Interview

New Musical Express - 30 September 1967
by Keith Altham

Scott Walker Hides Away In A Gloom-World

BIG LOUIE is the first person you meet when calling at the secluded terrace house, off London's Regent's Park — the latest home of Scott Walker. He's Scott's all-purpose receptionist, a gentle giant, whose duties include sorting out the people his boss does and does not want to see.

If you’re a lucky one then you’re ushered into the gloom-room, which is heavily curtained and invited to have: “Coffee with sugar and biscuits?“

As eyes adjust from the mid-day glare to the twilight world of Walker, it is possible to distinguish Scott’s newly appointed publicist Brian Sommerville perched in one corner like a giant owl, clutching a phone and wearing his best “I’m worried about Scott” face.

Like some reproving headmaster admonishing an erring prefect late for Assembly, he officially declared me six and a half minutes late.

Retreat

“We” scurry down the stairs to find the “head-boy,” who is in retreat, in the basement bedroom.

A tap upon the door proves superfluous as the stereo is in full blast and so Brian cautiously enters to find Scott sitting with his back toward us, crouched unto himself with guitar in lap.

Brian touched him lightly upon the shoulder and Scott jumped several feet in the air - half turning with a look of sheer terror as though expecting to be confronted by Dracula - or Jonathan King!

“Don’t do that, Brian,” he smiles, “you terrified the life out of me.” Brian mumbles apologetically that it seemed the only way to establish contact above the thunder of the stereo and exits.

Scott switches off the stereo, on the smile and out the hand. He begins conversation in a rapid nervous manner to break the ice - in much the same manner as some people offer cigarettes - and fills the soundless room with talk.

“I moved down here because ‘Big Louie’ likes the TV on all the time,” he explained. “The brain damage was getting too much - I saw everything from Elsie Tanner’s wedding to the Epilogue.

“I was knocked out - no don’t put that - ‘overwhelmed,’ with the success of the album. I never thought it would get this high in the charts.

“Y’know it’s the kids that are coming through for me. At Blackpool they came to hear Scott - they knew every track on the album and they wanted to hear them.

“We did the concerts with Ronnie Scott and the big band and we hit them with everything.

“Previously they had only been blessed by something as sophisticated as Tom Jones and the Squires. I threw away the first two numbers to pacify the screamers and then I said: ‘Now we listen’ and they did,” he spread his hands to indicate surprise and satisfaction.

What of those incredible “Yes he will release a single”/“No, he won’t release a single” stories which appear with trite regularity.

“No single,” declared Scott emphatically, “I’ve proved you don’t need it. The next thing is another album, Scott 2 - I’m working up to four phases - for which I have recorded three tracks.

“I am writing all the material myself, apart from two numbers, which mean something special to me, ‘Windows Of The World’ and ‘Come Next Spring.’ It’s going to be very ‘Kafkaesque’ (good word for a brain-storm) - amusing, cynical and sad!“

Agonised

Probably the most consistent criticism I have heard of Scott’s work is that he appears so nervous. He staggered on to the stage for the Billy Cotton Band Show TV spot with his head bowed, tie askew and suit rumpled as though someone had screwed him up into a ball, and tore a magnificent rendition of Brel’s ‘My Death’ from his agonised body.

That he had to perform this beautiful number in an atmosphere of ‘I’ve Got A Lovely Bunch Of Coconuts’ is comment enough on the deplorable lack of first-class presentation for a vocalist on TV (Dusty Springfield’s show about the only exception) but Scott’s nerves stem from more than lack of sympathetic production.

“There’s nothing I can do about it,” admitted Scott. “It’s me. I know I’m out there on my own and everything depends on me - it’s not Maurice King (his manager) or Brian or two other guys - it’s me.

“I’m scared the voice will crack - I’m frightened I won’t communicate what there is in the song for me.

“You know how I live - I’m down here like a hermit. It’s like throwing a hermit out into the middle of Times Square when I get on stage.“

On the recent Dusty Springfield TV show on the announcement of his name he shot from the shadows like a rabbit from a burrow and lurched into “Mathilde” - wonderful to hear and painful to watch. His hands shook and body quivered as he concentrated on pitch and delivery.

“That was the first TV I had ever done on my own,” said Scott “Although it was transmitted later - I am gaining confidence - I thought ‘Cotton’s Show’ was better for me.

“At Blackpool I was considerably improved. What I’d really like to do now is a half hour show of my own - not something like Dickie Valentine’s show where they put him out in the open with lots of white space - but something with sympathetic settings to the songs.“

Re-enter publicist Sommerville to be questioned by Scott about an invitation which the Cuban government have extended to him to visit their country.

“This follows the trip I am taking to Moscow,” said Scott. “I just want to look at the country, their people, customs and culture. I’d like to go.“

What personal appearances after his vacation to Russia?

“I’d like to do some big concerts,” said Scott. “I saw Azanavour at the Croydon Fairfield Halls recently - that would be a good venue.“

A French newspaper lying on the carpet provided a further topic for conversation - Jacques Brel - the French composer-vocalist whom Scott venerates.

“Apparently the French have expressed interest in my interpretation of Brel’s work,” said Scott, “a show at the Pans Olympia is in the air for me.

“Did you know that Brel has given up his singing and composing now. He has decided that he has said all he can in that field and now he is working on a film which deals with the story of a teacher accused of assaulting one of his pupils?“

We also discovered that although Scott does not speak French he had a German girlfriend who used to translate Brel’s work for him.

“She had a poodle,” recalled Scott. “It used to hate me - sat there staring at me all day long - never took its eyes off me.“

Scott considers his work anti-LSD and anti-flower power.

“I want people to face the realities of life and not escape from them,” he said. “I want them to know there are disappointments, unkindness and heartbreak.

“Gary Leeds phoned me up the other day after listening to the album. (He is getting a group together) he said, ‘That’s an elbow for LSD,’ meaning a put-down.“