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Scott

Scott Walker

Scott

...debut solo album
UNI157 (Universal Music Group)
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Tracks: Listen and Download

Track Time Listen
1
Mathilde

Mathilde

Composer Schuman, Gerard Jouannest, Jaques Brel
Conductor Wally Stott
Band Scott Walker
02:36 Play
2
Montague Terrace (In Blue)

Montague Terrace (In Blue)

Composer Scott Walker
Conductor Wally Stott
Band Scott Walker
03:27 Play
3
Angelica

Angelica

Composer Barry Mann, Cynthia weil
Conductor Reg Guest
Band Scott Walker
03:59 Play
4
The Lady Came From Baltimore

The Lady Came From Baltimore

Composer Tim Hardin
Conductor Reg Guest
Band Scott Walker
01:57 Play
5
When Joanna Loved Me

When Joanna Loved Me

Composer Jack Segal, Robert Wells
Conductor Wally Stott
Band Scott Walker
03:06 Play
6
My Death

My Death

Composer Schuman, Jaques Brel
Conductor Reg Guest
Band Scott Walker
04:57 Play
7
The Big Hurt

The Big Hurt

Composer Wayne Shanklin
Conductor Wally Stott
Band Scott Walker
02:25 Play
8
Such A Small Love

Such A Small Love

Composer Scott Walker
Conductor Wally Stott
Band Scott Walker
04:53 Play
9
You're Gonna Hear From Me

You're Gonna Hear From Me

Composer Dory Previn, Andre Previn
Conductor Peter Knight
Band Scott Walker
02:52 Play
10
Through A Long And Sleepless Night

Through A Long And Sleepless Night

Composer Nessan, Mack Gordon
Conductor Peter Knight
Band Scott Walker
04:10 Play
11
Always Coming Back To You

Always Coming Back To You

Composer Scott Walker
Conductor Reg Guest
Band Scott Walker
02:40 Play
12
Amsterdam

Amsterdam

Composer Schuman, Jaques Brel
Conductor Wally Stott
Band Scott Walker
03:04 Play
Total Running Time 40 minutes
Prices shown in US Dollars

Scott's first solo album on splitting from The Walker Brothers finds him in a reflective mood, covering songs by Jacques Brel (Mathilde / My Death / Amsterdam), Tim Hardin (Lady Came From Baltimore) and Dory Previn (You're Gonna Hear From Me).

This album is licensed for download from Universal Music Group. 

Download includes - cover art

The first Scott Walker solo album is a strong showcase of the singer's musical vision. Past influences and future ambitions juxtapose brilliantly throughout the record, mixing his unique, deep crooning tradition with bizarre themes, from which the Brel translations and Walker's own compositions are plain extraordinary. The extreme contrasts of the songs' structures, a balance between chaotic themes and saccharin orchestrations, would become Walker's trademark during his late 60s' records. As his career developed, Walker would become a deeper and darker artist, slowly getting rid of the ultra-sweet arrangements of his early career, and Scott (I) acts as the perfect bridge.
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