What I learnt from this book:
1. Hair is important when you're The Walker Brothers.
2. The “drummer” Gary is a profoundly ridiculous person. I can see why he made Scott laugh. Because Scott is silly too. Funniest part: “Mick Jagger uses my cigarettes to throw at Scott. I can’t smoke ‘em afterwards cos they’re full of Scott’s hair.”
3. John was a tool. His pettiness irked me.
4. They actually met Marc Bolan (in a gay restaurant)! And they all got along (who wouldn’t get along with Marc?).
But seriously, this is a very informative biography and regardless of the writer’s rather odd opinions on certain songs (“Summertime” the highlight of The Walker Brothers' output?), his description is juicy and spot-on when it comes to most of the material or Scott’s vocals (the way he sings the word “enjoy” in Best Of Both Worlds is one of my most favourite things in the world).
I love how Scott discovered the genius in himself almost by accident – the “I’m just a bass player” became a singer, an interpreter, then a producer, a songwriter and composer. And of course, as philosophical, neurotic and private as his reputation suggests. The intense feel of his personality while he is caught in the conflict between his role as a reluctant pop star and his innovative dark muse comes across really well. He is someone who kept questioning everything and the more he questioned, the lonelier he became. This book is about this most unusual man with the most unusual talent that even he did not understand for a long time. As for others in his wake (David Bowie, etc.) – perhaps it is indeed not very difficult to portray Scott Walker’s image or “edginess”, but not at all an easy task to channel his innocence, which remains angelically elusive.
Scott (being cute at the height of his solo fame in 1968):
“Hello, readers. Happy New Year. This is Scott. I’m speaking from my flat… somewhere in London. As you know, I was ill for quite a long time and had to be in bed. But now, thanks to everything, I’m fully recovered and feeling fine. At first, I’d like to say to all my fans, I couldn’t be in Japan last July, so I earnestly hope to be there. I wish to see you soon, as soon as we can set something up with some promoters in your country.
It’s about 8 o’clock in the evening here roughly… I don’t know for sure because I don’t keep watches or clocks in the house. They have a tendency to make me very nervous. I’m dressed in corduroy pants, brown corduroy pants and a brown sweater: my usual casual sort of gear.
I’ve been producing some jazz LPs in England for Philips recently, for some talented musicians, some new young jazz artists, hoping they’ll be a big success in this country although I really don’t think so. The English aren’t very fond of progressive jazz. But I’m hoping to get them released in America and Japan where there’s a lot of market for this kind of thing.
I’ve been composing quite a bit lately. Most of the stuff I’ve been tearing up, though. I’m nearer to completion of my third album. I should be finished next month and I’m hoping for a release in February if things go right.
Not much has happened here in England. The weather is freezing and winter’s setting in. And so is the fog. When you walk down the street you run into people and lampposts; it can be very embarrassing. It all depends on how you look at it, you know. I’d like to conclude by saying ‘Sayonara’ and, once again, a happy new year.”