One of the most enigmatic figures in rock history, Scott Walker was known as Scotty Engel when he cut obscure flop records in the late '50s and early '60s in the teen idol vein. He then hooked up with John Maus and Gary Leeds to form the Walker Brothers. They weren't named Walker, they weren't brothers, and they weren't English, but they nevertheless became a part of the British Invasion after moving to the U.K. in 1965. They enjoyed a couple of years of massive success there (and a couple of hits in the U.S.) in a Righteous Brothers vein. As their full-throated lead singer and principal songwriter, Walker was the dominant artistic force in the group, who split in 1967. While remaining virtually unknown in his homeland, Walker launched a hugely successful solo career in Britain with a unique blend of orchestrated, almost MOR arrangements with idiosyncratic and morose lyrics. At the height of psychedelia, Walker openly looked to crooners like Sinatra, Jack Jones, and Tony Bennett for inspiration, and to Jacques Brel for much of his material. None of those balladeers, however, would have sung about the oddball subjects – prostitutes, transvestites, suicidal brooders, plagues, and Joseph Stalin – that populated Walker's songs.
Preisner's scoring for films have been very successful with "The Double Life Of Veronika", and three albums of scores for "Three Colours Blue, White and Red", some reaching Platinum CD status by Poland's musical standards… another outstanding score was "The Last September", based on a novel by Elizabeth Bowen and brought to the screen by director Hector Babenco, beautiful and compelling music, and the unforgettable Agnieszka Holland's "Secret Garden". Let us look at the soundtrack at hand–-"ABERDEEN", from writer/director Hans Petter Moland finds our characters on the road to Aberdeen in Scotland… storyline is between father and daughter regarding their reconciliation as the prepare to visit her dying mother… the big surprise is her father may not really be her father. Preisner captures the tone and mood of Moland's screenplay, with piano solo (Leszek Mozdzer) of a lingering theme, interwoven at times with the voice of Stina Nordenstam… create feelings of dreamlike drifting…mesmerizing counter-melodies featuring John Parricelli (guitar)… completely enters your body and soul.