Circuitous as it may sound, I discovered Scott Walker from the Absolutely Fabulous episode “Happy New Year”, where the lyrics of his most famous hit, “Jackie”, were bandied about and fictitiously associated with Patsy’s sister. I simply had to know what crooner could possibly have gotten away with belting out the phrase “cute, cute in a stupid-ass way” way back in the late 60’s, so I checked him out.

Those of you who know “Jackie” know that it is perhaps one of the most audacious, overtly hilarious, sarcastic and self-effacing 3 minutes in pop music — and it’s all the more amazing considering that “Jackie” is in fact an English-language translation of the Jacques Brel song “Jacky”. It is a song that talks of “authentic queers” and grandmothers who “might be decked out like a Christmas tree” — it is a lovably lewd masterpiece.

Scott Walker — Jackie

And, like many people, for years I stuck to his “repertoire” days — I owned Scott, Scott 2, and Scott 3 all by the age of 19. These were his most popular albums; they were bona-fide UK chart-climbers and generally consisted of well-chosen remakes for the most part, but by Scott 3 it was largely Walker’s own work.

Then came Scott 4, an album I didn’t own until about 5 years after 1, 2 and 3. Scott 4 was a turning point — it was originally released under Scott Walker’s real name, Noel Scott Engel, but quickly repackaged into another “Scott” volume. It was not a hit. It was his first album that consisted of 100% self-penned works — and his viewpoint was considerably darker in tone. This was an album of serious contemplation — other than Laura Nyro, I can’t think of anything more overtly ‘confessional’ in approach. I wouldn’t be shocked if Joni Mitchell paid close, close attention. Yet his lyrics are so abstract at times; you know these songs were analogues to very specific things in his life, but it’s not written in that clear, direct, layperson English that overshadows so much of “singer-songwriter” drivel.

Scott 4 is full of wisdom and messages directly applicable to my life. Like a religious text, I find serious inspiration in his words:

“There’s nothing within, but within says a voice
that’s still my empire, and I’ve got a choice”

That is from “Rhymes of Goodbye”, one of my personal favorites from Scott 4 and arguably one of his single best works across the 50 years he’s been writing music. It also marked perhaps the beginning of his “ersatz–Countrypolitan” musical style:

Scott Walker — Rhymes of Goodbye

Without a doubt, Scott 4 is his best album. Scott Walker is an artist that is great when he’s funny, but he’s devastating when he’s serious — even if that seriousness is wrapped in the same general veneer as earlier works like Jackie:

You’re a hero of the war
Why those teardrops on your cheek? It’s so absurd
Feelin’ empty? It’s the emptiness of heroes like your son
And what made him leave his mother for a gun?
Driven forward, driven back, and nothing more

Talk about using the power of the pen to pull at the heartstrings of despair! It was Walker, of all people, that managed to get me to think about the realities of war. Until I heard “Hero of the War”, I had never really understood the perverse way the lower classes fetishize war heroes that “rise” from their ranks. The first time I listened to the song all the way through, I found myself helplessly crying, tears at my temples, as I thought about how this song could be about any of the wars since 1969 and today — take your pick. The unfortunate Mrs. Reilly that Walker portrays has thousands of modern-day equivalents — society has not learned its lesson.

Scott Walker — Hero of the War

I say with confidence that in 20, 50, 100+ years, Scott 4 will be seen as a high point, a true example for the ages of the realized potential of pop music in the 20th century.

These songs are for evaluative purposes only — I really urge you to buy this record; Scott Walker is still alive.

Also surprising is that I have come to prefer Midge Ure’s version over Scott Walker’s. Scott is a much more important artist to me personally, but there is something quite inspired about Ure’s remake — the overdubbing during the “say goodbye again” portion of the chorus is simply fantastic. While I love The Walker Brothers’ version too, there is something a bit overwrought and “Countrypolitan” about the production value. But that’s a minor transgression. Judge for yourself:

• The Walker Brothers — No Regrets
• Midge Ure — No Regrets

The spare, Vienna-era production style on Ure’s version really does this song justice. It’s the only one of his solo singles I genuinely love. It is something of a standard, as Waylon Jennings, Emmylou Harris, Olivia Newton-John, and Shirley Bassey have all remade it.

• play: Scott Walker — It’s Raining Today

It’s raining today
and I’m just about to forget the train window girl
That wonderful day we met
She smiles through the smoke from my cigarette

It’s raining today
But once there was summer and you
And dark little rooms
And sleep in late afternoons
Those moments descend on my windowpane

I’ve hung around here too long
Listenin’ to the old landlady’s hard-luck stories
You out of me me out of you
We go like lovers
To replace the empty space
Repeat our dreams to someone new

It’s raining today
And I watch the cellophane streets
No hang-ups for me
’Cause hang-ups need company
The street corner girl’s a cold trembling leaf
It’s raining today
It’s raining today