1.
Pop music
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Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid 1950s. The terms popular music and pop music are used interchangeably, although the former describes all music that is popular. Pop and rock were synonymous terms until the late 1960s, when they were used in opposition from each other. Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other such as urban, dance, rock, Latin. Identifying factors include generally short to medium-length songs written in a format, as well as the common use of repeated choruses, melodic tunes. David Hatch and Stephen Millward define pop music as a body of music which is distinguishable from popular, jazz, according to Pete Seeger, pop music is professional music which draws upon both folk music and fine arts music. Although pop music is seen as just the singles charts, it is not the sum of all chart music, the music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately, pop music continuously evolves along with the terms definition. The term pop song was first recorded as being used in 1926, Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music. The Oxford Dictionary of Music states that while pops earlier meaning meant concerts appealing to a wide audience. Since the late 1950s, however, pop has had the meaning of non-classical mus, usually in the form of songs, performed by such artists as the Beatles. Grove Music Online also states that, in the early 1960s pop music competed terminologically with beat music, while in the USA its coverage overlapped with that of rock and roll. From about 1967, the term was used in opposition to the term rock music. Whereas rock aspired to authenticity and an expansion of the possibilities of music, pop was more commercial, ephemeral. It is not driven by any significant ambition except profit and commercial reward, and, in musical terms, it is essentially conservative. It is, provided from on high rather than being made from below, pop is not a do-it-yourself music but is professionally produced and packaged. The beat and the melodies tend to be simple, with limited harmonic accompaniment, the lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions
2.
Baroque pop
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Baroque pop is a pop music subgenre that fuses classical music, orchestral pop, rock, and Baroque music. It is identifiable for its use of melodies, functional harmony patterns. The genre emerged in the 1960s after pop musicians and record producers began placing the harpsichord in the foreground of their arrangements, other typical baroque pop instrumentation includes string sections, French horns, and oboes. Baroque pops mainstream popularity faded by the 1970s, partially because punk rock, disco and hard rock took over, nonetheless, music was still produced within the genres tradition. Philadelphia soul in the 1970s and chamber pop in the 1990s both incorporated the spirit of baroque pop while the latter contested much of the low fidelity musical aesthetic. Baroque pop, stylistically, fuses elements of rock with classical music, often incorporating layered harmonies, strings and its prominent characteristics are the use of contrapuntal melodies and functional harmony patterns. It was intended to be a serious and mature outgrowth of rock music. English baroque is used by journalist Bob Stanley to describe a subset that existed between 1968 and 1973, starting in the 1960s, pop musicians and record producers like Phil Spector and the Beach Boys Brian Wilson began placing the harpsichord in the foreground of their arrangements. Harpsichords were widely available in recording studios, and had used in popular music since as early as the 1940s. One of the first pop hits to use a harpsichord was the Jamies Summertime, Summertime. Later examples range from the Beach Boys I Get Around and When I Grow Up to the Righteous Brothers Youve Lost That Lovin Feelin and the Mamas & the Papas Monday, Monday. The Boston Globes Matthew Guerriri speculates that the harpsichord may have been desirable for its buzzing, stinging timbre, slates Forrest Wickman credits Wilson and the Beatles producer, George Martin, as some of the men most responsible for the move into baroque pop. Along with Burt Bacharach, Spector had melded pop music with classical elements before they were melded with rock, writer Andrew Jackson suggests that the era of baroque pop in which rock melded with classical elements was prefaced by the Rolling Stones and Brian Wilson. The Beatles benefited from the music skills of Martin, who played a baroque harpsichord solo on the song In My Life. Author Joe Harrington noted that after its release, many baroque-rock works would soon appear, producer Tommy LiPuma believed, Once the Beatles featured that harpsichord sound on In My Life, pop producers began working it in. The genre is traced to the United States and the United Kingdom, by early 1966, various groups began using baroque and classical instrumentation, described as a baroque rock movement by Gendron. The Zombies single Shes Not There marked a point for British baroque pop. Stanley explains that the song didnt feature any oboes but stuck out rather dramatically in 1964, Shes Not There would inspire New York musician Michael Brown to form the Left Banke, whose song Walk Away Renée is considered by Stanley to be the first recognizable baroque pop single
3.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
4.
We Had It All
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We Had It All is the tenth studio album by the American solo artist Scott Walker. It was released in August 1974 but was unsuccessful on the music charts, no singles were released from the album. It was Walkers final solo album for ten years, in the interim Walker reformed The Walker Brothers, four of the 10 songs on the album were written by Billy Joe Shaver and had previously appeared on Waylon Jennings 1973 Outlaw country album Honky Tonk Heroes. The album was recorded in August 1974 at Nova Studios, Marble Arch, the album was released as an LP in late 1974 and received generally negative reviews. The album was reissued and released on CD in 1997 by BGO Records coupled with Walkers ninth studio album 1973s Stretch, the artwork for the album was produced by Roslav Szaybo with photography from M. Joseph
5.
Julian Cope
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Julian David Cope is an English musician, author, antiquarian, musicologist, poet and cultural commentator. Cope is also an author on Neolithic culture, publishing The Modern Antiquarian in 1998, Copes family lived in Tamworth, Staffordshire, but he was born in Deri, Caerphilly, Wales, where his mothers parents lived, while she was staying there. Cope was staying with his grandmother near Aberfan on his birthday, which was the day of the Aberfan disaster of 1966. Cope grew up in Tamworth with his parents and his younger brother Joss and he played Oliver in Wilnecote High Schools production of the musical. He attended City of Liverpool C. F, mott Training College, and it was here that he first became involved in music. In July 1977, Cope was one of the founders of Crucial Three, post-Crucial Three, Cope, and McCulloch initially went on to form other short-lived bands UH. and A Shallow Madness. When Cope sacked McCulloch from A Shallow Madness, McCulloch went on to form Echo, the two former bandmates would maintain a frequently antagonistic rivalry from then on, often carried out in public or in the press. In 1978, Cope formed The Teardrop Explodes with drummer Gary Dwyer, organist Paul Simpson and guitarist Mick Finkler, with himself as singer, bass player, drawing on a post-punk version of West Coast pop music, the band became part of a wave of neo-psychedelic Liverpool bands. Cope and Dwyer were the only constants, although seven other members passed in. Several well-received early singles culminated in the bands biggest hit, Reward, Copes photogenic charm and wild, garrulous interview style helped keep the band in the media eye, and made him a short-lived teen idol during the bands peak. Success brought the Teardrops plenty of attention, but no further stability, Cope, however, has strenuously resisted taking advantage of any nostalgic and commercial opportunities to reunite the band. In 1982 Cope had moved to the Staffordshire village of Drayton Bassett, following the dissolution of The Teardrop Explodes, he spent a period in seclusion recovering from the strain of the groups final year and amassing a collection of vintage toys. During this period, Cope befriended a teenage Drayton Bassett musician called Donald Ross Skinner, in 1983 Cope began recording the songs for his first solo album, World Shut Your Mouth. Although the album retained the uptempo pop drive of the Teardrops, it was also an introspective. Former Teardrops drummer Gary Dwyer, guitarist Steve Lovell and Dream Academy oboist Kate St. John all contributed to the album, World Shut Your Mouth was seen as out-of-step with the times, gained poor reviews and sold indifferently. A single from the album, Sunshine Playroom, featured a video directed by David Bailey. During a concert at Hammersmith Palais on the subsequent promotional tour, although the wounds were superficial, it shocked the audience and resulted in another memorable addition to his reputation for bizarre behaviour. Notoriously, the featured a naked Cope crouched on top of the Alvecote Mound slag heap clad only in a large turtle shell
6.
Scott 3
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Scott 3 is the third solo album by singer songwriter Scott Walker. Upon release in 1969, it met with slower sales than his previous albums, the dense lush string arrangements by Wally Stott seemed to evoke a Vegas-style lounge crooner atmosphere, but one tinted with surreal drones and touches of dissonance. Since its release, it has been regarded by many of Walkers fans as a favourite, a cover of 30 Century Man by the Jigsaw Seen was used in the animated film Futurama, Benders Big Score. Marc Almond covered the song Big Louise in 1982 with his band Marc, the final three tracks are covers of compositions by Jacques Brel. All tracks written by Scott Walker, except where noted, smash label vinyl issue omitted 30 Century Man, replacing it with Lights of Cincinnati, a UK non-LP single from the same period. This issue also featured a different cover design from the UK Philips release, Scott Walker - vocals, arranger Wally Stott - Arranged and conducted all songs except 30 Century Man and Funeral Tango Peter Knight - Arranged and conducted Funeral Tango Scott 3 at MusicBrainz
7.
Scott Walker: 30 Century Man
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Scott Walker,30 Century Man is a 2006 documentary film about Scott Walker. The film gets its title from the Scott 3 song 30 Century Man and it is directed and co-produced by Stephen Kijak, with Grant Gee serving as director of photography. Rock legend David Bowie, who professes to have been inspired by Walker. Actor Gale Harold is one of the associate producers, the film received its world premiere at the London Film Festival on 31 October 2006 and debuted internationally at the 2007 Berlin International Film Festival in the Panorama. It was released later in 2007 in cinemas and on DVD in the UK by Verve Pictures and it had its US premiere at the South by Southwest Film Festival in March 2007. The film is produced by Oscar-winning producer Mia Bays, marking her debut in documentary and she was nominated for a 2008 BAFTA award for her work on the film. An edited version of the film was used for the BBC series Imagine and it was introduced by Alan Yentob. In Early 2008 Madman Films released the film on DVD in Australia, oscilloscope Laboratories, a distribution company founded by Adam Yauch of Beastie Boys, acquired the distribution rights in North America after the films US release was delayed. It began another critically acclaimed theatrical run, this time in select US cities, music Inspired by the Film Scott Walker,30 Century Man was released on 26 May 2009 to promote the US release of the film. Instead of a compilation of Walkers material the album was conceived as a tribute album. kingsnake
8.
Scott (album)
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Scott was the début solo album by Scott Walker, originally released in the United Kingdom on Philips Records in 1967. The album received both commercial success as well as critical praise, hitting #3 on the UK Albums Chart. Scott was released six months after Walkers third album with The Walker Brothers. Brel was an influence on Walkers own compositions, and Walker included Brel material on his first three solo albums. Walker described Brel without qualification as the most significant singer-songwriter in the world, the real coup for Walker was his luck in acquiring and recording the new Mort Shuman-translated versions of Brels material before anyone else. Since the albums release, three complete outtakes, likely recorded during the Scott album sessions, have circulated in bootlegged form. These are Free Again, I Get Along Without You Very Well and I Think Im Getting Over You, the album was released by Philips Records in September 1967 in the UK. It reached #3 on the UK Albums Chart, and stayed on the chart for seventeen weeks and it was released the following year in the US on Smash Records under the title Aloner. Scott Walker – vocals Wally Stott – arrangements, conductor Reg Guest – arrangements, conductor Peter Knight – arrangements, conductor Peter Olliff – engineer
9.
Scott 2
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Scott 2 is the second solo album by Scott Walker. Scott 2 follows the formula of Walkers début release, with a mixture of contemporary covers Jacques Brel interpretations, film songs and his own original compositions. According to Jonathan King writing in the notes to Scott 2, not long after the album had been completed, Walker described it as the work of a lazy. He added, Now the nonsense must stop, and the business must begin. The album, released on Philips Records in May 1968, reached #1 for one week, the album was preceded by the single Jackie in late 1967. The single met with controversy in the UK because of lyrics like authentic queers and phony virgins, the song was banned by the BBC and was not performed on BBC TV or played on the mainstream radio channels. The song eventually charted at #22, a record about real stuff with quite disturbing imagery, remarked Neil Hannon, frontman of The Divine Comedy. Wally Stott - arrangements and conductor Reg Guest - arrangements and conductor Peter Knight - arrangements and conductor Peter Olliff - engineer
10.
Scott 4
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Scott 4 is Scott Walkers fifth solo album. It was originally released in late 1969 under his name, Noel Scott Engel. Subsequent reissues have been released under his stage name and it has since received praise as one of Walkers best works. The opening track, The Seventh Seal, is based on the 1957 film of the name by filmmaker Ingmar Bergman. The album failed to chart and was deleted soon after and it has been speculated that Walkers 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, today Scott 4 is considered as one of his strongest works and it has been acknowledged in the book 1001 Albums You Must Hear Before You Die amongst others. It has also praised by known artists such as David Bowie. All tracks written by Noel Scott Engel
11.
'Til the Band Comes In
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Til the Band Comes In is the sixth studio album by the American solo artist Scott Walker. It was released in December 1970 but failed to chart, three singles were released from the album. The title track backed with Jean the Machine was released in the Netherlands, Jean the Machine and Thanks For Chicago Mr. James were each released in Japan. No singles were released in the UK, the release is a loose concept album about the inhabitants of a tenement. Walker wrote the songs for the album quickly while on a holiday in Greece in September 1970. Receiving negative reviews the album was first released as an LP in December 1970, the album was deleted and was not available for over twenty-five years. The album was later reassessed much more favourably and was reissued in the UK on CD by BGO Records in August 1996. This new edition fell out of print before a second CD re-issue followed in 2008 by the US label Water Records, the album was re-issued again on 3 June 2013 as part of a 5-CD set entitled Scott - The Collection 1967-1970. The original liner notes were by Walkers then-manager Ady Semel with cover photography by Michael Joseph, after the critical and commercial failure of Walkers previous album, Walker made several compromises with his manager and record company in an effort to restore his career momentum. The album was split between the ten original compositions and five interpretations of middle-of-the-road standards and pop songs. Walker also took the step of sharing his writing credits with his new manager Ady Semel. Walker summarised the collaboration with Semel, He acts as my censor, vetting all my lyrics, Walker also brought in Esther Ofarim, another singer managed by Semel, as a guest vocalist on Long About Now. At the time of release Til the Band Comes In received negative reviews by the majority of critics, critical reception of the album has warmed considerably since Walker was critically reappraised in the decades following The Walker Brothers 1978 album Nite Flights. The album is now classed as a worthy if somewhat compromised follow up to Walkers first four studio albums, Scott Plagenhoef writing for Pitchfork Media in 2008, describes Scott Walkers originals a step down from those on his previous two albums but worthwhile nonetheless. Dave Thompson writing retrospectively for Allmusic was less charitable, calling Thanks for Chicago Mr, some lost classics were lost with good reason. Britpop band Pulp implied that the side of the album was significantly weaker than the first in the lyrics of their 2001 single Bad Cover Version. Ironically Walker produced the song and its parent album We Love Life, Cocker also noted that he was nervous about singing the line in front of Walker, although states when it came to it he either did not notice or did not care. All tracks written by A. Semel/S
12.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
13.
The Moviegoer (album)
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The Moviegoer is the seventh studio album by the American solo artist Scott Walker. It was released in October 1972 but failed to chart, no singles were released from the album, though This Way Mary was later released as a b-side to Walkers 1973 single The Me I Never Knew. The album consists solely of renditions of film theme songs performed by other artists. The album was the first of six albums in which Walker did not contribute original material. By way of compromise Walker had some say in the song selection, the album was recorded quickly in the autumn of 1972 with Walkers usual studio team consisting of producer Johnny Franz and engineer Peter J. Olliff. In a change from previous work, Robert Cornford was brought-in to produce the orchestral arrangements, despite a push for commercial viability the album received negative reviews when released as an LP in October 1972. The album was re-issued in 1975 by Contour record label with new sleeve art, the album has since been deleted and has not been reissued. Walker has blocked CD re-releases of The Moviegoer, Scott, Scott Walker Sings Songs from his TV Series, in spite of the albums deletion, the majority of the songs were released in recent years on the expansive 5 Easy Pieces boxset and Classics & Collectibles. Only Joe Hill and All His Children remain unavailable, stephen Thomas Erlewine writing retrospectively for Allmusic summarises The Moviegoer as a harmless mainstream pop album without much care. Scott Walker – Vocals Johnny Franz – Producer Peter J. Olliff – Engineering Robert Cornford – Orchestra director
14.
Any Day Now (Scott Walker album)
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Any Day Now is the eighth studio album by the American solo artist Scott Walker. It was released in May 1973 but failed to chart, the Me I Never Knew was released as the albums sole single backed with the The Moviegoer opening track, This Way Mary. The album was also the final Walker studio album from Philips Records, Walker has blocked CD re-releases of Any Day Now, Scott, Scott Walker Sings Songs from his TV Series and The Moviegoer. In spite of the deletion, around half of the songs were released in recent years on the budget The Collection compilation. The Me I Never Knew, We Could Be Flying, Do I Love You, when You Get Right Down to It, Cowboy, and All My Loves Laughter are included on the Classics & Collectibles, while Any Day Now is included on The Collection. If Ships Were Made To Sail appears on a collection of Jimmy Webb penned songs titled And Someone Left The Cake Out In The Rain, maria Bethania, If and Aint No Sunshine remain unavailable. Scott Walker - Vocals Peter Knight - Arrangements, Conductor Robert Cornford - Arrangements, Conductor tracks, A4, A6, B1, B5 John Franz - Producer Peter J. Olliff - Engineer
15.
Stretch (album)
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Stretch is the ninth studio album by the American solo artist Scott Walker. It was released in November 1973 but was unsuccessful on the music charts, no singles were released from the album. It was Walkers first solo album for CBS/Columbia records after departing from Philips Records, the majority of the songs recorded for the album were covers of old songs, some of which were by songwriters Walker had covered before such as Randy Newman and Jimmy Webb. The one new song Someone Who Cared was written by the albums producer Del Newman, the album was recorded in 1973 at Nova Studios, Marble Arch, London. Receiving negative reviews from critics the album was released as an LP in November 1973, the album was reissued and released on CD in 1997 by BGO Records coupled with Walkers tenth studio album 1974s We Had It All. Stretch received negative reviews from the majority of critics
16.
Climate of Hunter
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Climate of Hunter is the eleventh studio album by the American solo artist Scott Walker. It was released in March 1984 and reached number 60 on the UK Albums Chart and it includes the single Track Three. It was his album of the 1980s. Walker wrote the songs for the album between August and September 1983, the album was recorded between October and December 1983 in the UK at The Town House, EMI and Sarm West Studios. The album was released as an LP in March 1984, receiving positive reviews and it was released on CD in the mid-1980s, and reissued on CD in January 2006, with revised artwork and having been remastered. The original artwork for the album was designed by C. More. Tone, following the poor reception of Walkers tenth solo album, 1974s We Had It All, Walker reformed The Walker Brothers and signed to GTO Records. The reunited group recorded three albums together, 1975s No Regrets, 1976s Lines and 1978s Nite Flights, No Regrets and Lines had continued the musical vein of MOR Country Pop cover versions that Walker had followed on his previous two solo albums. The title track, No Regrets, had become a hit single in early 1976, the group began recording Nite Flights knowing that GTO was soon to collapse. The decision was made to produce an album of their own compositions without compromise, the resulting album emphasised an art rock and disco sound utilising harder drum sounds, synthesizers, and electric guitars. The three group members each wrote and sang their own compositions, Scotts four songs – Shut Out, Fat Mama Kick, Nite Flights, and The Electrician – were his first original compositions since 1970s Til the Band Comes In. Walkers song-writing displayed remarkable growth from his 1960s work and had more in common with the music of David Bowie, Brian Eno, the extremely dark and discomforting sound of Scotts songs, particularly The Electrician, was to prove a forerunner to the direction of his future solo work. Nite Flights was released in 1978 to poor sales figures but warm critical opinion, especially Scotts contributions. In the period after the album Walker was without a record deal, Walker compared himself to Orson Welles, a great man everyone wants to meet, but for whom nobody will finance their next project. Out of his now good critical standing a trio of compilations was released in the early 1980s, in spite of signing a new deal, Walker was slow to begin writing his first album for the label. Although Walker was slow to begin writing, the seven songs composed for the album were completed and recorded quickly in the last six months of 1983, the album was produced with Peter Walsh who had recently worked with Simple Minds on their break-through album, 1982s New Gold Dream. Walker explained that if the melody was known it would take the song away from the place he intended. The intention was to keep everything a little disjointed so there is no chance of everyone swinging together, the resulting songs are driven by and founded on Peter Van Hookes drums, Mo Fosters bass and Walkers vocals. Guitars, synthesizers, brass and strings are used sparingly with abstract results
17.
Tilt (Scott Walker album)
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Tilt is the twelfth studio album by the American solo artist Scott Walker. It was released on 8 May 1995 and reached number 27 on the UK albums chart, no singles were released from the album. It was Walkers first studio album in eleven years, Walker composed the songs for the album between 1991 and 1992 except Manhattan, which was written in 1987, and the final song Rosary, which was composed in 1993. The album was recorded at RAK Recording Studios and Townhouse Studios in the UK, the album is the first installment of a trilogy that went on to include The Drift and Bish Bosch. The songs on the album have a bleak, forlorn and funereal mood. Like Walkers previous effort, Climate of Hunter, Tilt combines elements of music with European avant-garde. Walkers voice resonates in an echo, taking on a haunted, distant, desolate quality. The opening track, Farmer in the City, is subtitled Remembering Pasolini, throughout the song, Walkers chant of Do I hear 21,21,21. May be a reference to Davolis age when he was drafted into the Italian army, the lyrics of The Cockfighter include excerpts relocated from the trial of Queen Caroline and the trial of Adolf Eichmann. Bolivia 95 is apparently a song about South American refugees, the subtitle of Manhattan, flȇrdelē´, is a phonetic-matching corruption of the term fleur de lis, which is mentioned in the lyrics of the song. All tracks written by N. S. Engel, the artwork for the album was designed by Stylorouge with photography and image manipulation of Walkers hand by David Scheinmann from a concept by Walker. Tilt at MusicBrainz Scott Walker interview - The Wire, May 1995
18.
The Drift
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The Drift is the thirteenth studio album by the American solo artist Scott Walker. It was released on the 8 May 2006 and reached number 51 on the UK Albums Chart, no singles were released from the album. Walker composed the songs for the album slowly over the decade after the release of 1995s Tilt, beginning with Cue, an early version of Buzzers was premièred at the Meltdown festival on 17 June 2000 under the title Thimble Rigging. The album was recorded over a period of 17 months at Metropolis Studios in Chiswick, London, with orchestra recorded in one day at George Martins AIR Studios in Hampstead, receiving good reviews from critics, the album was released as an LP and CD in May 2006. The artwork for the album was designed by Vaughan Oliver at v23 with assistance from Chris Bigg, Walkers first album composed entirely of new material since 1995s Tilt, The Drift forms the second installment of the trilogy that concluded with 2012s Bish Bosch. The Drift has been cited by critics and fans alike as a disturbing. French singer Vanessa Contenay-Quinones appears as the voice of Clara Petacci on Clara, the sound and subject matter for the album is unrelentingly dark and unsettling, often juxtaposing quiet sections with sudden loud noise to induce discomfort in the listener. Subjects include torture, disease, 9/11, Elvis Presley, all tracks written by Scott Walker, except Psoriatic. Also Jesse video Album completion announcement at the official 4AD site, - Momus writes about The Drift
19.
Bish Bosch
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Bish Bosch is the fourteenth studio album by the American singer Scott Walker. It was released on 3 December 2012 on 4AD, the album has been described by its creator as being the final installment in a trilogy that also includes Tilt and The Drift. At seventy-three minutes, Bish Bosch is Walkers longest studio album, as well as containing his longest song. Critical response to Bish Bosch was very positive, at Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 78, based on 33 professional reviews. The recording was selected as Album of the Week in The Independent, The Guardian and The Sunday Times, Album of the Month in Mojo magazine, and Album of the Year by Tiny Mix Tapes
20.
Sunn O)))
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Sunn O))) is an American experimental metal band from Seattle, Washington that formed in 1998. The band is known for a heavy sound that blends diverse genres including drone, doom metal, black metal, dark ambient. Supported by a varying cast of collaborators, the band was formed by two members, Stephen OMalley and Greg Anderson. Sunn O))) is named after the Sunn amplifier brand, the logo of which includes a circle next to the SUNN banner with waves heading off to the right. In interviews, Stephen OMalley stated that the moniker was also chosen as a play on the name Earth. Before the band moved to Los Angeles, it briefly used the moniker Mars. The bands style is characterized by slow tempos, heavily distorted guitars, avoidance of rhythm and melody. Percussion is almost never incorporated, with a lack of any discernible beat, when performing live, the band wears robes, fills the air with fog, and plays at an extremely high volume. The band releases the majority of its music through the label it founded in 1998, however, the band initially released ØØ Void on multiple labels, including Rise Above Records, Hydra Head Records, and Dirter Productions. Additionally, the pressing of The Grimmrobe Demos was released by Hydra Head Records. It was later issued as a double picture record set by Outlaw Recordings, Sunn O))) experiments with a variety of styles and sounds, progressing the primarily guitar and bass style of The Grimmrobe Demos and ØØ Void. On White1 and White2, Sunn O))) noticeably expanded on conceptualization by inviting several guests, resulting in everything from quiet meditative ambient sounds to a bizarre bass experiment track. Sunn O))) is widely regarded as leaders in its genre, including by The New York Times Magazine of May 28,2006 and it was praised in an issue of Wonka Vision, an independent music magazine, as one of the greatest modern metal acts. The bands seventh album, Monoliths & Dimensions, was released on May 18,2009. On December 17,2009, the song Hunting & Gathering from the CD Monoliths & Dimensions was named the Heaviest Song of All-Time by Jason Ellis on The Jason Ellis Show on Sirius/XM, Greg Anderson then appeared on The Jason Ellis Show on January 12,2010. The band played the ATP New York 2010 music festival in Monticello, New York, during September 2010, for live performances, Hungarian-born Attila Csihar has performed as the primary vocalist since 2003. Sunn O))) released an album with Ulver titled Terrestrials in February 2014, in October 2014, the band released the album Soused. In November 2015, Sunn O))) presented a program at Le Guess Who
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The Walker Brothers
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The Walker Brothers were an American pop group of the 1960s and 1970s, that included Scott Engel, John Walker, and Gary Leeds. In between the two was the lesser US hit My Ship is Coming In, formed in 1964, they adopted the Walker Brothers name as a show business touch even though the members were all unrelated — simply because we liked it. S. charts. The Walker Brothers Trio was formed in Los Angeles in 1964 by John Walker, Scott Engel, and drummer Al Tiny Schneider. Walker and Engel, with two musicians, had also toured the Midwest in 1963 as The Surfaris, although the group included none of the musicians who played on the Surfaris records. Dropping the word Trio, Walker and Engel were signed by Mercury Records, recorded a single, Pretty Girls Everywhere and they also appeared on the Shindig. TV show, developed by Jack Good, and then on a weekly TV show, late in 1964, they met drummer Gary Leeds, previously of The Standells. He had recently toured the UK with singer P. J. Proby, Leeds – along with club regular Brian Jones – persuaded them that the bands rock and roll and blues style would go down well in swinging London, where Proby had already succeeded. They also appeared in a film, Beach Ball, and sent demo recordings to labels in the United Kingdom. With financial backing from Leeds stepfather, Walker, Engel and Leeds traveled to the UK in February 1965 for an exploratory visit, when they landed in England, record producer Johnny Franz was keen to sign them up. In a short time, Walker and Engel had secured a contract with Philips Records, an affiliate of Mercury. The song had originally recorded by The Everly Brothers and released as B-side to their single The Girl Who Sang The Blues in 1963. Philips then recorded and released the version of Make It Easy on Yourself. It was sung by Engel, arranged by Ivor Raymonde and produced by Johnny Franz, session musicians on the record included Alan Parker and Big Jim Sullivan. By August 1965, Make It Easy on Yourself had entered the UK Top 10, later in the year, it also reached No.16 in the US Billboard Hot 100. The track sold 250,000 copies in the UK, and over one million copies globally, the number 3 UK hit My Ship Is Coming In, originally recorded in 1965 by Soul singer Jimmy Radcliffe, followed. Then in March 1966, The Walker Brothers hit No.1 for the time in six months with The Sun Aint Gonna Shine Anymore. Their popularity in the UK – particularly that of Scott – reached a new high, especially teenage girls. The Sun Aint Gonna Shine Anymore also made the US Top 20, the Walker Brothers continued to have chart hits in the UK in 1966 and 1967, with Scott taking a more prominent role in their song choices and arrangements, but with diminishing commercial success
22.
Take It Easy with the Walker Brothers
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Take It Easy with the Walker Brothers is the debut album by the American pop group the Walker Brothers. It is also known as Take It Easy. The groups musical accompaniment was directed by Ivor Raymonde and produced by John Franz and it was released in 1965 and reached number three on the UK Albums Chart. The album contains the groups first major hit single Make It Easy on Yourself, receiving good to mixed reviews the album was released in both Mono and Stereo LP formats in November 1965. The album was released on CD having been remastered and expanded in 1998. The sleeve notes were written by Brian Mulligan, the press officer for Philips Records. In the USA the album was released on Smash Records as Introducing the Walker Brothers, the group can be seen miming Doin the Jerk on the 1965 beach party movie Beach Ball. Introducing the Walker Brothers is now out of print, in 2008 Water Records released the Philips Take It Easy track listing in the US for the first time. Take It Easy with the Walker Brothers received good to mixed reviews from the majority of critics
23.
Portrait (The Walker Brothers album)
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Portrait is the second album by the American pop group The Walker Brothers. Released in 1966 the album was their most successful and reached three on the UK Albums Chart. The groups musical accompaniment was directed by Ivor Raymonde and Reg Guest, receiving good to mixed reviews the album was first released in both Mono and Stereo LP formats in August 1966. The album was released on CD having been remastered and expanded in 1998. The sleeve notes were written by Keith Altham with photography by Dezo Hoffman, portrait was not released in the USA. In its place Smash Records compiled The Sun Aint Gonna Shine Anymore as the second album. Portrait received good to mixed reviews from the majority of critics, richie Unterberger writing for Allmusic recommends the album for serious fans only as the majority of the best tracks are on the compilation After the Lights Go Out. Gary Walker - Drums and Vocals John Walker - Guitar and Vocals Scott Walker - Vocals, Guitar, and Keyboards Ivor Raymonde - Music Director
24.
The Sun Ain't Gonna Shine Anymore (album)
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The Sun Aint Gonna Shine Anymore is the second North-American studio album by the American pop group The Walker Brothers. Released in 1966, the album was the fourth overall. Portrait was not released in the USA or Canada, in its place Smash Records compiled The Sun Aint Gonna Shine Anymore as the groups second American album. The rest of the album was filled out with A-sides, B-sides and tracks from their first EP, the final track, Dont Fight It, was never released anywhere else. The Sun Aint Gonna Shine Anymore received good to mixed reviews from the majority of critics, gary Walker - drums and vocals John Walker - guitar and vocals Scott Walker - vocals, guitar, and keyboards Ivor Raymonde - music director
25.
Images (The Walker Brothers album)
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Images is the third album by the American pop group The Walker Brothers. Released in 1967 the album reached number six on the UK Albums Chart and it was the last of their trio of 1960s albums. They would not record again until 1975s No Regrets. For their final album Nite Flights, the members did not perform as a band, the groups musical accompaniment was directed by Reg Guest and produced by John Franz. Receiving good to mixed reviews the album was first released in both Mono and Stereo LP formats in March 1967, the album was later released on CD having been remastered and expanded in 1998. The sleeve notes were written by Alan Freeman, images received good to mixed reviews from the majority of critics. Richie Unterberger writing retrospectively for AllMusic called the album as uneven as their other pair. Affecting pop/rock ballads and operatic crooner vehicles were interspersed with absolutely inappropriate up-tempo blue-eyed soul, Unterberger rates Scott Walkers contributions noting that they a growth that foreshadowed some of the more ambitious aspects of his early solo albums. He also described John Walkers I Cant Let It Happen to You as one of The Walker Brothers best songs, gary Walker - Drums and Vocals John Walker - Guitar and Vocals Scott Walker - Vocals, Guitar, and Keyboards Reg Guest - accompaniment
26.
No Regrets (The Walker Brothers album)
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No Regrets is the fourth album by the American pop group The Walker Brothers. The album was released in 1975 and was the groups first together since 1967 and it reached number forty-nine on the UK Albums Chart and includes the single No Regrets. The single backed with the non-album B-side Remember Me became the final significant hit single. The album was different from the groups 1960s work. While the arrangements were grandiose and often utilised an orchestra. The album was also their first not to original compositions by either Scott Walker or John Walker. John Walkers only new song Remember Me was included as the B-side to No Regrets, Dave Thompson writing retrospectively for Allmusic praised the title track calling it brilliant and a gargantuan slab of maudlin sadness that wrung every last iota of pain from Scotts voice. Thompson criticised the rest of the saying it stunk, but did praise Hell Break Your Heart. Cole - pedal steel David Katz Orchestra - orchestra Chris Karan, Gary Walker - percussion Dave MacRae - electric piano Technical Phil Harding - engineer Michael Joseph - photography
27.
Lines (album)
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Lines is the fifth studio album by the American pop group The Walker Brothers. The album was released in 1976 and was the second since reforming in 1975, the album failed to chart and includes the singles Lines and Were All Alone, neither of which met with much success. The album was similar to their 1975 comeback No Regrets, matching the general musical styles of Country and Pop music. Aside from First Day which is actually the work of John Maus, writing under the pseudonym A. Dayam, scott Walker however would not contribute new songs until the groups following album Nite Flights in 1978. Lines received mixed reviews from the majority of critics
28.
Nite Flights (album)
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Nite Flights is the sixth and last studio album by the American pop group The Walker Brothers, released in July 1978. Each member of the group wrote songs for the album, two by Gary Walker with Scott Walker and John Walker each contributing four, the Electrician was released as a single from the album. The album was recorded in February 1978 in the UK at Scorpio Sound, London, the artwork was designed by Hipgnosis. Nite Flights was released in July 1978, through record label GTO, the Electrician was released as a single backed with Den Haague, but did not chart. Scott Walkers four songs were released as Shutout E. P. in 1978. Nite Flights was long out of print until the mid-1990s when it was re-released as a budget CD, in 2001, two outtakes from the Nite Flights sessions surfaced on the compilation album If You Could Hear Me Now. The Ballad written by John Walker is a song, the second outtake. Midge Ure claimed that The Electrician inspired him to write Ultravoxs Vienna
29.
Pola X (soundtrack)
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Pola X is the soundtrack album to Léos Caraxs film of the same name composed, and produced by the American solo artist Scott Walker. The soundtrack also includes contributions from Smog, Sonic Youth, Fairuz, Nguyên Lê and it was released on 17 May 1999. It was Walkers first full soundtrack, the soundtrack was recorded in Paris at Studios Davout, and in London at Lansdowne Recording Studio and Air Studios. Receiving positive reviews the album was released in May 1999 on CD in France. The majority of Walkers compositions were included on the fifth disc of Walkers 2003 boxset compilation 5 Easy Pieces. Walker followed his work on Pola X with scores for dance performances. And What Shall Go to the Ball. for the London-based CandoCo Dance Company, Pola X received mixed to positive reviews by the majority of critics. All tracks performed and written by Scott Walker except where otherwise noted, jean-Claude Dubois - Orchestra Direction Geoff Foster - Mixing Paris Philharmonic Orchestra Brian Gascoigne - Orchestration Scott Walker - Producer Pola X at MusicBrainz
30.
The Childhood of a Leader (film)
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The Childhood of a Leader is a 2015 historical mystery drama film, written, produced and directed by Brady Corbet, and is Corbets feature film directorial debut. It is loosely based on Jean-Paul Sartres short story The Childhood of a Leader, published in 1939 in a collection entitled The Wall, Corbet co-wrote the screenplay with his wife Mona Fastvold, and filmed both an English and a French language version. The film chronicles the childhood of a fascist leader in the immediately following World War I. Production began in early 2015, in Budapest, Hungary, the film had its world premiere in-competition at 72nd Venice International Film Festival on 5 September 2015 and won two awards at the festival, Best Debut film and Best Director. In 1919, an American boy living in France with his authoritarian parents witnesses the creation of the Treaty of Versailles, which shapes his beliefs and causes him to develop a terrifying ego. Advisor Roderick Hill as Older American Gentleman Brady Corbet began writing the script of the ten years ago on his own. He later pick it up again after support from his partner Mona Fastvold, on 1 April 2013, it was announced that Corbet was set to make his feature film directorial debut with a France-set World War I film, based on the script he co-wrote with Mona Fastvold. Corbet would produce along with French producers Antoine de Clermont-Tonnerre and Chris Coen, Film Producer Helena Danielsson of Hepp Film also came on board to get the film additional financing. On 10 December 2013, it was announced that Juliette Binoche, Tim Roth, in August 2014, it was announced that both Binoche and Roth had left the project. Roth dropped due to scheduling conflict while Binoche citing the reason that it was too dark, the same month Binoche and Roth were replaced by Bérénice Bejo and Liam Cunningham. Corbet talking about the casting and characters in the said that I have intentionally not revealed the identity of the character. And its a thing because its not for the reasons that people think. One thing I will happily tell everybody is that the character is not Hitler, and the character is not Mussolini. And theres the dramatic event where you learn who this person is, Robert Pattinson is not playing Hitler as you now know. Ill go on the saying that. Corbet held auditions for the casting of the role of Prescott, des Hamilton and his great team found Tom Sweet and brought him in. Tom was everything we had envisioned and more and he is the film’s greatest triumph. Production was originally slated to start from November 2014 but later moved to January 2015, Pattinson describing the film said that Its about the youth of a future dictator in the Thirties, like an amalgamation of Hitler, Mussolini and some others
31.
5 Easy Pieces (Scott Walker box set)
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5 Easy Pieces is a box set anthology of the career of Scott Walker. It was released in November 2003, the set comprises five themed CDs and a 56-page booklet. All tracks written by Scott Walker, unless otherwise noted, all tracks performed by Scott Walker, except † by The Walker Brothers, ‡ by Ute Lemper, and 2.16 by Esther Ofarim. k. a. Delayed –3,42 Sleepwalkers Woman –4,11 Track 5 a. k. a and its A Starving –3,32 Farmer In The City –6,35 The Cockfighter –5,58 Bouncer See Bouncer. –1,09 Never Again –1,27 Closing –1,53
32.
Solo John/Solo Scott
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Solo John/Solo Scott is a split-EP by the American pop group The Walker Brothers members John Walker and Scott Walker. It was released in 1966 reached number four on the UK EP Chart, while the EP was released as two solo efforts due to it being released while the group was active it is generally categorised as a Walker Brothers release. The EP was produced by John Franz with musical accompaniment directed by Reg Guest and it is also notable as it includes the original Scott Walker composition Mrs. Murphy. All four tracks have since been re-released on the edition of The Walker Brothers second album. Philips - BE12597 John Walker - Vocals Scott Walker - Vocals John Franz - Producer Reg Guest - Accompaniment Direction
33.
Jacky (Jacques Brel song)
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Jacky is a song written by the Belgian singer-songwriter Jacques Brel and Gérard Jouannest. Brel recorded the song on 2 November 1965, and it was released on his 1966 album Ces Gens-Là, the song was translated from French into English and retitled Jackie. The song has been covered a number of times, particularly in Europe, in the United States, the songs popularity grew through its appearance in the score of the off-Broadway revue Jacques Brel is Alive and Well and Living in Paris, which opened on January 22,1968. Jackie was later recorded and released by the American singer-songwriter Scott Walker as his first solo single in 1967, Walker recorded the Mort Shuman translation. The accompaniment was directed by Wally Stott, the single met with controversy in the UK likely because of lyrics like authentic queers and phony virgins and drug references. The song was banned by the BBC and was not performed on the corporations TV or played on the radio channels. The song was performed on non-BBC channels most notably on Frankie Howerds show Howerds Hour where Walker danced comically during the performance, Jackie was a moderate hit spending nine weeks on the UK Singles Chart and peaking at #22 in January 1968. The following year was included as the track on Walkers most popular album Scott 2. The single is notable for including one of Walkers only non-album b-sides, the accompaniment for The Plague was directed by Peter Knight in an atypical arrangement that featured guitar and female backing singers. English singer Marc Almond covered The Plague in 1986 for his covers EP A Womans Story, in 1977, Jacky was recorded by Peter Straker on his album This Ones On Me, which was co-produced by his close friend Freddie Mercury. He has since recorded the song a second time for his 2012 album, in May 1986, Momus released his version of the song, retitled as Nicky after the singers first name, as the title track of a three song EP of Brel covers. In 1991, Marc Almond recorded a cover version Brels song for his album Tenement Symphony, in 2012, Secret Chiefs and Mike Patton collaborated under the moniker Traditionalists to release a cover of this on the Mimicry record label. It also marks the first recorded collaboration of original Mr. Bungle founders Mike Patton and Trey Spruance since the band dissolved in 2004
34.
Joanna (Scott Walker song)
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Joanna is a song written by the English husband and wife song-writing team Tony Hatch and Jackie Trent which was first a song for the American singer-songwriter Scott Walker in 1968. The song was Walkers second solo single in the UK, the accompaniment was directed by Peter Knight. While credited to Hatch and Trent journalist Joe Jackson writes in his article The Fugitive Kind that Walker wrote a significant proportion of the lyric. Jackson quotes Walker as follows, that whole verse about lived in your eyes completely is mine and I wrote the last line in the song, you may remember me and change your mind. Joanna was a hit and is one of Walkers most popular recordings spending eleven weeks on the UK Singles Chart. An instrumental arrangement on the song was used as the theme for Walkers BBC TV series, the single was backed with the 1967 Scott album track Always Coming Back to You. The accompaniment of the b-side was directed by Reg Guest, japanese editions are backed with The Plague, which was previously released as the b-side to Jackie in 1967
35.
Lights of Cincinnati
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Lights of Cincinnati is a song written by the English songwriters Tony Macaulay and Geoff Stephens which was first a song for the American singer-songwriter Scott Walker in 1969. The song was Walkers third solo single in the UK, the accompaniment was directed by Peter Knight. Lights of Cincinnati was a hit spending ten weeks on the UK Singles Chart. The single also made the Irish Singles Chart peaking at #20, while not included on the concurrently released Scott, Scott Walker Sings Songs from his TV Series album or Scott 3 album from March, the song replaced 30 Century Man on US editions of Scott 3. The single was backed with the 1969 Scott 3 album track Two Weeks Since Youve Gone, the accompaniment of the b-side was directed by Wally Stott
36.
I Still See You
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I Still See You is a song written by Michel Legrand with lyrics by Hal Sharper which was first a song for the American singer-songwriter Scott Walker in 1971. The song was Walkers fourth solo single in the UK, the song was produced by John Franz with Bob Cornford credited as musical director. The song was the theme for the 1970 British romantic drama film The Go-Between. Walkers recording of I Still See You failed to chart, his first to miss the UK Singles Chart since the Walker Brothers début Pretty Girls Everywhere in 1965, the single is notable for including one of Walkers few non-album b-sides, My Way Home. Scott Walker did not record another original composition for another seven years, the production and musical direction of the b-side was also credited to John Franz and Bob Cornford respectively
