Richard Buckner / A Collection

Richard Buckner

Don't know why this feels so appropriate around X-Mas. Is it the "Holiday Blues"? Whatever it may be, Richard Buckner is probably one of the best "singer-songwriters" veering towards the alt-country vein. There is an incredible amount of passion, heartache and beauty in every note he sings. If you pick one, I highly recommend Devotion + Doubt, one of the finest albums of the 1990's.

Richard Buckner / Bloomed
Released 1994

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Buckner's debut is an accomplished but subdued affair with hardly a trace of rock in sight. The emphasis is on his rich-but-weary vocals and sober tales of romance and restlessness, with dignified Texas prairie backup by such esteemed regionals as Lloyd Maines (who produced) and Ponty Bon. Very much in the vein of Butch Hancock, but much more ordinary at this point, without the eccentricity and boisterousness that characterizes much of Hancock and fellow Lubbockite Terry Allen's work. - All Music Guide

Richard Buckner / Devotion + Doubt
Released 03.11.1997

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Richard Buckner's second album of cross-country folk is an exploration of love's paranoia and its resulting desperation and hopelessness. Stemming from the singer/songwriter's divorce, the 13 songs on Devotion + Doubt reflect and, to a lesser degree, celebrate both his newfound independence and loneliness. His road-weary voice (often calmed to a whisper here) coupled with the sparing strums of his acoustic guitar, strike a point of intimacy within the songs, giving the best of them ("Pull," "4am") the feeling that they were reluctantly cribbed from personal diary entries. But Buckner never sounds defeated on Devotion + Doubt, only a bit haunted, as if he's convinced himself -- based on past attempts at love and their eventual failures -- that he's destined to make the same mistakes again and again, no matter how hard he tries to make a relationship work. - All Music Guide

Richard Buckner / Since
Released 08.11.1998

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Richard Buckner's follow-up to his 1997 divorce odyssey Devotion + Doubt is a more upbeat affair, with questions of faith and being tossed into the electric mix. Moving from contemplative singer-songwriter treks ("Once") to blurry guitar rave-ups ("Believer"), Since is the picking-up-and-getting-on antidote to Devotion + Doubt's downer trip. Buckner still seems troubled by life's little hang-ups, but instead of falling into an acoustic-drenched funk, he rages against his blues with his guitar. That doesn't mean Since isn't without its distressing moments; there are plenty of hushed and fragile songs here that recall the breaking tone of his previous two albums. Yet, for all of the creeping positivity going on within the grooves, Buckner sounds more weary than ever, his already delicate voice cracking under the pressure as he trudges his way through his own brand of electric folk music. - All Music Guide

Richard Buckner / The Hill
Released 10.30.2000

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(Note: The CD is one track... approximately 35 minutes)

Edgar Lee Masters' Spoon River Anthology, a series of poems originally published in serial form in 1914-1915, provided the subject matter for nomadic troubadour Richard Buckner's 2000 release The Hill. In the poems, the dead in an Illinois graveyard relay details from their lives in matter-of-factly haunting tones. When originally published, Masters' believable characters tore away at the strict moral facade of small-town life through their tales of adultery, casual murder, and morphine addiction. Who better than Buckner to interpret these lost souls' voices in his growling, plaintive murmur, accompanied most often by sparse acoustic guitar and stark accompaniment. Through this earthy channeler, the names from ragged gravestones almost float in front of the listener while hollowed eyes reveal the details of their own deaths.

Unfortunately, while the subject matter and the musician are an ideal match, the album as a whole falls short of Buckner's famous heartfelt intimacy and inventive songwriting. Fans who have come to appreciate his snapshot imagery and dark wordplay may be disappointed at this interpretation of someone else's work, as appropriate as it may be. The 18 individual poems are recorded as one continuous 34-minute track, making it difficult to tell when one woman's childbirth death travels into another man's drunken despair, and the warm acoustic guitar, mandolin, and violin are on occasion jarringly interrupted by misplaced electronic sweeps and buzzes. Still, the haunting charm of "Oscar Hummel" and "Emily Sparks" show the familiar passion and honesty the singer is known for. Buckner continues to distance himself from the limiting country-folk label with increasingly ambitious projects, all of which are interesting but some of which fail to fully utilize his talents. - All Music Guide

Richard Buckner / Richard Buckner
Released 2000

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Richard Buckner first pressed up this low-frills, self-titled item for sale at his concerts following the 2000 release of The Hill; the self-titled disc consists of Buckner performing 11 songs armed only with his acoustic guitar in a San Francisco studio in 1996. All these songs were later re-recorded on the albums Devotion + Doubt and Since, and while listening one gets the feeling that these were really just demos cleaned up for release. That said, that's not to say these performances don't offer some surprises for fans; this version of "Boys, the Night Will Bury You" has a very different arrangement and melodic sense than the one which would appear on Since, while the more straightforward take of "Pull" gives the song a very different spin than it had on Devotion + Doubt. And anyone who has ever seen one of Buckner's solo acoustic shows knows he's a compelling and charismatic performer, and this disc manages to capture a bit of that presence on a piece of aluminum and plastic. However, none of the performances on Richard Buckner can honestly be said to be better than the studio recordings which followed. In 2003, Buckner reissued this disc in a widely available edition, which seems fitting -- while this is music worth hearing, it's too slight to merit the three-figure prices it was fetching among collectors. - All Music Guide

Richard Buckner / Impasse
Released 10.08.2002

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Grizzled folkie Richard Buckner evokes more dark snapshots of life and the intricacies of relationships on his fifth release, Impasse. Similar in feel and texture to his previous releases, Impasse winds around the same moody corners, experimenting with the intimacy of the best singer/songwriters and the quirky fuzz and crunch of indie rock. The spirits of frequent collaborators Joey Burns and John Convertino linger large over this project, and after an initial listen it is surprising to find out that Buckner played all of the instruments this time around (with the exception of the drums, performed expertly by his wife, artist Penny Jo Buckner). Mellotron hums and vibraphone chimes back the singer's familiar growl and warm, nylon-stringed guitar, with textures floating past like faded slides bought from a garage sale. Landing somewhere between Since's driving experimentation and the melancholy drones of Devotion + Doubt, the album fits squarely into Buckner's catalog, but may not push too far in either direction. While Since emphasized Buckner's grit with rocked-out guitar passages and wild sonic abandon and Devotion + Doubt pushed him nearly over the edge in its soul-crushing depression and beautifully haunting themes of loss and heartbreak, Impasse finds the author seemingly more comfortable with the cards in his hand. The tension between musicians on Since and the tensions between Buckner and himself on Devotion + Doubt are subtly missing on Impasse, but this wiser and gentler Richard Buckner seems to be embracing a more even keel. With no soul-baring a cappella tracks and no glitchy rave-ups, the album seems to be painted with the same brush from start to finish, which certainly makes for a more even listen, but there is something about the contrast in his previous works that is missing here. Listening to just the first few seconds of each track, there is a discomforting similarity in the way each song starts, almost as if Buckner has worked himself into a familiar pattern and is happy working within it time and time again. Still, every song on the album is fantastic -- starkly beautiful and unusually comforting. While this collection of songs is not Buckner's best, it still is head and shoulders above 99 percent of the angst-fueled singer\songwriters out there. - All Music Guide

Richard Buckner / Impasse-ette
Released 09.10.2002

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This six-song E.P. works as a combination sampler and companion piece to Richard Buckner's full-length release, Impasse. Like the full-length release, Impasse-ette contains the same churning mix of acoustic and electric sounds, sometimes breathtakingly intimate, sometimes fuzzed beyond recognition. The sampler contains acoustic versions of two songs from the album, and three previously unavailable songs. The charming and sweet "Stumble-Ette," along with "Remainder," work well as introductions -- or brief sketches -- and stand in sharp contrast to the chilling prayer "It's Still '56." None of these tracks are necessarily essential, but rabid Buckner fans will snatch it up just the same. - All Music Guide

Richard Buckner / Dents and Shells
Released 10.12.2004

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The darkness that surrounds Richard Buckner's writing always seems to be the focus of scrutiny for every judging ear, be it a professional critic's or an armchair critic's, and for good reason considering the elliptical, image-laden construction of Buckner's banter, but the constant reference to this blanket has almost unjustly glorified the artist into an impossible mystery. What isn't often mentioned is Buckner's ability to fill his music and lyrics with such a brutal and heavy heart that critics are quick to point to his lifestyle on the road, which implies a loner mentality, and his first divorce, which fueled his second album, Devotion + Doubt. When Impasse was released in late 2002, it was widely noted in the press that Buckner and his second wife, Penny Jo Buckner, were the only two musicians on the album and that, between the recording and the release of Impasse, the pair had split. The question on everyone's lips seemed to be what the follow-up would sound like and if essentially it would be Devotion + Doubt, Pt. 2. In some ways Dents and Shells treads similar ground in that it reflects some serious life change, but the impression Buckner leaves implies more a mutual understanding of why the two split rather than the paranoia that filled Devotion + Doubt. Much can be read into the lyrics of "Invitation" and "Her" -- and even, depending on how lucid one allows himself to become, the imagery of the artwork depicting two birds, one hovering above a circle and the other a square, flying in opposite directions away from a tree -- but what remains is another release that sounds how Richard Buckner has always sounded: grizzly, conceptual, fragmented, brooding, and plaintive. Dents and Shells also represents a change in Buckner's business, having moved over to Merge for this release, and back to a larger band (misery loves company?), recalling the approach to his third album, Since. The band Buckner assembled for Dents and Shells fits his standard of choosing notable musicians, the most prominent being Butthole Surfers drummer King Coffey and Meat Puppets alum and former bassist for Bob Mould, Andrew DuPlantis. The re-emergence of pedal steel in Buckner's sonic nomenclature, played expertly by Mike Hardwick and Gary Newcomb, further solidifies the connection with Since while the liberal use of piano and organs hint at the atmosphere of The Hill with a bit more ebb and flow in style than what was exhibited on Impasse. Naturally the chosen musicians' approach to arrangements are different than previous sidemen, but Dents and Shells might best be looked at as Buckner's catalog refined into a clear and cohesive effort with which fans should be very pleased. - All Music Guide

Richard Buckner and John Langford / Sir Dark Invader vs. The Fanglord
Released 2005

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"Jon Langford met Richard Buckner in the security booth at Buck Owen's Crystal Palace in Bakersfield, CA where they had been chained together for their own protection. Mouths taped shut with duct tape, they communicated via primitive Morse code messages tapped out on each other's foreheads with fish bones. The ordeal was brief but formative, and after countless power breakfasts and costume parties from Edmonton to Austin, from Brooklyn to the Bay Area, they fell exhausted into a photobooth and saw how fantastic they looked together in neat black and white rectangles and smelling faintly of eggs. They decided to spend a year in Sally Timms' apartment making this album for release on Buried Treasure Records."

-- Captain J. Langford of the H.M.S. Mekon

Richard Buckner / Meadow
Released 09.12.2006

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"Pretty destroyed/comin' through/sees your spin/around the room...are you sitting down?" These are some of the lyrics from "Town," the opening track on Richard Buckner's Meadow, sung to an urgent progression of distorted electric and acoustic guitars and drums. As unsettling as this is, the song is chock-full of Buckner's inherent melodic sense, and it's easier to bear, somehow, this darkness and melancholy. Produced by J.D. Foster at his home studio, and at Buckner's, with some additional work done at Brooklyn Recording, this is an album of absences, of ghosts so far down the highway only their traces remain. Buckner's sense of rock & roll is infused with images from country, folk, the desert, the blues, early American popular music; virtually everywhere he's been. In some ways one can say that these ten songs are his own companion to his recording of some of the Spoon River Anthology on Hill. Each track here has a one word title except for the final one, "The Tether and the Tie." But Buckner's revisiting the cautious grief and optimism on Bloomed, too. Everything here is written in a state of absence, of the previous, the past, and how it can be reconciled. The gorgeous shimmering piano, drums and guitars intro on "Lucky" ease into the startling words: "Forgetting where the roads align, bowing out and back again/Something made it over/A chance to cross the shards you see...." These lyrics are held together by bridges and refrains that further underscore their poetry. Its strength is in the missing middle, the hole in the middle, the thing that needs to be revisited but can't quite be because it's already gone and only gray shadows remain.- All Music Guide

Scott Walker / 'Til The Band Comes In

Scott Walker Per request, here's 'Til The Band Comes In by Scott Walker.

Scott Walker / 'Til The Band Comes In
Released 1970

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The 1990s' rediscovery of Scott Walker, hitherto the Pop Star That Time Forgot, was one of the most gratifying events of the mid 1990s. No man blessed with a voice like that, taste like that, talent like that, should ever have been consigned to the creaky oblivion of oldies radio. But one needs to tread carefully when plunging into the cult. Even at his best, and particularly at his most recent, Walker can be an excruciatingly difficult taste to acquire. Move into the early 1970s mid-point of his output, and oftentimes, it's simply excruciating.

Never regarded among Scott Walker's finest efforts, and a resounding flop when it first appeared in 1971, Til The Band Comes In is, retrospectively, the most shocking of all the singer's early albums. His first four, after all, are dramatic slabs of MOR-noir, crucial experiences for anybody anxious to discover Brel, Bergman and a taste for truly surreal pop tones; by their standards alone, surely album #5 should have traveled even further astray?

It doesn't. Two tracks culled for the It's Raining Today compilation, "Thanks For Chicago Mr James" and "Joe," are this album's sole concessions to such matters as reputation. A year earlier, the BBC gave Walker his own TV series, with the assurance that he would concentrate his tonsils on ballads and standards. He fulfilled the brief admirably, and released a soundtrack album to prove it. Unfortunately, Til The Band Comes In suggests he never got the sacharine out of his system. He even brings TV guest Esther Ofarim back into the action, but morbid curiosity and an incomprehensible fondness for "Cinderella Rockefeller" are surely the only reasons anyone could want to check out her solo contribution to the set.

There is a reasonable rendering of Roy Orbison's "It's Over," aptly closing the album on a merciful note, but while Walker's first four albums remain essential listening, and the TV LP at least has its moments, 'Til The Band Comes In is best left waiting at the stage door. Some "lost classics" were lost with good reason. - All Music Guide

Scott Walker / A Collection Day 2

Scott Walker

Day Two of Scott Walker takes us into the territory that I adore... the 1980's to now. Throghout this period, he would release album after album of incredible material.

I promised no 70's period Walker, but I think it's important to include one comeback album with The Walker Brothers.

The Walker Brothers / Nite Flights
Released 1978

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Every once in a while, an album comes along that doesn't simply surprise you, it takes you down an alleyway, rips off all your clothes, then hares away with your socks on its head, singing selections from South Pacific. And just before it disappears from view, you notice that David Bowie, Iggy Pop, and Brian Eno are cavorting alongside it, sharing the spoils and plotting further misdeeds. The fact that the original miscreant then shrugs them aside and tears off on its own is neither here nor there. What matters is, when Scott Walker set to work (somewhat reluctantly, one feels) on the third post-comeback Walker Brothers album, that was the impression which he had in mind. Of course it wouldn't quite work out like that. Whatever else they may have been, as their rebirth accelerated towards its gory end, the Walkers remained a democracy, splitting vocals and songs between the three non-siblings, and only occasionally allowing any one the upper hand. But whereas John was still locked into the art country balladeering which had always been his forte, and Gary was having trouble completing his allotment, Scott had finally realized that he had more to offer than another Kris Kristofferson outtake. As a writer, he had been all but silent since the late 1960s, when his peculiarly twisted post-pop visions sent solo album after solo album hurtling into a commercial void. Now, however, he was reaching back into that abyss, and emerged with four songs -- "Niteflights," "The Electrician," "Shut Out," and "Fat Mama Kick" -- which not only realigned his entire future career, they also twisted the on-going landscape of rock music itself. Electro-pumping soundscapes of grandiose synth, all four were clearly inspired by Bowie's recent work with Iggy and Eno. But they took that role model so much further that within the year, they themselves were delineating much of what Bowie himself would accomplish on his own next two albums (Lodger and Scary Monsters). Elsewhere, Midge Ure later confessed that "The Electrician" inspired him to write Ultravox's "Vienna," and, from there, one can project the entire new romantic/synth-pop movement from Walker's presumably unwitting role models. In a perfect world, Scott would have completed the entire album himself, or at least been given an EP to himself. But of course that was not to be, and so Nite Flights appeared with the rest of the boys, the rest of the baggage, and, though both John and Gary at least tried to keep up with their bandmate, their failure was as painful as it was inevitable. Gary's "Death of Romance" and John's "Disciples of Death" are at least vindicated by their titles, but the songs are as thin as their composers voices and could be outtakes from another album entirely. They're certainly from another planet. - All Music Guide

Scott Walker / Climate of Hunter
Released 1984

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Walker's only album of the 1980s was both a blow for artistic credibility, and a blow against most of his old fans. The voice of the balladeer was still intact, and still even crooned sometimes. But the arrangements backed brow-furrowing, obtuse lyrics with '80s-oriented rock that incorporated some quasi-classical structures. Walker was seemingly more interested in painting abstracts in which the textures counted more than the content. This made for an album which may have been a hell of a lot more interesting than '80s efforts by other '60s pop stars, but at the same time it was rather impenetrable, and one's attention tended to drift off over the course of the set. Yet it was not half as radical as the avant-garde direction he would stake out with his next album ten years later, Tilt. - All Music Guide

Scott Walker / Tilt
Released 1995

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Tilt was Scott Walker's first album following over a decade of silence, and whatever else he may have done during his exile, brightening his musical horizon was not on the agenda. Indescribably barren and unutterably bleak, Tilt is the wind that buffets the gothic cathedrals of everyone's favorite nightmares. The opening "Farmer in the City" sets the pace, a cinematic sweep that somehow maintains a melody beneath the unrelenting melodrama of Walker's most grotesque vocal ever. Seemingly undecided whether he's recording an opera or simply haunting one, Walker doesn't so much perform as project his lyrics, hurling them into the alternating maelstroms and moods that careen behind him. The effect is unsettling, to put it mildly. At the time of its release, reviews were undecided whether to praise or pillory Walker for making an album so utterly divorced from even the outer limits of rock reality, an indecision only compounded by its occasional (and bloody-mindedly deceptive) lurches towards modern sensibilities. "The Cockfighter" is underpinned by an intensity that is almost industrial in its range and raucousness, while "Bouncer See Bouncer" would have quite a catchy chorus if anybody else had gotten their hands on it. Here, however, it is highlighted by an Eno-esque esotericism and the chatter of tiny locusts. The crowning irony, however, is "The Patriot (A Single)," seven minutes of unrelenting funeral dirge over which Walker infuses even the most innocuous lyric ("I brought nylons from New York") with indescribable pain and suffering. Tilt is not an easy album to love; it's not even that easy to listen to. First impressions place it on a plateau somewhere between Nico's Marble Index and Lou Reed's Metal Machine Music -- before long, familiarity and the elitist chattering of so many well-heeled admirers rendered both albums mere forerunners to some future shift in mainstream taste. And maybe that is the fate awaiting Tilt, although one does wonder precisely what monsters could rise from soil so belligerently barren. Even Metal Machine Music could be whistled, after all. - All Music Guide

Scott Walker / It's Raining Today: The Scott Walker Story (1967-70)
Released 1996

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As the first Scott Walker album to be released in the U.S., It's Raining Today: The Scott Walker Story is an adequate 17-song overview of his solo career, containing many of the highlights from his first five albums ("Jackie," "Montague Terrace (In Blue)," "The Seventh Seal," "The Old Man's Back Again (Dedicated to the Neo-Stalinist Regime)," "Big Louise," "Lights of Cincinnati," "Joanna"), while overlooking some minor gems, including "Matilda" and the B-side "The Plague." Neverthless, it remains a terrific introduction to Walker's music. - All Music Guide

Scott Walker / The Drift
Released 2006

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There were intermittent soundtrack and score contributions of varying magnitudes, as well as a couple other low-key projects, but The Drift is Scott Walker's proper follow-up to 1995's Tilt, an album that also happened to trail its predecessor by 11 years. If 1984's Climate of Hunter put the MOR in morose, Tilt avoided the road completely and went straight toward the fractured, fraught images inside Walker's nightmares. It was entirely removed from anything that could've been classified as contemporary. The Drift isn't an equally severe leap from Tilt, but it is darker, less arranged, alternately more and less dense, and ultimately more frightening. Maybe it'll make your body temperature drop a few degrees. Working with what Walker has referred to as "blocks of sound," only a few of the album's 68 minutes have any connection to rock music, and many of those minutes are part of a harrowing 9/11 song that also obliquely references "Jailhouse Rock" as Elvis Presley cries out ("I'm the only one left alive!") to his stillborn twin brother. The songs swing from hovering drones to crushing jolts. The blocks that make them, then, differ tremendously in weight, from one that could be pushed by an index finger to one that could only be hauled by a forklift. Whenever a vast shaft of space opens up, it is eventually stuffed with drastic, horrific dissonance. While a song might contain a constant element or two, they're all in a constant state of unease and flux. Walker's voice matches the activity levels of the sounds, providing a kind of paranoid croon one minute and then, during another, casting almost demonic projections that are nearly as rattling as the accompaniment. From the outset, the album seems impossibly insular and impenetrable, especially if you've been led to believe that Scott Walker's name is synonymous with recluse, but it has everything to do with real lives (or, more accurately, real deaths). Walker is acutely aware of what's going on with the world outside his supposed candle-lit bunker; he's only finding very unique (OK, bloody minded) ways to bring them up. Any mystique behind the recordings is laid to waste by one scene from a documentary, titled 30 Century Man, which shows Walker — a baseball hat-wearing sixty-something man from Ohio — instructing another man on how to thump a slab of meat. It looks and sounds absurd, of course (the participants seem to be aware of this), but then again, the results are used in a song inspired by the public executions of Benito Mussolini and his mistress. Broken spells aside, how much more bleak could this album be? None more bleak. - All Music Guide

Scott Walker / A Collection Day 1

Scott Walker

What can be said about Scott Walker... from his early "Righteous Brothers" sounding recordings to the height of his career where he looked to artists such as Jacques Brel to his recent recordings on Drag City, he continued to push drama through music. Numerous artists claim Scott Walker as a major influence, from Momus to Nick Cave, from Belle and Sebastian to Antony and the Johnsons. With his songs of despair, loneliness to his love of the outsiders, Scott Walker had a major involvement in my own life. I hope you enjoy this collection of Mr. Scott Walkers recordings.

P.S. I skipped the 70's (not his finest hour).


Scott Walker / Scott
Released 09.16.1967

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Scott Walker's success as a teen idol singer of Spectorish ballads with the Walker Brothers in no way prepared listeners for the mordant, despairing lyrics of his solo debut. To compound the surprise, he does his best to imitate the vocal girth of Tony Bennett and Frank Sinatra on this mix of original tunes and covers, which also features sweeping, bloated orchestral arrangements. It was hardly rock, and pop of a most oddball sort, but it found a surprisingly large audience -- in Britain, anyway, where it reached the Top Three in 1967. Poke behind the velvet curtain of the languid MOR arrangements, and one finds a surprisingly literate existentialist at the helm of these proceedings. His lyrical nuances were probably lost on his audience of predominately teenage girls, though they've earned him a small cult audience that endures to this day. Besides presenting three of his own compositions, Walker covers tunes by Weill/Mann, Tim Hardin, and Andre & Dory Previn on this album, as well as three songs by his favorite writer, Jacques Brel. Highlights include his exquisitely anguished rendition of Brel's classic "Amsterdam" and his dramatic cover of the early-'60s Toni Fisher pop ballad "The Big Hurt." - Scott Walker

The Walker Brothers / Images
Released 1967

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The Walker Brothers' third and final album of the 1960s was as wildly uneven as their other pair. Affecting pop/rock ballads and operatic crooner vehicles were interspersed with absolutely inappropriate up-tempo blue-eyed soul (always a weak point for the group) and rock covers; the lugubrious reading of "Blueberry Hill" could be the worst track cut by the trio in the '60s. However, Scott Walker's songwriting and singing exhibited a growth that foreshadowed some of the more ambitious aspects of his early solo albums. The almost classical-sounding "Orpheus" was a standout in this arena, and his "Genevieve" was a fine ballad reflecting the encroaching influence of Jacques Brel. "Experience" was a real oddity, with a German oom-pah-like arrangement backing Scott's exhortation "here's to the people who live in a shell"; he also digs into Michel Legrand's "Once Upon a Summertime" and "I Will Wait for You." The gentle John Walker-written and -sung "I Can't Let It Happen to You" is one of the Walker Brothers' best songs, and undoubtedly the best thing John Walker contributed to their records. The CD reissue adds the four tracks from their 1967 singles, including their covers of "Stay With Me Baby" and "Walking in the Rain," and a good overlooked Scott Walker-penned B-side, "Turn Out the Moon." - All Music Guide

Scott Walker / Scott 2
Released 1968

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Although Walker's second album was his biggest commercial success, actually reaching number one in Britain, it was not his greatest artistic triumph. His taste remains eclectic, encompassing Bacharach/David, Tim Hardin, and of course his main man Jacques Brel (who is covered three times on this album). And his own songwriting efforts hold their own in this esteemed company. "The Girls From the Streets" and "Plastic Palace People" show an uncommonly ambitious lyricist cloaked behind the over-the-top, schmaltzy orchestral arrangements, one more interested in examining the seamy underside of glamour and romance than celebrating its glitter. The Brel tune "Next" must have lifted a few teenage mums' eyebrows with its not-so-hidden hints of homosexuality and abuse. Another Brel tune, "The Girl and the Dogs," is less controversial, but hardly less nasty in its jaded view of romance. Some of the material is not nearly as memorable, however, and the over-the-top show ballad production can get overbearing. The album included his first Top 20 U.K. hit, "Jackie." - All Music Guide

Scott Walker / Scott 3
Released 1969

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Scott Walker's final British Top Ten album was the first to be dominated by his own songwriting. Ten of the 13 tunes on this 1969 LP are originals; the remaining three, naturally, were written by one of his chief inspirations, Jacques Brel. There are some interesting moments here. "Big Louise" talks about a hefty prostitute with shocking explicitness for a pop star album of the era. "Copenhagen" (like much of Walker's '60s work) foreshadows David Bowie. "Funeral Tango" is a particularly vicious Brel song. "30 Century Man" is an uncommonly folkish and focused tune for Walker. "We Came Through" is an oddball cavalry charge featuring one of his occasional forays into Ennio Morricone spaghetti Western-like production. The tension between Walker's dense, foreboding lyrics and orchestral production is unusual, to say the least. But too often, it's too difficult to penetrate Walker's insights through Wally Scott's string-drenched production. It shrouds the lyrics in a fog that's often too syrupy to justify the effort needed to fight through it. - All Music Guide

Scott Walker / Scott 4
Released 1969

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Walker dropped out of the British Top Ten with his fourth album, but the result was probably his finest '60s LP. While the tension between the bloated production and his introspective, ambitious lyrics remains, much of the over-the-top bombast of the orchestral arrangements has been reined in, leaving a relatively stripped-down approach that complements his songs rather than smothering them. This is the first Walker album to feature entirely original material, and his songwriting is more lucid and cutting. Several of the tracks stand among his finest. "The Seventh Seal," based upon the classic film by Ingmar Bergman, features remarkably ambitious (and relatively successful) lyrics set against a haunting Ennio Morricone-style arrangement. "The Old Man's Back Again" also echoes Morricone, and tackles no less ambitious a lyrical palette; "dedicated to the neo-Stalinist regime," the "old man" of this song was supposedly Josef Stalin. "Hero of the War" is also one of Walker's better vignettes, serenading his war hero with a cryptic mix of tribute and irony. Other songs show engaging folk, country, and soul influences that were largely buried on his previous solo albums. - All Music Guide

Scott Walker / Looking Back With Scott Walker
Released 1968

FOR THE COMPLETIST!

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When he was still in high school, Scott Walker made his first ventures into the record business as a teen idol-type singer (under the name Scott Engel) for several small labels. All of them sank without a trace at the time, although some were reissued (along with tracks that hadn't previously seen the light of day) in the latter half of the '60s, after Walker had reached stardom with the Walker Brothers. Looking Back with Scott Walker has 27 cuts from the late '50s and early '60s, and the music betrays not a shred of the one-of-a-kind talent that would generate his avid cult following. It's putrid stuff that would hold no interest whatsoever for latter-day listeners if Walker had not developed into something else entirely. He does sing well for a teenager (in a much higher voice than he would employ in the '60s), but the material (none of it penned by Walker himself) is of strictly hold-your-nose stuff. Much of it, in fact, isn't really rock at all, but son-of-Eddie Fisher-type pap, arranged with an oh-so-slight eye for the teen rock audience; some of it makes Paul Anka sound gritty by comparison. If you're a completist, it should be said, it's a well-assembled package, gathering most of his excruciatingly rare (and just plain excruciating) early sides in one place. Just beware that the relationship between this Scott Walker and the one that sang morose, complex ballads years later is nil. - All Music Guide

Godspeed You Black Emperor! / A Collection

Godspeed You Black Emperor

Ahhh... Post-Rock. The short-lived movement hoping to revolutionize rock into a new genre. Unfortunately, it wasn't meant to be. A lot of post-rock bands are indistinguishable from each other, but there are the few that stand out. Tortoise, The Album Leaf and of course, the mother of them all, Godspeed You Black Emperor! Enjoy this collection of their recordings...

Godspeed You Black Emperor! / F# A#
Released 1998

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"We are trapped in the belly of this horrible machine, and the machine is bleeding to death." Few albums begin with such promise and foreboding, but this first full-length from Canadian genius collective Godspeed You Black Emperor! succeeds in the first few moments. F# A# (Infinity) contains three compositions that run the gamut from grotesque to sublime. The term "composition" seems an appropriate one to use as this band does not write songs. Each piece is at least 14 minutes in length, consisting of three to four sections. The band, a nine-member unit consisting of guitar, drums, bass, strings, keyboard, marimbas, and woodwinds, intersperses voice-over narrative with sprawling instrumental melodies. The arrangements move slowly, building from hushed silence to cathartic crescendo and back again. The narratives that accompany the music meditate on the corruption of the American government and the seeming emptiness of the postmodern era. At times, it seems that the music might offer hope, but alternatively, the haunting melodies can serve to emphasize the confusion encountered in these stories. As "Dead Flag Blues," the album's first track, unfolds, the speaker's voice is undercut by a poignant string melody and the piece builds to a beautiful peak. "Dead Flag Blues" is a four-part arrangement in an apparently symphonic pattern. A theme is stated, followed by a quiet interlude out of which the tension builds to disaster/epiphany and finally a quiet reprise of the initial melody is given. The albums second piece, "East Hastings," follows a similar pattern, producing brilliant results. "Providence" is the album's final piece, a bit longer than the others, but lacking the consistency and unity of its counterparts. The music on this album is unique and powerful. One would be hard-pressed to find any imitators of this revolutionary musical form created by GYBE! Its origins are as much avant-classical as they are rock & roll, and the band has achieved a true synthesis of the two forms, expanding them to new boundaries. This music is inherently inexplicable, and this is its beauty. - Marc Gillman, All Music Guide

Godspeed You Black Emperor! / Slow Riot For New Zero Kanada
Released 1999

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Slow Riot for New Zero Kanada may last only half an hour, but in that time it imparts an internal experience akin to that of watching a cast-of-thousands Hollywood epic. Godspeed You Black Emperor! are a Montreal-based nine-piece ensemble that uses massed strings, ringing electric guitars, and martial drums to evoke endless vistas and stir strong emotions. "Moya" opens with a solemn drone overlaid with resonant violin overtones, then builds to a crashing, unapologetically melodramatic climax. The CD's second (and final) selection, "Blaise Bailey Finegan III," is more ambitious. Like a director who grabs his audience's tear ducts with both fists, the group inserts field recordings of a ranting paranoiac between sweeping spaghetti-Western passages that rise to exhilarating multiple crescendos, then fall away to ghostly, echoed violins. --Bill Meye, Amazon.com

Godspeed You Black Emperor! / Lift Your Skinny Fists Like Antennas to Heaven
Released 2000

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Lift Your Skinny Fists Like Antennas to Heaven, the much-anticipated follow-up to Godspeed You Black Emperor's Slow Riot, is a double-disc achievement of four works (each with multiple parts): "Storm," "Static," "Sleep," and "Antennas to Heaven." It is a windfall for any fan of ambient pop, orchestral rock, space rock, or simply lush string arrangements who understands how powerful love, melancholy, and frustration can be. The main complaint voiced by critics of Godspeed's music is that their works just repeat the same pattern: start out sparse and slow, build-build-build, crescendo. While there are certainly crescendos, there is no such predictable pattern repeated among the works on Lift Your Skinny Fists Like Antennas to Heaven -- it's loaded with dynamics, unexpected sections, strong emotions and beauty.

The album opener, "Storm," is a leap for GYBE! that, alone, makes this release worth getting. It's a rapturous work that rises with a potent melancholy, driven by heartrending emotions. "Storm" vents a powerful frustration (each listener can insert their own reasons why) with majestic screams of strings, guitars, and layers, resulting in a climactic and passionate soaring. It eventually winds down into an exhausted aftermath of piano, underlying drones, and frustrated rants. The second piece, "Static," is a wandering, isolationist piece of bleak expanses shaded with darker emotions, but the remaining two works raise the album back up to the impressive standard set by the opening cut, though with less furor and even more loveliness. "Sleep" opens with an elderly gentleman reminiscing about Coney Island, and his frank and amusing narration briefly recalls the recordings of David Greenberger and scenes from the documentary Vernon, FL. This narration is followed by a slow and melodic piece featuring a pseudo-theremin effect amidst all of the other instrumentation. "Antennas to Heaven" opens with someone playing acoustic guitar, singing "What'll We Do with the Baby-O," soon washed over with sound, which then gives way to a brief chorus of glockenspiels, and on.

During most of Lift Your Skinny Fists Like Antennas to Heaven, musical and emotional opposites alternate as regularly, and naturally, as breathing: delicate string work and rock-out guitar and drums, spoken word and walls of sound, gracious and possessed, tip-toes and cliff-diving, dark hallways and blinding sunshine. - Joslyn Lane, All Music Guide

Gospeed You Black Emperor! / Yanqui U.X.O.
Released 2002

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Montreal politico-art/music terrorist unit Godspeed You Black Emperor! has been working on the material for Yanqui U.X.O. (unexploded ordnance-landmines) for the past four years. Some of the material predates Lift Your Skinny Fists Like Antennas to Heaven and even Slow Riot for New Zero Kanada. Recorded with Steve Albini, the nonet that is Godspeed has issued its most mysterious recording yet. The sound over these three long cuts, like all of the band's recordings, develops slowly over time and creates layers of dynamic tension that expresses itself in waves and off-kilter, shimmering flows. Usually these elements resolve themselves in earth- and ear-shattering, dissonant intensity that leaves the listener emotionally drained — especially live. But here, a more minimal and — dare I say — quiet approach is used. For over 75 minutes, no "found" voices are wafting through the mix like displaced ghosts at a musical inquiry into the nature of mass control and fascism. The ghosts here are not disembodied or free to roam; they are contained within the vibrational structures and harmonic encounters along the dynamic field itself. There is more melody, not less; there are more sections in each piece, complex parts of compositions that articulate themselves more slowly and pronouncedly. Above all, there is beauty, aching, anguished beauty created by dissonance between electric guitars, keyboards, and a string section propelled by a drum kit that is barely contained within the frame of the music. Tonal extensions of simple melodic structures create new melodic fragments that are incorporated into an already growing mass of tension that is alleviated not by force, but by engaging silence as a compositional and improvisational tool. This is evident in all three tunes, but particularly in the second section of "9-15-00," which begins by stepping out of a void into a fullness of color and texture that eventually raises the tension bar over 22 minutes without resolution. For the second section, spare fragments and chords are placed carefully next to the altar of silence and engage it in dialogue, in contradiction, and in echoing its own concerns at how it is possible in our world, very possible, that at the whim of some fool, all of this — the music; it's haunted, hunted melody; the veritable grain of its voice; along with all life — could enter into the silence forever. A close inspection of the record cover with its photograph of bombs in free-fall and its indicting chart shows concretely how the major record labels are all involved with the creators and purveyors of weapons of mass destruction. This may be melancholy music, but this is a dark time. At least it isn't music of mourning — yet. And for the record, though the stupid critical backlash against Godspeed You Black Emperor! has already begun, the band is making the finest music in the history of its collective. This is music for a different kind of engagement — that of becoming aware of tyranny and disappearance. - Thom Jurek, All Music Guide

Godspeed You Black Emperor! / Tiny Silver Hammers EP
Released 2004

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These 2 tracks eventually became Redeemer=Motherfuckers on the Yanqui U.X.O. LP, but I think there are some slight variations here....

Godspeed You Black Emperor! / Live at The Iceland Opera House
Recorded 03.13.2002

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A great recording of Godspeed live. While their records are mesmerizing, nothing compares to seeing them perform live. Transcedental.

Tracks:

1. Storm/Dead Methany/Tazer Floyd
2. Tiny Silver Hammers/World Police
3. Moya

Godspeed You Black Emperor! / Live at the Scala, London
Recorded 11.20.2000

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Another great recording of their performances live.

Tracks:

1. 12-28-99
2. Gathering Storm
3. John Hughes
4. World Police
5. Tazer Floyd
6. Blaise Bailey Finnegan III
7. 3rd Part
8. Dead Flag Blues (Outro)