However he won't ever do those songs (or likely any) in a concert setting again, so this was a great alternative. Just as an aside, I watched a bit of the broadcast before my wifi started playing up, and must say the sound at the venue itself was so much more immersive, like a 200.1 surround sound mix. I don't think the TV mix has done it enough justice. Honestly, it felt like the whole venue was floating in the air during 'Plastic Palace People'.
I will put money on Scott watching it and thinking thats nice.Thank you guys. He will probably talk to Stuart on his freak zone show on BBC Radio 6 music on the phone when his next album is released later this year or next . One wonders will it be another collaboration or just him? I have been with him from the start and have every album he has ever done. I still find a couple bloody hard work but still love em.
Does anyone know what the 2010 vinyl pressing of Scott 4 on Abraxas Records is? I can't see it listed on Discogs and Amazon UK is selling it for £17.47!
I've just heard her performance of that - I really thought it was good. There's something weak about her voice imo, but she put so much feeling into it it really was a good rendition. I'd say that some of these performances must have been amazing live. I still say it really brings home what a rich voice Walker had - these artists are often having to compromise certain notes to perform the songs. The orchestration was spot on. I'm a bit envious of you being there - it must have been quite a night.
Just have rediscovered "The Drift", the 2006 double vinyl is one lavish looking release. Everything here is super heavy. The sleeve claims this was an "analogue recording"?! The mastering is very good unfortunately the pressing isn't. There's constant surface noise going on and since this is my second copy - and mirrors quotes at Discogs - it looks like they all - or most - are like that. I wouldn't go as far as to call it "unlistenable" - because it somehow fits the content - but it's far from ideal. Especially on headphones. I also have the 2012 reissue. The cover and vinyl are much thinner, the 12x12 booklet was left off and everything feels much cheaper. Haven't played that in ages but I hope that at lest it sounds better. I have also discovered that the 1997 Drag City "Tilt" reissue uses the original Fontana stampers.
Musically speaking "The Drift" surprises me every single time with how accessible it actually is. I've had a harder time enjoying certain art house movies by much lauded directors ("Black Moon" by Louis Malle, anyone) than I have listening to this album. Love sitting at an open window at night with headphones and maybe a glass of wine and just enjoying it. By 2006 the quiet/ loud dynamics Scott uses have been familiar so this is no problem at all but: The ending of "The Escape" shocks me every single time. Walker is a - somewhat - "serious" artist and when this... to me it sounds like a demon.... voice suddenly comes on it's something you would expect from a Black Metal band. But in the context of a Scott Walker album I find this deeply disturbing. And I don't think it's coincidence that this extreme eruption is directly followed with one of the lightest touches on this record, "A Lover Loves". Where I can't help but smile when I imagine Scott sitting in a London studio with acoustic guitar, going "Pst! Pssst! Pssst!" like some drug dealer on the street. Or Leonard Cohen. I love "The Drift". Certainly one of the most remarkable albums ever recorded. Definitely not for every day - or every body - but when approached with the right mindset and mood I find it completely liberating and inspiring.
Can't stand Walker's Brel's homages Girl From The streets etc now. On the other hand his covers are excellent....next.
Good to see that there is still so much love for Scott's early stuff. You are aware that he continued releasing albums after the first four. Are you????
Soused is a masterpiece. I once played '"See You Don't Bump His Head"' to a group of friends, including a heavily pregnant lady, who went into labour a few hours later. I maintain that wasn't coincidental.
Amazon.com: Bish Bosch: Ambisymphonic: A Project by Scott Walker, Iain Forsyth and Jane Pollard (9781911164807): Christopher Scoates, Scott Walker, Iain Forsyth, Jane Pollard: Books I wonder how interesting this will be... It's a shame they only offer some downloads of the various mixes instead of including of Bluray or CD with the book.
Now you've made me curious. I guess the album is "'Till The Band Comes In". But what songs? "Bouncer See Bouncer"? "Clara"?
I imagine the reference is to the occasional good song on the albums between "'Til the Band Comes In" and "Climate of Hunter".
"A Lover Loves" is an extraordinary, heartbreaking song, and probably the most straightforward, least cryptic song on any of his albums from Tilt onwards. It creates such a vivid picture with so few words - an old couple, one on their deathbed, the other sitting by them helplessly, "a hand that is cold, in another colder", in a hospital or nursing home (the "psst, pst-psst" of medical machinery?), "everything within reach".... there are novels that say less than this song. Couldn't agree more. A masterpiece.
I love "Nite Flights", the Engel songs definitely stand out but I actually find the whole thing enjoyable. It's the perfect changing of the guards album.
I'm almost embarrassed to say that but I have never heard it. It was (is) like 32€+ which I refused to pay. And it also comes in one of those horrible pvc sleeves that are best dumped immediately. Will revisit "Bish Bosh" next.
