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ivan@stellysee.de
From | synthhtnys@comcast.net |
Subject | Re: The best song in the world today |
Date | Sat, 08 Mar 2008 06:03:23 +0000 |
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That's almost exactly my take on Scott Walker, except that I wasn't turned on by Rhapsody, but I got to him from .... The Left Banke, actually. On hearing them I instantly had to dive deep into Baroque Pop. It had been a long time since a band blew me away that much. I kept seeing Scott Walker's name dropped in Baroque Pop circles... and initially I have to say that the crooning aspect sort of lost me... for a little while anyway, then one night I "got it" hearing those wonderful arrangements, the brilliant lyrics, suddenly I went from disliking the crooning to his voice being my favorite part...and I heard his influence on all those names you mentioned.... now I consider him even better than those names... in many ways.
My favorite track at the moment is Funeral Tango which is one of the funniest Brel tunes, IMO.
-------------- Original message --------------
From: "Steve Turnidge" <stevet@arsdivina.com>
> "No Regrets" was a track that shocked me when I first discovered it a few years
> ago. I was absolutely certain it was a Midge Ure song (but it was only a cover).
>
> I discovered Scott Walker from Rhapsody when the entry on John Foxx had Scott
> Walker (who I had never heard of) listed as an influence. I listened to a track
> (from 1968), and by god if it wasn't the vocal styling I have come to love from
> David Bowie, Brian Ferry, John Foxx and a half dozen other English rock stars. I
> never had that missing piece before.
>
> If you can, take a listen to "The Old Man's Back Again (Dedicated to the
> Neo-Stalinist Regime)" from Scott 4. Stunning.
>
> ...Steve>>>
>
> -----Original Message-----
> From: audities-owner@smoe.org [mailto:audities-owner@smoe.org] On Behalf Of
> synchro1
> Sent: Friday, March 07, 2008 10:51 AM
> To: audities@smoe.org
> Subject: Re: The best song in the world today
>
> http://www.youtube.com/watch?v=OYhTZXlBBeA
>
> No Regrets - The Walker Brothers
>
>
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