period efforts. I find it incredibly inspiring that they
(46:53):
exist at all. For anyone involved in any sort of
creative enterprise, be it playing music, writing a book, whatever
the case may be. This kind of liberated approach to
the act of creating is so exhilarating and moving. Remember,
this was a man who seemed all but washed up
following the commercial failures of his records in the late
(47:13):
sixties early seventies. This is not to say he had
a grand plan for his music, but it's astonishing how
he found ways to reinvent himself, to shapeshift and expand
into unexplored territories. I feel so fortunate to have discovered
his music and to bear witness to the artistic metamorphosis
of Scott Walker. That's it for this episode of Noise Junkies.
(47:36):
Thank you for indulging me once again. When I'm not
listening to music, you can find me elsewhere on the
Weirding Wade Network. I co host The Night Mister Walters,
a taxi podcast alongside Midnight Viewing's father Blone, and I'm
an occasional guest on the Culture Cast with CHRISTASHIU and
I have a bandcampsite, hpmusicplace dot bandcamp dot com. I've
(47:58):
just released a new album called alled Wired and Waiting.
Please check it out. As always, please feel free to
write us, rate US, review US. We'd love to hear
from you in any manner you choose. Thanks again for
listening and we'll see you again next time.
Speaker 7 (49:06):
Ext
In the last episode, I talked about the genius of
Scott Walker's quartet of solo albums from the late sixties.
Speaker 2 (00:27):
As I mentioned in that episode.
Speaker 1 (00:29):
If Walker's career ended right then and there, his place
in the music pantheon would still be assured. But I
also alluded to the fact that Scott Walker didn't stop there,
and furthermore, I claimed you wouldn't believe where his music
took him. In this second part of my examination of
Walker's music, I'm going to take you through his post
(00:50):
sixties output, the ups, the downs, and the downright what
the fucks of his later albums. Tonight, allow me to
reintroduce you to Scott Walker. Hello, listeners to another episode
(01:16):
of Noise Junkies. I'm hp this episode, I'll be continuing
my discussion of Scott Walker, this time focusing on the
work that came after his fabled run of solo albums
produced in the late sixties. To catch everyone up, Walker's
nineteen sixty nine album Scott four had just been released
to middling critical and commercial reception at the time. By
(01:38):
Walker's own estimation, this plunged him into a deep depression,
during which he tried self medicating through drink. His record
company called him to the carpet, demanding that he make
a commercial record. The first of these more commercial efforts
was nineteen seventies Till the Band Comes In. And to
be fair, it's actually not a bad record. Sure, a
(02:01):
lot of the weirdness had started to go out of
his writing, but there's still wheat among the chaff if
you look deeper. At first listen, the song Time Operator
is a slow, smoky blues number that swings well enough,
but listen closely to the lyrics, and the trademark Scott
Walker twist is still there. The narrator of Time Operator
(02:23):
is a lonely man sitting in his darkened room. He
narrates this song while carrying on a conversation with an
operator's recorded time announcements. For those listeners too young to remember,
back before cell phones, home computers and all the other
technology we take for granted, you used to be able
to call a special phone number and a recording would
(02:45):
give you the current time. It would sound like this.
Speaker 3 (02:49):
At the tone, the time will be four fifty six
and twenty seconds.
Speaker 1 (02:56):
To be fair, this kind of thing was considered archaic
even in my time, but it was still available when
I was a kid. Anyway back to time, Operator, the
song's narrator, has fallen in love with the recorded operator's
voice on the phone and is carrying on a strange
parasocial relationship with it. He can't afford to pay his
(03:17):
water or electric bills, but makes sure to pay his
phone bill, if only to maintain any type of emotional connection.
The song is both incredibly poignant and exceedingly weird at
the same time.
Speaker 4 (03:30):
And I wouldn't care if you're uglyuse here with.
Speaker 5 (03:40):
The lights out, I couldn't see.
Speaker 6 (03:48):
You.
Speaker 7 (03:49):
Just picture Paul Newman and girl.
Speaker 8 (03:54):
He looks a lot like me.
Speaker 4 (04:03):
Time of Oparata. Take the time to take the time
to come over here, because we got so much in common.
(04:26):
Seems it's hard for us to sleep.
Speaker 9 (04:31):
With all the dazzle in the street.
Speaker 1 (04:54):
Elsewhere on the album is the song The War Is Over,
subtitled Sleepers. The lyrics describe the quiet stillness that follows
the end of a war, but in this case, it's
not the lyrics that draw you in. It's the music.
The vibe is almost like a sigh after a storm passes,
the relief after something terrible has ended. The lyrics stop
(05:17):
short of declaring a perfect ending, but it feels like
this one will be good enough at least for now.
Speaker 6 (05:38):
Everything still, everything silent.
Speaker 9 (05:45):
As after.
Speaker 6 (05:51):
We lie here listening tonight, closed down, still like a child,
wait for the sides to decide once again, just when
(06:14):
they look here to stand.
Speaker 7 (06:22):
Ware to leave.
Speaker 10 (06:25):
Our world hother.
Speaker 11 (06:31):
It really isn't flared outside the scene. The water is over,
Raise your brids, the worries over.
Speaker 9 (06:49):
Tell your deepest dog goodbye.
Speaker 1 (07:03):
The next four albums Walker released continued this commercial and
creative slide. They would feature no original material whatsoever. Nineteen
seventy two's The Moviegoer was comprised of cover versions of
songs pulled from various movie soundtracks. Nineteen seventy threes any
Day Now featured songs written by Jimmy Webb, Randy Newman,
(07:26):
and Bill Withers. Also from nineteen seventy three, the album
Stretch was more of the same, with covers of the
same writers in a light country style. In nineteen seventy
four's We Had It All went even further in the
country style, featuring songs by Billy Joe Shaver, Jerry Reid,
and Gordon Lightfoot. This four album String is the definition
(07:49):
of diminishing returns, and even a casual listener can hear
Walker going through the motions. Walker himself has referred to
this as his wilderness period, and it's worth noting that
their relative unavailability in later years was due in part
to his dissatisfaction with these albums. Walker eventually blocked CD
(08:11):
re releases of this material, though all of them eventually
saw release without his approval. His solo career edits nadir.
Scott reunited with the Walker Brothers and the album No
Regrets followed in nineteen seventy five. The production style was
still very much in the country folk van and once
(08:31):
again there are no originals, only cover songs. But the
cover of Tom Rush's No Regrets was a hit in
the UK, reaching number seven in the UK Singles Chart
in early nineteen seventy six.
Speaker 12 (08:45):
The hours it were yours, eh Kulin, empty rooms, the
thoughts we.
Speaker 9 (08:55):
Used to share and now keep alone.
Speaker 12 (09:03):
I woke last night and spoke to you, not thinking
you were gone, and it felt some strange to light
a week along. There's no regrets, no tears, Goodbye, I
(09:34):
don't want you back.
Speaker 13 (09:39):
We don't cry again, say goodbye.
Speaker 1 (09:56):
The Walker Brothers released another album, Lines, in nineteen seventy six.
Stylistically similar to No Regrets, it featured no originals and
failed to chart. It was back to the drawing board
for the Walker Brothers, but then came nineteen seventy eight
and the album that changed everything for Walker, Night Flights.
(10:19):
After the commercial failure of both No Regrets and Lines,
the Walker Brothers had enough money from their label to
make one more record. They spent the entirety of nineteen
seventy seven writing songs before returning to the studio. Scott,
who had not written a song since nineteen seventies till
the Band Comes In, was reportedly inspired to write again
(10:40):
after hearing Joni Mitchell. He also brought David Bowie's album
Heroes to the studio, where it was apparently used as
the main reference for what would eventually become Night Flights.
Night Flights was interesting in that each group member had
their own allotment of songs credited solely to that individual.
Scott had the first four tracks, Gary Leeds had the
(11:03):
next two, and John Mouse had the final four. It's
been described as more like three miniature solo albums than
a true group effort. The sound of Night Flights is experimental,
much more experimental than any of the music produced by
Scott or the Walker Brothers up to that point. It's
hard to characterize it. There's elements of new wave, funk,
(11:25):
avant garde. It's not difficult to hear the influence that
Bowie's Heroes album had on it. The sound is sleek
and electronic, and Walker sings in an almost plaintive tone.
His lyrics are much more abstract, eschewing the tight melodrama
of his earlier work to focus on texture and mood.
(11:46):
Here's a bit of the title track, night Flights.
Speaker 2 (12:05):
There's no hold.
Speaker 10 (12:10):
The moving has come.
Speaker 5 (12:12):
Through, the danger brushing you turns its face into.
Speaker 9 (12:19):
The heat and runs and tunnels.
Speaker 5 (12:25):
It's so cold, the dark dug of five dogs, the
stitches torn and broke, the Roumi's fistu choke has hint.
Speaker 14 (12:41):
The blood light last trips over and close on.
Speaker 15 (12:50):
Night Flights, The broken lets stand, the West Brass.
Speaker 7 (12:57):
The world.
Speaker 10 (13:03):
We will because I'm not prows O promise only all.
Speaker 1 (13:33):
David Bowie would later cover Night Flights on his nineteen
ninety three albums Black Tie, White Noise.
Speaker 2 (13:54):
It's no.
Speaker 10 (13:57):
Stupid thing has come true.
Speaker 8 (14:03):
The danger passing you.
Speaker 16 (14:07):
He turns its face into the nast and runs the tunnels.
Speaker 17 (14:16):
It so.
Speaker 15 (14:21):
The dog dug up, my knocks, the stitches toll and roll.
Speaker 10 (14:29):
The love, make missy joke as.
Speaker 14 (14:33):
Him the bloodlight.
Speaker 16 (14:39):
Glass straps over, the goes on nine lights, roll the
X where the expressed the walls.
Speaker 3 (14:56):
Be my love. We will be gone O night but
promised way oh.
Speaker 1 (15:32):
One Scott Walker song, in particular, would point toward the
extreme shift his music would take. The song, titled The Electrician,
is ominous, bleak, difficult to penetrate, and downright creepy as
hell Lyrically, it concerns the CIA's involvement in sketchy dealings
in South America in the nineteen seventies, specifically their use
(15:55):
of torture. The song puts the listener into the twisted,
sadistic mind of one such torturer, the beauty of the
strings and classical guitar running headlong into the dark fantasies
of the song's narrator.
Speaker 8 (16:21):
Baby, it's slow when lad's go low. There is no help.
Speaker 14 (16:38):
No, He's drilling through the sides to.
Speaker 10 (16:55):
Night, through the dark hill, screaming.
Speaker 14 (17:01):
Are you love? Notes culling me and kill Me.
Speaker 2 (17:07):
And kill Me.
Speaker 10 (17:14):
If Jack but as No, You'll die in your dreams
and but Chuck and.
Speaker 14 (17:24):
Jump not Ha No You'll thrill me and from Me and.
Speaker 17 (18:28):
Chi.
Speaker 1 (19:12):
Night Flights was well received by critics, but the sales
figures were no better than their previous album. The Walker
Brothers lost their record deal, and the band eventually went
their separate ways once again. Scott Walker spent the next
several years in relative obscurity, with no new releases, solo
or otherwise. In nineteen eighty four, Walker re emerged with
(19:34):
his first solo album in a decade climate of Hunter.
This album would build on the tone set by Night
Flights and go even further. In the two thousand and
six documentary Scott Walker, Thirtieth Century Man, producer Peter Walsh
explained that the musicians were instructed to record their parts
without knowing the melody to any of the songs. The
(19:56):
melody was a closely guarded secret, and in fact, Talker
hadn't even recorded any demos that might hint at a melody.
Scott's intent was to keep everything off kilter and uneasy.
The tracks were mysterious and obscure. Nearly half the tracks
didn't even have proper names. Track three is called Track three,
(20:17):
and tracks five, six and seven are called Track five,
Track six and Track seven. Besides a group of ACE
Studio musicians, including future soundtrack composer Mark Eischam on trumpet,
there were some surprising guest artists on this album. Track
three featured Caribbean queen singer Billy Ocean on backing vocals.
Speaker 10 (20:42):
Run to recognize the blood of us Clive, but without this.
Speaker 5 (20:47):
Prison, he is disraeved in his eyes. Roof Kiste that
lymba has.
Speaker 9 (20:59):
Sick eat.
Speaker 5 (21:03):
Record cast off that made me hustle.
Speaker 10 (21:09):
L free.
Speaker 5 (21:16):
From the wholest of lake corners. The miracle enters the streets,
shining with rain. He is shaking to wash the murder away.
The shadows of the sun made the sun of shadows.
Speaker 11 (21:35):
It's never nice when I die that desert founds under.
Speaker 9 (21:40):
And so on lightings, sleepers waiting.
Speaker 10 (21:43):
There with wolves in their sides. In describe the good dry.
Speaker 1 (22:15):
In the closing track, Blanket roll Blues featured acoustic guitar
from Dire Strait's Mark Knopfler.
Speaker 7 (22:22):
H m hm.
Speaker 2 (22:52):
When I.
Speaker 9 (22:55):
Cross the river.
Speaker 2 (23:00):
With a heavy blame could rule that no body with
it not a song.
Speaker 18 (23:30):
I if you provisions, some for comfort.
Speaker 7 (23:43):
Some for come, but I.
Speaker 2 (23:53):
Nobody with me.
Speaker 12 (24:01):
Not a.
Speaker 1 (24:26):
Seven out of the eight tracks were composed by Walker,
but Blanket Roll Blues is credited to Tennessee Williams and
Kenyan Hopkins. The only song written by Williams. It was
originally featured in the nineteen fifty nine film The Fugitive Kind,
sung by Marlon Brando. Climate of Hunter would receive mixed
(24:46):
critical reception upon release and was another commercially unsuccessful album
for Walker. Like much of Walker's work, it has been
critically reevaluated over time and is now rightfully considered one
of Walker's most important solo ALB albums. It seems like
Walker's albums are always ahead of their time. Walker would
go silent for the rest of the nineteen eighties on
(25:08):
into the nineties, only releasing one single in nineteen ninety two,
Manned from Reno for the soundtrack to the film Toxic Affair.
Walker finally re emerged in nineteen ninety five with the
album Tilt, his first in eleven years. Tilt took Walker
into even darker and more ominous directions dissonance, repetition, and
(25:30):
atmosphere are prioritized over conventional song structure. Walker sings in
an almost operatic fashion, his trademark baritone, mellowing and becoming
more emotive, more elastic, to fit the mood of his compositions.
Here's opener, Farmer in the city, Do.
Speaker 19 (26:03):
I hear twenty one twenty one twenty one? I give
you twenty one twenty one twenty one? Do I hear
twenty war twenty war twenty one? I give you twenty
(26:31):
one twenty one twenty.
Speaker 20 (26:47):
Is is this nice?
Speaker 21 (26:49):
You are mistake? I'm a farmer in the city. Dark
from house's.
Speaker 20 (27:04):
Against the sky. Every night I must wonder why horn
it's on the left, nay.
Speaker 18 (27:24):
Keeps wrinkling, wrinkling.
Speaker 22 (27:32):
Then higher above me. He can't go by A man
(27:56):
from reel from the back, that cob on the from
the still.
Speaker 23 (28:12):
A meta renumber that dream which talked about it dream
some minute times.
Speaker 1 (28:32):
Elsewhere. The song Patriot moves from lush strings to mechanized beats,
to ambience and back again to.
Speaker 9 (28:45):
See how they were. I brought no from ook.
Speaker 24 (29:06):
Some had butterflies, some had flags abroad nolang.
Speaker 14 (29:27):
From mood you.
Speaker 9 (29:33):
Hord flood butterflies. Some had spokes. The good news is
you cannot refuse the bad news.
Speaker 8 (30:01):
He is very.
Speaker 25 (30:03):
The new.
Speaker 16 (30:08):
To not you.
Speaker 9 (30:13):
Your son is old.
Speaker 15 (30:16):
To any law.
Speaker 9 (30:20):
Who asks, so good? That wasn't it theod.
Speaker 7 (30:31):
That's of marade, that's it passive?
Speaker 9 (30:38):
Hasn't it?
Speaker 7 (30:39):
Will lose desidh.
Speaker 9 (31:16):
The lose Zone, die.
Speaker 7 (31:24):
H oh newssidjon and Never sold Own.
Speaker 9 (31:44):
And Never sold Own.
Speaker 1 (31:55):
Child was critically lauded upon its release, announcing a new
era in Scout Walker's evolution as an artist, but yet again,
Walker continued to avoid expectations or easy categorization. He wrote
and produced the soundtrack for the film Pola X in
nineteen ninety nine. He also recorded several singles, including the
(32:16):
song only Myself to Blame, which appeared on the soundtrack
to nineteen ninety nine's Bond film.
Speaker 9 (32:22):
The World Is Not Enough.
Speaker 1 (32:24):
This song is notable in it's seeming returned to Walker's
more conventional crooning style.
Speaker 9 (32:39):
Ofve w to way past Midnight.
Speaker 6 (32:45):
I've driven for day, I've tried to forget in soul.
Speaker 19 (32:56):
Many way.
Speaker 26 (32:59):
I've hew other arts, but they don't feel the same.
And I've only myself.
Speaker 2 (33:14):
To blame.
Speaker 9 (33:18):
From city.
Speaker 2 (33:21):
To city, I still see your feel.
Speaker 9 (33:29):
It follows me around.
Speaker 24 (33:33):
All over.
Speaker 19 (33:36):
Blame.
Speaker 26 (33:39):
I shouldn't look back, but I do just the same,
and I've only myself.
Speaker 1 (33:57):
But apart from these and a few other spreads pieces,
Walker would not release another solo album until two thousand
and six. Is the Drift, eleven years after the release
of Tilt. Perhaps not coincidentally, this was the same gap
between Climate of Hunter and Tilt. Somehow, the Drift was
even more menacing, more ambient, and disquieting than Tilt. The
(34:22):
song Jesse depicts an imaginary nightmare suffered by Elvis Presley
as he endures visions of nine to eleven, Presley's stillborn brother.
Jesse is used as a metaphor to convey the loss
of the Twin Towers in the attack.
Speaker 25 (34:59):
Cakes and Black Cookine. No one holds too much tusc
(35:37):
not you, no choy, A word of musa, no needle
(35:58):
cook love.
Speaker 7 (36:00):
MH.
Speaker 15 (36:16):
Farmon is a tall, tall tower, a building left of
the eye.
Speaker 10 (36:25):
Jesse, Are you Listener? It coves its roots and channel
on the Memphis moon Line. Jesse, are you Listener?
Speaker 1 (37:13):
The track Clara famously featured the sound of a percussionist
beating a slab of raw pork with his bare hands.
The song is about the execution of Italian dictator Benito
Mussolini and his mistress Claretta oh.
Speaker 9 (37:27):
H Sun name dipped in mon in the deadlight like
what happened in.
Speaker 6 (37:41):
America, but bress so still heavy flow in strength, the
(38:13):
up golden show, the teeth stilted flow.
Speaker 1 (38:25):
Half of the songs on The Drift stretch out to
six minutes or longer, with a couple running over ten
minutes in length. Again, it's all about creating an atmosphere
of dread and menace. I'll be honest with you, this
is not an album that I listened to with any
great regularity. The unremittingly bleak feel is just too much
for me to want to revisit too often. But ultimately
(38:47):
The Drift as an album is an utterly remarkable and
complex journey. The warm reception of The Drift seemed to
signal a new productive era for Scott Walker. The excellent
documentary Scott Walker Thirtieth Century Man was released in two
thousand and six. The movie featured many interviews with folks
who admired and were influenced by Walker, including David Bowie,
(39:10):
Brian Eno, and Sting More Crucially, it featured extensive interviews
with Scott Walker himself, who was always extremely private and
rarely granted interviews for most of his post sixties career.
Walker spoke honestly and intelligently about his life and music
in the documentary, revealing himself as less the menacing provocateur
(39:32):
and more the ever seeking artist and creative force he was.
Speaker 10 (39:37):
You shouldn't take the songs too literally.
Speaker 17 (39:40):
Often I'll take a political idea or an idea that
we all know, and that's the springboard to another place,
to another sort of world. And and that's the same
in this case.
Speaker 12 (39:50):
You know.
Speaker 17 (39:51):
So in the end it almost comes down to a
personal message of a self of some kind. And ultimately
your work is yourself. Everything in my world because I
have a very night marrish imagination. I've very I have
very bad dreams all my life and things. So everything
in my world is big. It's way out of proportion.
Speaker 1 (40:14):
His final solo album, bish Bosh, was released in twenty twelve.
Here he takes the menacing, noisy atonal music of the
Drift to new heights of expression. Melody is all but absent.
What is left is loud, aggressive, shocking bursts of noise
and texture. It's as if, after all these decades, Walker
(40:36):
has distilled his music down to its barest, brutal essence.
Speaker 9 (40:40):
The song core de.
Speaker 1 (40:42):
Blah begins almost ambiently before erupting in a scrum of
drums and the sounds of barking dogs and other animals,
before shape shifting yet again.
Speaker 6 (40:52):
Bill long shriek ahld li offly because on Waiting Blue
they contry the stay.
Speaker 27 (41:18):
The chase look keeps sleeping, colestroll Pa Joe, crawl with so, but.
Speaker 10 (41:48):
Keep to Cary love whistener.
Speaker 9 (41:53):
In the channel, So toss.
Speaker 10 (42:03):
Charging on the pertle scripe.
Speaker 15 (42:07):
To God's great conversation through the stubborn.
Speaker 9 (42:19):
Protc thing.
Speaker 5 (42:24):
No lor no odds too more charnic mot in the masco.
Speaker 1 (42:44):
The track Tar kicks off with a wall of screeching
distortion before morphing into what sounds like knives being sharpened
over and over, eventually giving way the stings of guitar
drums and bass drones.
Speaker 9 (43:31):
Let nose whistle girls out.
Speaker 7 (43:33):
The hair.
Speaker 18 (43:42):
Dropper had only out record drunk.
Speaker 6 (43:55):
God creates than an animal birch, God.
Speaker 9 (44:01):
Creates animals in the saloon let its tut tut to
Nettle so back shun.
Speaker 2 (44:30):
Again.
Speaker 1 (44:31):
Over half the tracks on Dishbosh play out for six
minutes or longer. Track four titled s d SS one
four one six plus one three B subtitled Zirkhon a
Flagpole Stter goes on for an astonishing twenty one minutes
and forty two seconds.
Speaker 6 (44:49):
It is a.
Speaker 1 (44:49):
Remarkable journey within the journey of the album as a whole.
As with the Drift, I confess that this isn't an
album that I revisit very often. It is a worthy
adventure to be but a profoundly disquieting experience. Nevertheless, the
fact that Scott Walker could make music this fearless, this confrontational,
(45:09):
at almost seventy years old, is nothing short of inspirational.
In my opinion, it marks him as an artist of
the highest order, a person unafraid to express himself without compromise.
That's probably the best word to describe this stretch of
his work, uncompromising. Bishbosch was greeted with some of the
(45:30):
best reviews of Scott Walker's entire career, and though it
was his last solo album, he would continue to work
and compose over the next several years. He recorded a
collaboration with Noise Drowne Pioneer's son Oh on the twenty
fourteen album SOUST. He would also compose the scores to
several more films, twenty fifteen's The Childhood of a Leader
(45:52):
in twenty eighteen's Vox Lux, which starred Natalie Portman and
Jude Law. Walker died in London on March twenty second,
twenty nineteen, at the age of seventy six. Tributes poured
in from the likes of Tom Yorke, Jarvis Cocker.
Speaker 8 (46:08):
And Mark Alman.
Speaker 1 (46:10):
So what to make of Scott Walker's musical legacy. In
a rare interview with Jarvis Cocker in twenty seventeen, Walker
admitted that he never went back and re listened to
any of his past recordings. He was quoted as saying,
with that kind of thing, with any past recordings, I'm
like don Quixote being confronted by the Night of Mirrors.
(46:31):
All I ever do is hear the false I never
hear anything else, So I never listen. For Walker, there
was evidently no past, only the future, only that next
project that would move him further along on his artistic odyssey.
As I mentioned before, although I'm not partial to these
late period efforts. I find it incredibly inspiring that they
(46:53):
exist at all. For anyone involved in any sort of
creative enterprise, be it playing music, writing a book, whatever
the case may be. This kind of liberated approach to
the act of creating is so exhilarating and moving. Remember,
this was a man who seemed all but washed up
following the commercial failures of his records in the late
(47:13):
sixties early seventies. This is not to say he had
a grand plan for his music, but it's astonishing how
he found ways to reinvent himself, to shapeshift and expand
into unexplored territories. I feel so fortunate to have discovered
his music and to bear witness to the artistic metamorphosis
of Scott Walker. That's it for this episode of Noise Junkies.
(47:36):
Thank you for indulging me once again. When I'm not
listening to music, you can find me elsewhere on the
Weirding Wade Network. I co host The Night Mister Walters,
a taxi podcast alongside Midnight Viewing's father Blone, and I'm
an occasional guest on the Culture Cast with CHRISTASHIU and
I have a bandcampsite, hpmusicplace dot bandcamp dot com. I've
(47:58):
just released a new album called alled Wired and Waiting.
Please check it out. As always, please feel free to
write us, rate US, review US. We'd love to hear
from you in any manner you choose. Thanks again for
listening and we'll see you again next time.
Speaker 7 (49:06):
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