Scott Walker - Stretch/We Had It All
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Canadian Music Store CD DetailsArtist: Scott WalkerEdition: Music CD Audio: English (Unknown); English (Original Language) Format: Import, Original recording remastered CD Release Date: 1997-05-27 Music Label: Bgo - Beat Goes on Soundtracks:
Music reviews of Stretch/We Had It AllMusic Review: Jacques Brel's protege goes "Country-Mad"
Caught betwixt the feuding camps of "old Scott" vs. "recent Scott", I found this lovely and perverted mid-70s 'two-fer' used in a local shop. While having none of the existenstial angst of the first five solo albums, and not at all a trace of the 80's and 90's recordings (of which there are only two), I was frightened at first. Our beloved 'God-like Genius' was resorting to string-laden AOR & country tunes, and who knows if it was a bid for commercial acceptance or rather just an "I'll do whatever I wish" move, you can be certain that it wasn't a deliberate "Self Portrait/Metal Machine Music" that was tossed out, because oddly enough, after a few listens you (or at least I) became as drawn to this album(s) as any other I've heard from Scott Walker. Some critic at one point said negatively that it was totally "white-bread country", which is puzzling since country often invokes images of redneck Dukes of Hazzard-watchin' white hillbillies. (At least it did until the digital age). But it wasn't Scott trying to do country music...it was almost like country music was trying to do Scott Walker. Many of the tracks (sadly no Walker originals) invoked the same mood of his first few albums. "Where Does Brown Begin", "No Easy Way Down" (also recorded earlier by Dusty Springfield), "Sunshine" (which, if attention is paid to the lyrics, may be the saddest lyrics Scott had sang since "In My Room"), and "Someone Who Cared", a bleak and very non-country song. (Not all on this is country, i.e. his laid back version of Bill Wither's "Use Me". But it veers heavily toward the "Reuben James" sound of Scott on "'Til The Band Comes In".) For the Trent Reznor fan, don't hold your breath. There's no 'Tilt' here, except for describing what your head might do when you hear the first 30 seconds. But for those who love Scott's vocals, and don't mind embracing sentimentality, there's plenty to love. Lots of Shaver covers here, and many (guilty) pleasures like hearing Scott do "Delta Dawn" and Gordon Lightfoot's "Sundown". At this point in his career, Scott was the male version of Olivia Newton-John, who was doing similar material. (Sorry, but I feel she's one hell of a singer). In three years time, Scott was heading forward with songs like "The Electrician", and thus killing any chance of being case alongside Olivia in "Grease". One more note: For "what could have been": What if Scott had chosen more strictly country material, songs like "Folsom Prison Blues"...(The "I shot a man in Reno" would then be seen as a precurser to "Farmer In The City"), or "Ruby Don't Take Your Love To Town" (which I'd love to hear). Sadly, there are no Johnny Cash songs here, nor Hank Williams. But as I stated earlier, this record is perverted--not in language, not in any innuendo, but just in terms of Scott going "country-mad" for a brief period. If you're a Scott fan you've heard the phrase "he could sing the word of a resteraunt menu and it would break your heart". Well, on these two albums, Scott sang country...and made it break your heart...
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