“It’s really important to venture in all sorts of new directions, but you should always go back to see where you came from – so that you can forge a path to where you’re going,” says Julian Taylor. I do not start this article with this quote by accident – ahead is a conversation about Julian Taylor’s new album, “ANTHOLOGY VOL. 2.“ Julian is one of the notable figures of the Toronto scene; he has been in music for more than twenty‑five years. During this time, he has gone through several incarnations: played alternative rock in the band Staggered Crossing, mixed folk and Americana in Julian Taylor Band, and developed a solo career. He has gained a reputation as an independent artist and entrepreneur who knows exactly what he wants. The albums “The Ridge” and “Beyond the Reservoir ” brought him recognition and nominations for prestigious awards. One could list his distinctions for a long time, but now the main thing is something else – his new record, “ANTHOLOGY VOL. 2.“
Photo Credit: Robert Georgeff
In this release, Taylor returns to songs recorded in different circumstances: early material with the band Staggered Crossing and recent collaborations with musicians such as Jim James, Allison Russell, and Jim Cuddy. The songs are united by themes of love, resilience, kindness, nature, and perseverance. Most of the album was recorded live, using real instruments – such a conscious emphasis on authenticity. The album turned out to be large‑scale, and it can confidently be divided into two chapters. The first: fresh solo works and stylish collaborations, and the second: nostalgia – songs from the times of Staggered Crossing. I have already listened to the entire album (and I advise you to do the same), but I want to highlight a couple of tracks that touched me the most.
The recording opens with “Hunger,” a traditional Celtic ballad written by Graham Williamson and passed to Taylor by Frank Davies from the Canadian Songwriters Hall of Fame. Taylor recorded it in just one day in a British studio. The cello and violin sections create incredible space, and Taylor’s voice sounds restrained and dignified. It was written in the 80s but is as relevant as ever. Taylor says: “There’s enough money in the world to eradicate hunger in 24 hours, but those who own it prefer not to.” An important detail: part of the proceeds from the song Taylor and Frank Davies direct to the charity fund Band Aid. The songs on the album convey tradition and energy, a subtle manner and form of expression. For example, as in the track “Don’t Let ’Em (Get Inside of Your Head)” with Jim James from My Morning Jacket. Their voices intertwine in unison, supported by juicy instrumental sections. In turn, “Tulsa Time” with Jim Cuddy shows Taylor from another side – more spontaneous and carefree. I admit, the song is especially good – relaxed, with that characteristic country swing that lifts the mood. Cuddy, a veteran of Blue Rodeo, brings his signature casual charm, and their duet sounds like a conversation between two old friends over whiskey.
Photo Credit: Steph Montani
The collaboration with Allison Russell in the track “Pathways” raises the emotional bar of the album. Russell adds a layer of vulnerability; she takes the song beyond an ordinary ballad about overcoming. On the other hand, credit must be given to Julian’s solo tracks. Most of the songs he performs are natural, with excellent phrasing, masterful command of the voice, and flawless immersion in the style. This is worth hearing. “The Ridge” looks especially impressive – the track refers to the era when Chris Rea ruled FM radio with blues ballads and a velvet voice. Here there is the same smoothness, the same keyboards, violin, and brushes – with the atmosphere of a night road. The guitar solo glides along the melody with professionalism that only comes with years. The music of the first part sounds like a rainbow of emotions, without explosions or abrupt transitions.
The final block – eight tracks with Staggered Crossing – is a return to the origins. The track “Under Circumstances Like These” reminded me of an artifact of the mid‑nineties: live drums, distorted guitars, a chorus that asks for a clip on Much Music. Likewise, “Grow” goes down the same road – an energetic rock song that at the time probably worked great in bars. Now it feels nostalgic, but that’s its charm. True to its title, “Further Again” attacks with drive: fat guitars, insistent drums, and a damn bold, “creaky” vocal. This is the very Taylor who knows how to give rock and make the speakers tremble. Listening to the early tracks, you understand how much he has grown as a songwriter – it’s clear that the fire was there from the very beginning. The song “Living On 45,” which closes the album, is a perfect mix of 70s melodic rock and 90s boldness. Crunchy guitars, a catchy chorus and rhythm, the voice still sounds youthfully open, but already with charisma. It’s about confusion, maturity, and acceptance of life with all its memories, cares, and forward motion. A reflection on how, living through the “middle” of life, it seems much has been experienced, but there is still a long way ahead. An excellent choice to finish the album.
I sincerely want as many people as possible to hear Julian Taylor’s album “ANTHOLOGY VOL. 2.” It is a vivid example of quality music and style that will stand the test of time.
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