Japan Picture Sleeve: Philips SFL-1090
Germany Picture Sleeve: Star-Club 148 579 STF
First UK Release: Philips BF 1537 / 320237 BF. Side A
First UK Release: Philips BF 1537 / 320237 BF. Side B
A Deadlier Than the Male
B Archangel
by The Walker Brothers
Released: December 9th, 1966. Label: Philips
Deadlier Than The Male is the Walker Brothers’ eighth single, and Walker’s first A-side, co-written with its producer, John Franz. It was commissioned for a 1967 action film of the same name, but released against the wishes of Walker. “I’m really angry with Philips over this new single,” he told Norman Jopling in its month of release. “I was approached about doing the title music for a film and I said it would be OK, but I made Philips promise me that the record wouldn’t get any exposure.”
The orchestral arrangements were directed by Reg Guest, as they were on the B-side, Archangel, a new Scott Walker solo composition, opening with an expansive church pipe organ solo, before building to include a full orchestra, and a different tone in his lyrics: “Silence / To hear once more / Her footsteps / Down a shadowed corridor / Frightened / You’re overdue / The darkest day Goes on until it’s blessed by you.”
Archangel was part of a group of new songs to which Walker referred in an interview with the NME’s Keith Altham in September. “The concepts are completely original in arrangement, sound and lyric. The words are surrealistic but not in a Bob Dylan fashion – they’ll help people understand a little more about me if they want to sit down and wonder at it.”
Deadlier Than The Male / Archangel got to no. 32 and spent six weeks in the UK top 50.
Credits
A. Deadlier Than the Male 2:32
Written By Scott Engel, John Franz
Arranger Reg Guest
B. Archangel 3:48
Written By Scott Engel
Arranger Reg Guest
Arranger Reg Guest on Scott
Melody Maker, 3 September 1966
by Chris Welch
I don’t think I’m particularly unusual but I have the ability to understand artistic people. I just sensed his whole persona. He’s been mistreated all along the line and they would rely on people like me to get through to him, which was dead simple. Once you sympathize with someone it’s no problem. So with me he had the opportunity to go as far out as he wanted – and he did. He went his own imperious way and it got him into trouble but he’s been proved right in the long run.”
Of these songs one stands out as an indicator to the music Scott Walker will create on his solo albums. Archangel, released in 1966 as a B-Side to the single Deadlier than the Male, starts with a fugue-like organ introduction, and the dramatic arrangement and classical music influences will become very significant on his albums.
“That was fabulous. It’s well over the top. I think Scott was into Sibelius, he was always quoting symphonies to me: ‘I want it like Sibelius’ Seventh symphony.’ We used the organ in the Leicester Square Odeon. I remember writing strings, brass section, and giving it a thumping huge beat.”
Interview
New Musical Express, 21 January 1967
by Keith Altham
Chaos For Scott
SCOTT ENGEL, the man likely to be more miserable than most in 1967, was in the highest spirits when I found him at his apartment off Regents Park, just a few days before the Walkers flew off for their Australian tour. The reason for his newly generated hilarity was that “the Leeds was back” and had moved in on Scott’s hideaway.
“The fans got too much for him at his place and he fled here – can you imagine the fans getting too much for Leeds?” Scott was delighted.
“They’ve had to find us an apartment up on the roof now because Gary’s brought all his fans with him and it’s no longer a case of five or six fans at the front door. We’ve got 50 or 60 screaming through the letterbox!
“Well, I’ve got him now…and his telescopes…and his Otis Redding rubbish…and his diseases, coughs, colds…and his sitar. Oh yes, he’s taken up the sitar.
“The idea only occurred to him this morning and there’s an Indian teacher arriving here any minute to give him his first lesson – I’m going to have a bath when that happens. Apart from that I’ve got bunny girls running about all over the place up here.” Scott seems delighted with his brave new world.
But not so delighted over the new single, ‘Deadlier Than The Male’, which after three weeks of apparent stagnation at No. 30 in the NME Chart is now out.
Not really us
“It’s a pseudo single,” declared Scott, “we don’t officially recognise it. None of us wanted it released but the film company insisted upon it as part of their deal – we will not be doing any promotion on it.”
“For us the next real single is vital – I believe it will have to be a No. 1 to keep the group together.”
Scott has also been to see the film, Deadlier Than The Male, in which he sings the title theme over the credits.
“I walked out half way through,” he said happily (he was saying everything happily). “It’s a terrible film, everything is half-cocked in it. Richard Johnson is about the only good thing in it. I may try to buy that record out of the charts!”
The new LP to be issued in February, Images, is a more satisfactory topic to Scott.
“I’ve recorded my favourite number of all time on the album, Michelle Legrande’s ‘Once Upon A Summertime,’ and John has done some of his best work, including a great slowed-up treatment of ‘Blueberry Hill’.”
HE HAD A FEW KIND WORDS ABOUT THE ’67 SCENE.
“I see the Small Faces probably emerging as the giants of ’67 and I like what I heard from this guitarist Jimi Hendrix, who has a wild act and a great sound on his disc, ‘Hey Joe’ – he may well do something this year.
Love it now
“I’ve changed my mind about the Troggs. I didn’t understand their scene at all until they toured with us, and their music isn’t my music but ‘Any Way That You Want Me’ I love.
“It’s a very brave record for them to have done. Also, having seen their stage act, I’d say they have something special to offer.
“Paul Jones I admire for his successful solo venture – I hear he was the crowd puller on the Hollies tour; and replacement Michael d’Abo has a good act of his own – plus some hand movements I’ve seen somewhere before.”
HE HAD A FEW UNKIND WORDS ABOUT OTHERS.
“I met Orbison in the Playboy Club a few days ago. He was being very nice to everyone. Told me what a nice hotel he was staying in and how nice the people were to him. He got a bit too nice about everything for me and I left.
“I watched the Monkees on TV last week – I thought they were very Hermanish. I thought they were boring but I can understand how it is the Americans think this kind of thing is cute – I don’t.”
Also on TV Scott watched Alice in Wonderland – the controversial Jonathan Miller adaptation.
“Great – I loved it. It represented an entirely different conception – one jump ahead of everyone.”
HE ALSO HAD A FEW PERCEPTIVE WORDS ON THE WALKERS’ FUTURE.
“As far as the public is concerned I don’t think that big hit records are necessary to us – we proved that we could still pull capacity crowds on that 33-date marathon tour of ours.
“The Walker Brothers are now planted in people’s minds rather as the Beatles and Stones were established. People will come to see us out of visual curiosity.”
Finally, no interview with Scott of late would be complete without a few words on Tom Jones.
“He must be the most tasteless singer in Britain,” said Scott, happily. “It wouldn’t matter so much if he didn’t set himself up as a class artist which he is not!”.
