Scott Walker's first four albums are marvelously creepy collections of dark, avant-pop tunes with touches of cabaret and jazz, but he took a right turn on the fifth, 'TIL THE BAND COMES IN. In the main, it seems like Walker was trying to “go commercial,” at least enough to appeal to Tony Bennett fans (at one point, Walker even seems to affect a distinct Bennett impersonation). Walker never walks a completely straight line, though, so there are some anomalies, like the Lee Hazlewood-esque, country/folk-inflected “Cowbells Shakin'.” At the time, no one could have guessed that the experimental forays still ahead for Walker would make this album's predecessors sound like bubblegum pop.