Top 100 #93
Artist
Scatman John
Why we feature this artist The jazz singer inside a nineties dance phenomenon Scatman John's best-known records turned a highly individual vocal skill into an unmistakable dance-pop sound. Rapid scat syllables, a bright electronic rhythm and a message about fi…
- From
- United States
- Sound
- Eurodance, scat singing, jazz
- Active
- 1970s–1999
Start with the music
Tracks to explore
Top 100 #93
The artist, in context
The story of Scatman John
Why we feature this artist
The jazz singer inside a nineties dance phenomenon
Scatman John's best-known records turned a highly individual vocal skill into an unmistakable dance-pop sound. Rapid scat syllables, a bright electronic rhythm and a message about finding your own way to speak made the combination unusual. Behind it was John Larkin, a jazz pianist and singer whose experience reached much further back than the first hit suggested.
John Larkin becomes the Scatman
Born in California in 1942, Larkin developed as a pianist and scat singer long before the European dance records. He had stuttered since childhood, and music provided a different way to express himself. Moving to Berlin brought a new working setting, eventually leading to the project that paired his vocal improvisation with contemporary programmed beats.
Scatman (Ski-Ba-Bop-Ba-Dop-Bop) emerged in the middle of the nineties, followed by the album Scatman's World in 1995. The single's rapid delivery could sound like a technical stunt at first, but the words placed it within a more generous idea. Larkin made the difference in his speech part of the record's meaning, using an infectious pop form to communicate encouragement.
The albums after the breakthrough
Scatman's World extended the project beyond one fast vocal pattern, while Everybody Jam! in 1996 made his affection for jazz more explicit. The title song invoked Louis Armstrong, placing the new dance persona in conversation with a much older musical language. The scat singing belonged to that history even when the beat clearly belonged to the contemporary club.
Take Your Time followed in 1999, before Larkin's death that year. The short late-career recording sequence can obscure the length of the musical preparation behind it. His records are most interesting when heard as a meeting between those two timescales: decades of learning how to phrase at a piano, suddenly translated into a form that made the voice recognisable to people who might never have sought out a jazz performance.
Essential releases
Scatman’s World
The breakthrough album connects rapid scat delivery to a direct message about expression and possibility.
Everybody Jam!
The title track makes the connection to Louis Armstrong and the singer's earlier musical world explicit.
Take Your Time
The final studio album from the short, internationally successful Scatman John period.