Soft winter sky , Périgord - Julian Taylor

British , b. 1954 -

Acrylic on canvas . 55 38 cm.

Julianne Moore as Julian Taylor in Children of Men (2006)

Thirst, Mary Oliver//Paris, the rooftops, Julian Taylor

Old Fellas New Music Episode 40

Episode 40 right here Julian Taylor – Opening the Sky Ty Segall – Saturday Pt. 2 Adam Baldwin – Causeway Road  The Bros Landreth – Stay SG Goodman – All My Love is Coming Back to Me Laura Veirs – Eucalyptus Days Of Lavender – People Who Care Robyn Hitchcock – The Man Who Loves The Rain The Dead South – People Are Strange Bob’s notes Ty Segall – Saturday Pt. 2  Ty Segall is an American…

View On WordPress

They tried to bury us but they didn’t know we were seeds ~ Julian Taylor 

“Seeds” from his new album ‘Beyond The Reservoir’

https://juliantaylormusic.ca/music

( @ last post ) his name is julian taylor & he’s a “ cis “ male ( ambc technically, assigned male by corporation ) ( in reality he’d probably be like masc non-binary ). he plays soccer! he’s a central midfielder ( #22 ) but is never actually seen playing soccer bc like. he doesn’t have a team in barbieland, lol. and anyways, he takes his job as ken’s rival a lot more seriously than he does as barbie’s supposed new lover, mostly because barbie told him no the first day and he took that to heart. ( consent is key, fellas. )

technicallyyyy soccer is not as popular in america as say, football, but it doesn’t matter.

"Americana-Cana-Cana-Cana Chameleon … "

Plunger's first encounter with Julian Taylor was the consummate sunny funk of 2019’s Avalanche; our next, 2020’s The Ridge, saw him in full rustic Country troubadour mode (carried off with equal aplomb) ... and then we discovered the rockier vibes of Desert Star! So we did wonder which version of Julian we’d see at The Water Rats in Kings Cross last week… as it turned out, all of them, and more. 

With a very personable stage presence, Julian introduced pretty much every track with a pertinent anecdote. A philosophical preamble on the nature of ‘family’, both personal and in the wider sense, led into the mellow country of Human Race, written for his sister: a perfect vehicle for his treacly Old School ‘Little Green Apples’ vocal, beautifully resonant at lower registers (and not too far from his normal speaking voice), impressively impassioned in the higher closing peaks. Be With You, inspired by the local kids-with-cancer-summer-camp was followed by the last of this solo acoustic introductory trio, the finger-picked bouncy backporch cakewalk 100 Proof, written with a friend to commemorate their respective grandfathers reaching 101, in the final chorus of which Julian seemed to be overwhelmed by emotion.

Julian was joined by Michele Stodart (whose short expressive solo set had opened proceedings) on bass, Rae Vennan on guitar and Siân Monaghan on drums, for the farmstead-childhood-inspired The Ridge: eerie slide (from Rae's dobro, slung bluegrass-style) and cymbal swells introducing a rattling country beat and killer three-part harmony chorus. The darker underlying themes of Seeds (the murderous exploitation of First Nation Americans and Black Africans) were delivered in a resolutely upbeat and optimistic Jackson Browne Cali-bustle, with sophisticated rhythms and fine harmonies. This also featured the first (of several) enthusiastic crowd participation spots! There was more Eaglesy Americana too in the mid-paced amble of Wide Awake’s journey from country boy rural pride to open-minded awareness.

Soft-mallet drums, piano accents (from Rae doubling on keys) and liquid bass propelled Ballad Of A Young Troubadour Julian’s recounting of teenage hitch-hiking adventures (“I think I wanted to be Jack Kerouac!”), its vocalised hook an ideal situation for more crowd participation. Rooted in the aftermath of a serious car accident (“I was OK really but I wrote off the car my grandfather got me”) Opening The Sky’s 'lessons of life to pass to the next generation' had an appropriately big sky jangle, subtle keys and bass underpinning, tom-rich drums, and levels of love for land and family rarely seen outside the likes of Lynyrd Skynrd!

Julian’s last song on acoustic before switching to a Telecaster for the remainder of the show was the bustling Mariachi-spiced Love Enough, full of mMexicali drama, Julian’s vox rich in Orbisonesque impassioned vibrato.

Back Again, celebrating rebirth/reawakening (in nature and in people) mixed breezy West Coast vibe with finger-snapping 50s bobby sox swing, topped with smooth soulful vocals. Siân switched from mallets to sticks to bring added oomph - aided by Rae’s choppy rhythm guitar - to the gospel-tinged country rock of Desert Star (Who Could Ask For Anything More) which included a nice vocalised ‘lead break’. 

Probably not very right on of us, but Plunger couldn’t help think of Robert Palmer’s Addicted To Love during Sweeter, its fuzzy slinky pulse (ZZ) Topped with Rae’s effective wah-wah Telecaster work; and the heavy, punchy, funk of Just A Little Bit evoked Prince-meets-Hall & Oates (particularly the latter, vocally) with the band vocalising the missing horn charts! A false ending to the latter preceded a driving disco-drum-driven coda, with the crowd this time dragooned into adding the horn phrases while Julian latino-rapped over the top. Introduced as “a little bit country, a little bit rock’n’roll, a little bit soul” Set Me Free’s relentless snare-powered Satisfaction beat allowed Julian to show off a gritty Neil Diamond / Bruce Springsteen rasp.

A chance encounter in a bar (and a chance encounter with a campfire) inspired the loping bass-led lascivious disco soul sleaze of Bobbi Champagne (providing a rare chance to hear a crowd of respectable middle-aged Brits bellowing ‘What’s my name? Bobbi Champagne’!) and an ex-partner’s love of “really ugly sweaters” was the spark for Be Good To Your Woman - a sweet, piano-backed, bluesy 60s soul number. The set closed with the storming Funkadelic-cum-Hendrix swagger of Zero To Eleven, but the crowd wouldn’t let him go without an encore: a highly sophisticated drum intro heralded the syncopated N’awlins beat and cracking harmonies of what Plunger *thinks* was Time from Avalanche (sadly we can’t be certain as our attention was hindered at this point by someone kicking over our pint… fair play though, he bought us another one). 

A thoughtful, often thought-provoking, performance from an artist whose low-key down home honest interactions instantly established a warm rapport with his audience, and whose songwriting skills and vocal dexterity (apparently across whichever genre takes his fancy) are second to none.

La Barge , Ubaye - Julian Taylor

British , b. 1954 -

Acrylic on canvas . 60 x 60 cm.

Julian Taylor New York Vintage Sheath Dress l Size 6

Julian Taylor New York Sheath Dress: Simply beautiful vintage 90’s Sheath dress features lace detailing, matching belt, short sleeves, back zipper, back kickback.

Size: 6

Color: Peach, black.

Material: Unknow the tag was removed. Feels like a polyester blend. There a some stretch.

Condition: Pre-owned, No visible flaws or stains. In excellent condition!

SKU 420jf

Giving up?

*Also posted on ff.net.

Song Review - Julian Taylor  “Murder 13” from the album Beyond The Reservoir

Somehow along the line…I have managed to miss out on Taylor’s music up to this point.  Beyond The Reservoir came across during one of my recent journeys through Bandcamp, mostly looking for tracks from artists north of the border.   Since then I have continued checking out his music…quite an enjoyable journey so far.   Now some will say I am highlighting this one due to its baseball…

View On WordPress

morning-> evening-> night

Paris, the rooftops, Julian Taylor//Evening (2018), Denis Sarazhin (Ukrainian, b. 1982)//Full Moon, Luca di Castri, 2016

Music Reviews: The Beatles’ ‘Revolver’ (Super Deluxe Edition) and Lou Reed’s ‘Words & Music,’ plus Trampled by Turtles, a Boston Soul Anthology, Mali Obomsawin, Jonas Fjeld, and Julian Taylor

Music Reviews: The Beatles’ ‘Revolver’ and Lou Reed’s ‘Words & Music,’ plus Trampled by Turtles, a Boston Soul Anthology, Mali Obomsawin, Jonas Fjeld, and Julian Taylor @thebeatles @LouReed @ByJeffBurger @tbtduluth @omalleythealley @jtaylorband #jonasfjeld

The Beatles’ Revolver Reappears as a Box Set Can we pinpoint the time when the Beatles took their first giant step beyond creating extraordinary pop/rock love songs to chase even loftier ambitions? The answer is yes: it was April 1966, a mere three years after the UK release of their first album, Please Please Me, when the Beatles assembled at London’s EMI studios to begin work on Revolver,…

View On WordPress