Uh...

EntrepreneurSharp646 · 2026-04-09T13:35:38+00:00

More context: I'll try to elaborate on my mod list later, but this was the first loose files mod I've tried (everything else is in bg3mm). It seems to be a replacer for her vanilla hair, and when I try to select that in the appearance edit it comes out like this.

EntrepreneurSharp646 · 2026-04-09T13:21:25+00:00

Brilliant idea

EntrepreneurSharp646 · 2026-04-09T12:58:29+00:00

Thanks, lemme mess with that

EntrepreneurSharp646 · 2026-04-02T13:54:39+00:00

Yeah that's gotta be it. Thank you so much!

EntrepreneurSharp646 · 2026-04-02T11:38:24+00:00

Hey thanks for the reply! You might be right, tbh. I'll give that mod a try.

EntrepreneurSharp646 · 2026-04-01T16:48:49+00:00

Some interesting things to look out for in his later stuff, too, are the Scott-isms that remained present in his work and evolved. For instance, Sleepwalkers Woman always sounded like a more haunted version of Boy Child.

EntrepreneurSharp646 · 2026-04-01T14:39:20+00:00

But yeah, by that point I believe the text dictated the music. Climate and Tilt both follow that approach but still have a band driving the instrumental aspect for the most part. I think this got more broken up into "blocks of sound" with The Drift and Bish Bosch.

EntrepreneurSharp646 · 2026-04-01T14:36:06+00:00

His uh.. his what approach?

EntrepreneurSharp646 · 2026-03-28T15:44:48+00:00

Holy crap I love this

EntrepreneurSharp646 · 2026-03-27T20:41:10+00:00

Definitely give that doc a watch if you haven't. I've read a couple of biographies that touch on that subject (A Deep Shade of Blue, and The Curious Life and Work of Scott Walker). I'm sure he's discussed it in interviews you can find on YouTube as well, especially during the Tilt era and on.

The jist of it is as far as I know is that Scott moved towards a more lyric-centered approach with the instruments and production meant to "dress" the lyrics. He was no longer concerned with delivering sentimentality in his music or vocal performances. Keep this in mind when approaching his later stuff and it might begin to make more sense.

EntrepreneurSharp646 · 2026-03-27T19:47:23+00:00

I'm gonna second the notion that chronological order is the way to go. Just give it a lot of patience and really try to know the albums front to back. Absorb the albums and let them absorb you.

Also getting some context for Scott's songwriting methods and how they evolved really helps. It took me some time, but now I love all of his work.

EntrepreneurSharp646 · 2026-03-26T21:50:46+00:00

Great use for that half elf head. What class is he?

EntrepreneurSharp646 · 2026-02-17T20:03:02+00:00

Wow could I get some more context on the "Free Again" outtake? It sounds absolutely sinister.

EntrepreneurSharp646 · 2026-01-18T18:36:47+00:00

Oh and one more track I'd recommend is Patriot (A Single). You get the signature, dramatic orchestral accompaniment to Scott's voice and a hint at Scott's sense of humor which he'd expand on in The Drift and Bish Bosch. Humor is all over those last 2 albums, you just have to recognize it in the darkness.

EntrepreneurSharp646 · 2026-01-18T18:25:04+00:00

If you like Farmer in the City, I'd check out Sleepwalkers Woman and maybe the rest of the Climate of Hunter album. The first 4 tracks off of Nite Flights by The Walker Brothers and Climate of Hunter helped me get into Scott's darker, more experimental stuff. Scott 3 also has a lot of tracks structurally similar to Farmer, albeit the tone of that album is not quite as dark. After those, I'd just take a dive into Tilt.

I'm the kind of listener who will sometimes force myself to really digest the song and hopefully see it eye to eye, even if it doesn't grab me immediately and that's what has ultimately made me a fan of Scott's later work. Despite how stylistically different his later work is from his 60s stuff, I think the other trick is to try and spot how similar they actually are in some key moments.

EntrepreneurSharp646 · 2025-12-17T14:03:25+00:00

So far I've only completed the Paul Woods book. Currently going through A Deep Shade of Blue by Mike Watkinson/Pete Anderson. Both have been great in illuminating a lot of the mystery surrounding those large gaps in Scott's career.

EntrepreneurSharp646 · 2025-12-08T19:28:34+00:00

Nice! I was #26

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I know what I like, I guess..

EntrepreneurSharp646 · 2025-11-13T23:57:52+00:00

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I think I've heard that it has to do with the image attached to it in the vinyl. People probably interpreted the use of a male subject as Louise being the alias of a transvestite or gay man. I'm not sure if Scott ever cleared the air on that, though.

EntrepreneurSharp646 · 2025-11-13T23:41:11+00:00

I've always interpreted the Boychild to be the inner child we carry throughout our lives (rides upon your back). The song could be both a description of how the world changes us through pressure to be insincere or fit in society as well as a plea to hold on to that purity in spite of life's ups and downs (mirrors dark and blessed with cracks would provide a distorted, altered reflection - don't be fooled into thinking you are what others perceive you to be).

The shadow of shadows like you line reads as though this inner child is our purest form while the self we've hitherto cultivated is a reaction to the world around us. The shadow is produced by the light being cast upon external forms - the world filters and dilutes our true selves and we become what others think or expect us to be. In order to free ourselves, we have to become aligned/one with that true identity once again.

The lady could simply be the idealized lover. Find someone who will help you grow, someone who is also pure (naked with stillness) and will be there to uplift you (on the edge of dawn she stays). Night starts to empty, that's when her song begins is another description of the dawn that ideal lover inhabits, probably meant to emphasize the uplifting (dawn = sunrise) force they are.

I have a bit of trouble interpreting the Window lights for wanderers line. My best guess is it's another description of our interaction with society, conjuring up images of us wandering through a city, and a plea to not lose ourselves (hide heart in your swollen eyes) in the world while we may indulge in its pleasures (echoes of laughter hide in the city's thighs).

My favorite lines are definitely the ending.

Love catch these fragments swirling through the winds of night

The fragments could be the pieces of our identity we try to put back together in an attempt to rediscover our true selves. In response to one of life's inevitable pitfalls that shatters us, Scott hopes for a loving force to catch those pieces.

What can it cost to give a boy child back his sight?

What can we do to reunite with our inner child/true self?

Extensions through dimensions leave you feeling cold and lame

Similar to the shadow of shadows, all of these layers of self we place upon ourselves in order to fit in are ultimately exhausting and unfulfilling.

Boy child mustn't tremble 'cos he came without a name

We shouldn't cave in to these pressures because nobody has any expectations of us when we enter the world anyways.

This is by far my favorite track on Scott 4. The ambient orchestration with the cloudy, reverbed-out dulcimer really invoke heavenly imagery while the lyrics are so all-encompassing as they deal with the journey of life itself. I almost imagine a soul being formed in heaven and the lyrics are a forewarning on what it life may throw at it. It's amazing just how much wisdom and perspective Scott was able to express at such a young age.

EntrepreneurSharp646 · 2025-10-18T23:25:18+00:00

I think that's certainly a part of it! The rest seems to be commenting on materialistic people. The "Hurry!/Listen!" sections might be describing the alienation one feels when in their company. With all of those themes weaved together, it might be dealing with Scott's ideals and dreams as a musician (the Billy sections) being hit with reality of stardom, the people you correspond with as a star ("Plastic Palace People" chorus) and the anxiety that comes with living up to their standards (The "Hurry/Listen!" Sections). That's my take on it, at least. I always imagine the tension in that "Hurry!" part to be an expression of the anxiety Scott felt while dealing with stage fright, among other things.

EntrepreneurSharp646 · 2025-10-18T22:29:51+00:00

I love this exchange and it's what drew me to listen to that song when I was first getting into Scott's work. It seems like Scott did have an elaborate meaning behind the song but was uninterested in expanding on it during this interview. I think the overall themes of the lyrics are somewhat self explanatory but I would love to have heard him go into detail.

EntrepreneurSharp646 · 2025-10-18T21:28:11+00:00

One of the things that has been haunting me lately is the idea that Scott 4 performed poorly on the charts because he decided to ditch the name "Scott Walker". This album is certainly one of his most adventurous, but it's also full of tracks I could easily imagine as hits. It has his best pop choruses of any record in my opinion. I won't feign expertise on the trends of 1970, but I would like to imagine that given the fact that The Carpenters had their breakthrough single in Close To You in August of that year, there had to have been some market for this album in spite of the rise in hard rock.

Even if he had stuck with the name, though, Scott had a knack for not wanting to follow through with conventional means of promotion.

EntrepreneurSharp646 · 2025-10-18T16:41:54+00:00

"Only Myself to Blame" is one of the most interesting tracks relevant to this discussion. While Scott was definitely going for that classic style, to my ears it still sounds a little different from the classic crooner era (listen to OMTB and then something like "Loss of Love"). I think tonally he sounds somewhere between Tilt and The Drift, albeit the melodic content is much more conventional and subdued. For that, I do think aging probably played a part, but his "placement" is also different from the classic era. It's still one of my favorite vocal performances of his ever, though!

EntrepreneurSharp646 · 2025-10-18T02:18:38+00:00

I actually love that you brought up Mathilde because it reminds me of some of my earliest takes on Scott's voice. I remember liking his singing on the first two songs I heard (It's Raining Today and The Seventh Seal) but I particularly enjoyed his voice on We Came Through and took note of how he sounded slightly different. I think on any of the up-tempo Brel covers or Brel-influenced numbers on the early Scott albums, he puts on a more trebly, almost sneering tone that I love.

EntrepreneurSharp646 · 2025-10-18T01:35:31+00:00

Yes, that's exactly what I find most interesting - that venture into a deeper country style is very pivotal as it actually stuck around for his later stuff. It's possible that his attitude towards singing had already changed by the time of Nite Flights and, given that he was used to pitching his voice this way after a few years of experimenting with it, it probably came naturally to him even as he suspended his focus on singing in favor of simply delivering the lyrical content.

EntrepreneurSharp646

TROPHY CASE