For his solo career, Walker shed The Walker Brothers' mantle and worked in a style that combined his earlier teen appeal with a darker, more idiosyncratic approach. Initially, this led to a continuation of his previous band's success. Walker's first three albums, titled 1967's "Scott," 1968's "Scott 2" and 1969's "Scott 3," all sold in large numbers, with "Scott 2" topping the British charts.
While his vocal style remained consistent with Walker Brothers, he now drove a fine line between classic ballads, Broadway hits and his own compositions, and also included risqué recordings of Jacques Brel songs. Walker was also continuing to develop as a producer.
In 1968, he produced a single with the Japanese rock group The Carnabeats, featuring John Walker on vocals. Upon his return to the U.K, he produced a solo album for the Walker Brothers' musical director and guitarist Terry Smith. In 1968, Walker also produced Ray Warleigh's first album by Jazz saxophonist Ray Warleigh. Also in 1968, Walker produced John Maus's solo single "Woman."
Walker has suggested that by the time of his third solo LP, a self-indulgent complacency had crept into his choice of material. His fourth solo album, 1969's "Scott: Scott Walker Sings Songs from his TV Series," exemplified the problems he was having in failing to balance his own creative work with the demands of the entertainment industry and of his manager Maurice King, who seemed determined to mold his protegé into a new Andy Williams or Frank Sinatra.
Having parted company with King, Walker released his fifth solo LP "Scott 4," in 1969. Compensating for his recent dip into passivity, this was his first record to be made up entirely of self-penned material. The album failed to chart and it has been speculated that Walker's decision to release the album under his birth name of Noel Scott Engel contributed to its chart failure. All subsequent re-issues of the album have been released under his stage name.
Despite a series of acclaimed albums, this disastrous drop in sales forced him back into straight MOR recordings with little of his own artistic input. Walker then entered a period of self-confessed artistic decline, during which he spent five years making records and consoling himself with drink.
His next album, 1970's "'Til the Band Comes In," showed a pronounced split between its two sides. Side A featured original material while side B consisted entirely of cover songs.