Shop now Shop now Shop now  Up to 50% Off Fashion  Shop all Amazon Fashion Cloud Drive Photos Shop now Learn More Shop now Shop now Shop Fire Shop Kindle Shop now Shop now

Customer Reviews

4.1 out of 5 stars21
4.1 out of 5 stars
Format: Audio CD|Change
Price:£5.91+ Free shipping with Amazon Prime
Your rating(Clear)Rate this item

There was a problem filtering reviews right now. Please try again later.

on 12 July 2000
The arguement over which of Scott Walker's albums is the best is not an easy one to decide. Whilst the undeniable genius of 1995's TILT holds a special place in this listener's heart as one of the darkest, most innovative albums ever produced, if I was pushed into a corner and asked which Scott album I listen to more than any other, it would probably be SCOTT 3.
Often strangely overlooked in favour of SCOTT 4, Walker's third solo album sees that amazing, haunting voice at it's most powerful and thought provoking. Unlike it's predecessors, SCOTT 3 really does begin to push the limits on what the "general" record buying public were willing to fork out money for, and it wouldn't be long until the Scott of the 60's WALKER BROTHERS would disappear altogether.
From the wonderful, complex arrangement of the album's stunning opener IT'S RAINING TODAY (written by Scott), which cleverly mixes a traditional 60's romantic melody with an undercurrent of disturbing strings that hints at disaster and heartache ahead, SCOTT 3 never fails to make the listener sit up and take note as the singer songwriter takes us on a journey drenched with darkened romanticism.
True, there are still lighter romantic tracks here, the seemingly jolly COPENHAGEN being a prime example, but as with even his WALKER BROTHERS output, the lyrics nearly always tell a darker story than the tune may have you believe (I mean, just listen to the lyrics to THE SUN AIN'T GONNA SHINE ANYMORE).
As with his previous albums, Scott delves into Jacques Brel territory, although it's to Scott's ever growing confidence as song writer that the album owes the majority of it's most impressive moments to his abilities alone. For example, the tear jerker BIG LOUISE is one of the saddest songs you'll ever hear, about a woman who realises how time has passed her by, boasting breathtaking lyrics such as.."she fills the bags, 'neath her eyes with the moonbeams, and cries 'cause the world's passed her by".
I could go on and on (but I won't, I promise!), and other stand out tracks would include the timeless TWO RAGGED SOLDIERS, WINTER NIGHT, and TWO WEEKS SINCE YOU'VE GONE (a man trying to get over a lover just departed, hoping he might relive that feeling of true love again someday). The masterpiece from SCOTT 3 though, does ultimately come from a Jacques Brel composition, called IF YOU GO AWAY. Beautifully arranged, it's a seemingly simple enough "love-lost" song, but with Scott's unique expressive voice that touches you in a way that no other can, it becomes something special. A tale of a man so in love that he can't bear to lose the woman he loves (she may even be dying), and feels that his life would be empty without her, it revisits the suicide tones of THE WALKER BROTHERS' most daring song, IN MY ROOM.
If SCOTT 3 isn't Walker's career best recording, then it must come mighty close. For me, his voice has never sounded better, and it just seems that every one of the thirteen engrossing tracks has got something to say. Something that upon first listen will make a lasting impression and stay with you for days, and in turn keep you returning to this album again and again.
A classic.
0Comment|51 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 30 July 2004
Obvious from its no-nonsense title, this was, of course, the third self-titled offering from Scott following the initial dissolution of the Walker Brothers sometime in the mid 1960's. The songs and song writing ability in general had improved since the rather angular Scott II, and could definitely be seen as something of a precursor to the near mythic status of the amazing Scott IV (with songs like Butterfly and Winter Night being taken to their logical conclusion with later tracks like The Hero of War and Duchess) -- with this record displaying a confidence and maturity that was lacking in the work that came before. Scott's songwriting is here nurtured by the production of John Franz and those gorgeous arrangements, which here draw on the sound that Scott is most synonymous with (and later acts like Morrissey, the Divine Comedy and Pulp would attempt to ape)... with celestial strings pouring melancholy, being callously undercut by the bombastic horns that underline Walker's resonating croon.
The album opens on a high, with one of Scott's all time classic ballads... It's Raining Today. The sound is typical of the chamber pop of this era, though, at the same time, sounds as otherworldly as anything you can imagine... even pre-empting Bowie's space-age crooner from records like Station to Station. It sets up a mood of nostalgia, loss, dislocation & heartache that will continue throughout the album, transporting us to a place that is shrouded in a misty sepia, (or subdued, like the Neil Jordan visualisation of Graham Greene's the End of the Affair... a film that continues such notions of loss and even alludes to Scott through the use of Michael Nyman's wilting string-based soundtrack). Next up is one of my very favourite Scott ballads, the ethereal and transporting Copenhagen, which, despite being exceedingly short has some wonderful piano work and harpsichord trail-off featured in those divine, closing moments. The lyrics are great throughout; much more confident and wordy than those few snippets of original material that turned up on previous efforts, with Walker not afraid to reference such diverse inspirations as Samuel Becket, William Blake and Wordsworth (whilst 30th Century Man even sounds like Scott's pop-contemporary, Bob Dylan).
Both Rosemary and Big Louise find Scott on top-form, both vocally and instrumentally as the singer picks away plaintively on an acoustic guitar as that orchestration builds in the background, whilst the lyrics drip poetry like melting glass ("my coat's too thin, my feet won't fly, and I watch the wind... see another dream blowing by" from Rosemary and "she's a haunted house and her windows are broken" from Big Louise are better than anything by romantics like Keats, Yates... you name 'um). Even better is We Came Through, which sounds almost like the theme tune to a Hollywood western, and certainly lays the groundwork for Scott IV's opening number the Seventh Seal... with lyrics that are possibly, better than Dylan ("we came through... like the gothic monsters perched on Notre Dame, we observe the naked souls of gutters pouring forth mankind" -- and people found Tilt shocking??). The next five tracks are impeccable, and show Scott at the height of his powers... crafting gorgeous ballads unlike anyone else, before or since. These songs lead us to those three excellent closing numbers, each of them translated covers of the songs of Jacques Brel... and each of them interpreted perfectly by Scott.
Sons Of remains one of my favourite songs of all time and demonstrates a more creative 'out-there' side of Scott, as he expertly crafts a giddy-carnival melody to complement what is essentially a gorgeous and haunting lullaby. Next is Funeral Tango, which is possibly the most bombastic thing Walker has ever done (& possibly the best... though it does have stiff competition from We Came Through, The Seventh Seal, Blanket Role Blues and Farmer in the City, etc), and certainly acts as a great diversion from all this lulled romanticism, with sniping lyrics that really suit Walker's cynical worldview. The album ends with Brel's If You Go Away, which mirrors the opening track, giving the album a definite cohesion, as well as offering us a prime example of that classic Scott Walker melancholy... which is great. Scott III remains one of my all time favourite Scott albums, alongside the later Tilt, and should be experienced by as many people as possible. Though, unlike the more popular Scott IV, it does take a few listens for the full effect of the album to sink in... though, when it does, you'll discover that there is simply nothing else like it.
44 comments|23 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 19 February 2002
I was first introduced to Scott Walker by the 1981 compilation put together by Julian Cope: "Fire Escape In The Sky -- The Godlike Genius of Scott Walker". Now, with such a hyperbolic title like that, you got to make damn sure that your boy can deliver -- and deliver he did. Stupidly, though, I assumed that what wasn't on that album would be all the filler tracks -- how wrong can you get? Scott 3 is, quite simply, the most perfect pop album ever made -- although the word 'pop' may be misused here: this really is art.
Songs of such heart-wrenching beauty and melody as 'Copenhagen', 'Rosemary', 'Butterfly' and 'Two Ragged Soldiers' are rare enough finds on their own, but to find them grouped together on one album is a minor miracle.
An absolute essential to any serious record collection.
0Comment|23 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 18 June 2010
Marvelous songs: It's Raining Today, Rosemary, Big Louise, Two Ragged Soldiers and Brel's Funeral Tango. Allmusic could get it wrong on any other album (as they frequently do), but not aspire to be arbiters of good taste, and get this one wrong. They seem squeamish about 'Funeral Tango', which actually is absolutely hilarious due to Scott's wonderful, perfectly judged rendering. Raining, Rosemary, Louise, and Ragged are some of the best reasons for the existence of popular music: brilliant, intense, warped and majestic.
0Comment|4 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 14 January 2014
Today received replacement record as on playing side one there was severe distortion at the end of Big Louise' and 'We came through' The distortion is exactly the same on both discs. It is quite severe and very clearly a pressing problem. Whilst the vinyl version is listed as being on Abraxus' label it is in fact Four Men With Beards'. As are Scott 2 and 4 which I have already just purchased. Online research reveals a considerable number of adverse reviews as to these pressings by 4MWB although 2 and 4 whilst a bit noisy are nowhere as bad as 3 . I would not recommend anyone to buy them. The content of all albums is quite beautiful. I think I will send them all back and purchase the more recent box set.
0Comment|One person found this helpful. Was this review helpful to you?YesNoReport abuse
VINE VOICEon 19 December 2006
After two fine albums, mainly of outside material, Scott Walker puts his faith in his own songs. The first ten tracks are self-penned, while for the last three, he dips again into the Brel songbook. As ever, the orchestra-backed arrangements are superb, as is The Voice, and his lyricism is peerless (on Scott 4, his ambition would lead him over the top). 'It's Raining Today', which opens the album, is a superb, reflective ballad of dramatic pauses and hard-hitting melody. Indeed, of his own songs, only two are of a noticeably different style. 'We Came Through' is taken at a stirring tempo, while '30 Century Man' is the work of the cool troubadour in shades, the one obviously modern track. Individually, his other songs are fine efforts. The only problem is that, together, they are too alike to realise their full impact. The Brel material is a mixture. 'Sons Of' is excellent, 'Funeral Tango' is partly successful and 'If You Go Away' is the most imposing, but is a little melodramatic and overlong. Even so, like all of Walker's numbered albums, this is well worth acquiring.
0Comment|5 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 25 October 2013
This is the scott most fans like
Before his later attempts at being musics answer to david lynch ie the DRIFT ,BISCH BOSCH etc I get the
Feeling he will leave his depressing landscape one day
Hede probablly have to in the end if only for his own sanity if you look for misery scott youlle find it.
0Comment|Was this review helpful to you?YesNoReport abuse
on 24 April 2002
What must be understood about "Big Louise" from Scott 3 is that it is a song about a gay man slip-sliding into old age. There are many tragedies afoot in this world, but the spectre of a fading queen losing beauty and friends in the fickle youth-orientated world of the gay is almost palpable in this song. It has rightly taken its place as a torch song for those in the community who have averted their eyes for one moment from the mirror ball and disco beat, to search for the transcendent nature of being which Scott so artfully interprets here. Both Scott 3 and Scott 4 toy with existentialism in song, and Scott's sonorous voice-as-instrument melds in the mesh of instrumentation to give us soundscapes from where sing life's casualties from his throat. Play both these albums VERY LOUD at every available opportunity. Annoy people with the decibel level. If Scott's art cannot be seen, let it at least be heard.
0Comment|11 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 24 September 2013
Oh yes this album is wonderful with good songs and fabulous lyrics - an asset to anyone's collection! Every track tells a great story.
0Comment|Was this review helpful to you?YesNoReport abuse
on 8 May 2013
Great recording, goes well in my collection, I have now got the cds that I need, keep up the good work
0Comment|Was this review helpful to you?YesNoReport abuse

Customers also viewed these items


Send us feedback

How can we make Amazon Customer Reviews better for you?
Let us know here.

Sponsored Links

  (What is this?)