By Keith Walsh
In our wide ranging interview, top David Bowie tribute artist Julian Shah-Tayler shares his views on Bowie’s much delayed efforts at staging musicals, shows me some of his gear, critiques Mick Jagger and Sting, and reveals his processes recreating ‘Diamond Dogs,’ the first Bowie album that he owned, on cassette. We also discuss James Joyce, Samuel Beckett, and George Orwell, as well as the work of Bowie’s favorite pianist, Mike Garson. (My review of ‘Hunger City’ is at Synthbeat.com.)
Popular Culture Beat: When we last spoke, it was on the phone about the Aladdin Sane 50th anniversary album. Here we are again, and congrats on the album! Let’s get into it. Basically, your version of Diamond Dogs is once from removed the all madness that Bowie was going through in 1974.
Julian Shah-Tayler: I mean, strangely enough, I’m going through similar madness at the moment…
Popular Culture Beat: I doubt it’s that similar! Anyway, I’m sure you know the story, about how Bowie originally started out to do a stage musical adaptation of George Orwell’s 1984, but he couldn’t get the rights, so he made Diamond Dogs.
Julian Shah-Tayler: I’m glad that he didn’t get the rights to 1984 because even though you know, that would have been really fascinating, I think his whole career would have taken a different trajectory. I’ve got to be honest with you –obviously I read up a lot about Bowie and people see me in some ways as an avatar of Bowie, in the tribute world. So of course I have to have information for people when they ask me questions about it. So I looked into everything and I think what he was doing at that point was he’s trying to transition into a theatrical life, like he wanted to get away from the Ziggy specter and do something that was completely different, like a rejection of his rock stardom.
And I think that’s maybe why he wanted to do it as a stage manifestation. And him not being allowed to do that forced him to make albums like Station to Station and go through you know, that whole horrible cocaine addiction and all that stuff, and we benefited from him not being able to get that done. So even though it must have seemed terrible with him at the time, I’m pleased we got Low instead of a series of theatrical presentations, you know.
Popular Culture Beat: He did reject rock and roll in a way, he didn’t like some of the elements, but he did find ways to innovate, right? He would have innovated in theater as well.
Julian Shah-Tayler: You think he would, but that’s not my paradigm so much. Musical theater, personally I prefer him having not done that. I would rather have Low and Station To Station, than a series of theatrical events. I mean I’ve heard from different people about Lazarus because Lazarus obviously is the culmination of his intention there, and I’ve heard varied reports. I mean most people that have seen it didn’t really like it that much — like viscerally didn’t like it, and found it was challenging as a theatrical presentation. I don’t know because I haven’t seen it.
Popular Culture Beat: In what ways are they saying they didn’t like it – it’s a jukebox musical concept?
Julian Shah-Tayler: Nobody has a problem with the musical side of it. It was the presentation. And I’m a huge Samuel Beckett fan. I don’t know whether you know, Samuel Beckett.
Popular Culture Beat: Not too much.
Julian Shah-Tayler: So Samuel Beckett is a very avant-garde theater guy. He was James Joyce’s assistant.
Popular Culture Beat: I know Waiting For Godot.
Julian Shah-Tayler: Waiting For Godot was one of his, and Krapp’s Last Tape is a very big one and Endgame. They’re phenomenal. It’s really interesting. It’s language for language’s sake. He was James Joyce’s assistant, and I think Samuel Beckett wanted to follow in that avant-garde strangeness that James Joyce had. However James Joyce was very referential. So he used to use, you know Greek mythology references.
“People see me in some ways as an avatar of Bowie, in the tribute world. So of course I have to have information for people when they ask me questions about it…I think what he was doing at that point was he’s trying to transition into a theatrical life, like he wanted to get away from the Ziggy specter and do something that was completely different, like a rejection of his rock stardom.”
Julian Shah-Tayler On Bowie’s Efforts To Produce ‘1984’ For The Stage
Popular Culture Beat: I’ve read Ulysses, by the way. I couldn’t crack Finnegan’s Wake.
Julian Shah-Tayler: Well, it’s hard to understand Ulysses unless you get some of the references he’s making. I’m very lucky. I had a classical education and you know studied Latin and Greek and all that stuff. Russian literature all that sort of stuff . Joyce is very pretentious in that sense. I mean, he wants you to know how learned and how brilliant he is. And the way he constructs it is, you have to understand that if you don’t understand it, it’s just a lot of noise.
Popular Culture Beat: How does that tie into Lazarus, and Beckett?
Julian Shah-Tayler: So Lazarus, as I’ve read reviews of it, is a lot of theatrical avant-garde provocative confrontational stuff.
Popular Culture Beat: I heard it’s based on The Man Who Fell To Earth, in a way.
Julian Shah-Tayler: Have you read a lot of reviews on Lazarus?
Popular Culture Beat: I listened to the soundtrack with Michael C. Hall on some of the vocals, which I thought was great.
Julian Shah-Tayler: I read reviews of the actual theater theatrical presentation. Now the music is wonderful. We know that –Bowie’s music is always fabulous. And the way it’s portrayed in it, is fabulous, but the actual play is very challenging, apparently.
Popular Culture Beat: You might like challenging if you like Beckett and Joyce, though.
Julian Shah-Tayler: This is true. But all I’m saying is, yes, I like challenging in the theater world, but I don’t go to the theater that much. Whereas I do put Station To Station on often.
Popular Culture Beat: Well, it depends on what you expect when you go to the theater. If people were expecting like a straightforward Broadway narrative, you know, then they would be disappointed. I love the theater. I’m going to talk about Diamond Dogs. It’s the first Bowie album you owned. I know your story about hearing Let’s Dance first. That was your first exposure and you thought ‘oh, this is just glossy R&B or you know blues rock.’ So when your heard Diamond Dogs — what were your emotions of experiencing that album, thinking he was great, when you were a teenager I guess, or even younger.
Julian Shah-Tayler: I was a teenager.
“This is the definitive Bowie goth album, I think. And that’s a lot to do with the murkiness, his production style, it’s lots of stuff.”
Julian Shah-Tayler on David Bowie’s “Diamond Dogs”
Popular Culture Beat: How did you carry those emotions into this tribute?
Julian Shah-Tayler: So yeah, I mean the songs that got me — obviously “Rebel Rebel” is an all time stone classic, it’s brilliant. It wasn’t “Diamond Dogs” or “Rebel Rebel” that I was interested in. It was “Sweet Thing” and “We Are The Dead.” Those were the tracks. I mean, I’m a pianist from way, way back. That’s the first thing I learned classically from five, and listening to Mike Garson on this record serving the song — because on Aladdin Sane he drives. But on Diamond Dogs, he still has the same, you know, sophistication and avant-garde approach, but it’s actually serving the song. It’s never actually stepping on the song which he does a lot on Aladdin Sane.
Julian Shah-Tayler: And so the piano has a rippling undertow to those songs, “We Are The Dead” and “Sweet Thing.” Those really caught me, and it was pretty much those two songs and then the song “Big Brother” as well. Those were the three linchpin songs for me of the album. And of course, you know, I was a pretentious literature student. I really love literature. Orwell, obviously I’ve read a lot of Orwell, I’ve read his Homage to Catalonia, and Animal Farm, all the classics. And 1984, as a philosophical political tome and a horrifying sci-fi narrative was fascinating to me. And then the fact that Bowie was tackling those themes puts literature front and center to that album. So I (realized) well, this is more than just a rock and roll record. This is something with deep intention, and I like that. Pink Floyd do that. I think the Beatles almost did that, in a very light way with Sgt. Pepper. It’s trying to address deeper themes.
Popular Culture Beat: Yeah, he was really sensitive to what was going on in society always,and on this one he really pours it out into a narrative, like the apocalyptic scene, you know, sci-fi, and it’s very dark, and that’s because it reflects his state of mind I think at the time. But anyway, talking about Orwell for a second. I heard Andy Serkis is doing an Animal Farm film. He’s the guy that plays Gollum in the Tolkien films.. He’s a motion-capture guy, he’s also a director. Yeah, and he’s probably portraying the animals. I don’t know much else.
Popular Culture Beat: So the piano, you mentioned Mike Garson — he plays in a grand kind of elegant way. And then for Diamond Dogs, Mick Ronson stepped aside, Bowie did the lead guitars, so I noticed it guitar the work on your album — boy. There’s a lot to talk about here, huh? How did Bowie’s sound inform your lead style even as a kid, you know?
Julian Shah-Tayler: It’s more the sound actually. Goth. I mean, I get lumped in occasionally into the goth world and I think this is the only goth Bowie album. Maybe 1.Outside could be too.
Popular Culture Beat: They’re death obsessed, for sure.
Julian Shah-Tayler: This is the definitive Bowie goth album, I think. And that’s a lot to do with the murkiness, his production style, it’s lots of stuff. It’s like The Cure, there’s lots of bombast, and there’s lots of stuff. His guitar playing — I like his guitar style. It’s not good, but it works really well for this thing. And you know, there’s some really tasty playing on it. I really like it. So in some ways, I mean I’ve replicated the bits, I really his guitar playing on the album. “Diamond Dogs” is the same. It’s not my favorite song on the album by a long way. So I just basically replayed it the way it was.
“There’s no point redoing “Rebel Rebel” the way it was done, because it’s so over played as a song.”
Julian Shah-Tayler
Popular Culture Beat: Did you drop the tempo down a bit?
Julian Shah-Tayler: I don’t know. I mean the way I started, the way I did every song on the album is, I set a tempo for everything and just played them all the way through. There are differences between what I did and the album, obviously, because I didn’t think about it, because I didn’t have much time to do it. I probably recorded the whole thing in four days and then just spent time sort building up bits and just making sure — but I knew all the songs back to front structurally, and the one that took me the most time actually was “1984,” because not being one of the ones on the album that I was really super familiar with. I like it. It’s good and I love it, but it’s not my favorite song on the album so it took me more time to get that right and that’s the one that’s changed, probably the most from the original.
Popular Culture Beat: Yes, it’s almost a world beat. “Rebel Rebel,” you did a disco thing, kinda.
Julian Shah-Tayler: There’s no point redoing “Rebel Rebel” the way it was done, because it’s so over played as a song.
Popular Culture Beat: You did introduce the guitar riff later on in the song. Though at the beginning of it, there’s one of the few synthesizers on the record.
Julian Shah-Tayler: It’s so iconic that you can’t avoid putting it. I was thinking of just leaving the guitar part off all together, and then I was just like, “no, people are going to be listening to this thinking, ‘I miss that guitar part’ so it’s on there.”
Popular Culture Beat: Tell me about the guitar sounds. Are you using amp simulations, and how did you go about choosing a specific sound?
Julian Shah-Tayler: Yeah, I have. There’s a lot, as you probably figured out, there’s a lot of like delay guitars, you know, reverb-y, delayed guitars, there are loops, lots of loops instead of the big theatrical, keyboard build ups again. I tried to step away from some of the stuff that was signature of the album to make it a bit different. So there’s a lot of Schecter guitars. I can show you.
(Julian walks over with his webcam to an area with four or five guitars and some keyboards)
Julian Shah-Tayler: This is Schecter fretless bass which is pretty much on all the tracks. Stiletto bass. Acoustic guitar on everything is this Schecter Robert Smith signature.
Julian Shah-Tayler: Then I have this, it’s not a Schecter, it’s my Strat. It’s the thing I use on everything.
Popular Culture Beat: Is that a Fender?
Julian Shah-Tayler: Yes, it’s a Fender.
Popular Culture Beat: Those are special pickups, those aren’t stock pickups. It’s a Custom Shop, isn’t it?
Julian Shah-Tayler: That is designed by my friend Greg Coates. I got it fixed up because something was going wrong with it. So I got him to completely rejig it. And then this one which is a Corsair, Schecter.
Popular Culture Beat: That was used for lots of rhythm probably, with those humbuckers. That deep, rich rhythm sound.
Julian Shah-Tayler: Lots of the soloing too, actually. A lot of the solos are doubled. Then, I’ve got this one, which is the Waldorf STVC.
Popular Culture Beat: My God, Waldorf. Those are beautiful things.
Julian Shah-Tayler: That’s most of the strings, this.
Popular Culture Beat: Yeah, the intro to the album has all that synthesizer stuff.
Julian Shah-Tayler: That’s mostly guitars.
Popular Culture Beat: Guitar synth?
Julian Shah-Tayler: It was not guitar synth. No, I’ll tell you what it is. It’s looking like my pedalboard is a real mess.
Popular Culture Beat: Beautiful.
Julian Shah-Tayler: It’s the Arena Reverb, it’s the Boss DD-20. A lot of the Big Muff, the Boss Distortion DD1, Super Chorus, and then of course my trusty Korg Minilogue.
Popular Culture Beat: Oh, yeah. I don’t like the small keys. I never liked that.
Julian Shah-Tayler: Well, it doesn’t matter if you’re playing single line stuff.
Popular Culture Beat: Tell me about the Waldorf synth again?
Julian Shah-Tayler: It’s the STVC. It’s a digital string machine and it has vocoder that I don’t use much, but then of course, there’s Juno 106.
Popular Culture Beat: It’s great that you’re using all of these out of the box for pure hardware sound.
Julian Shah-Tayler: Then there’s a Privia my Casio, the piano is a Casio Privia, PX-150. It’s not very interesting to look at, but that’s what I played all the pianos on, including “We Are The Dead.”
“Is Mick Jagger a misogynist asshole? Yes. Absolutely. He’s awful in so many ways, but you just have to take for what it is, which is like a young man being kind of a cocksure dick, and that’s fine, isn’t it?”
Julian Shah-Tayler on The Rolling Stone’s “Brown Sugar”
Popular Culture Beat: And did you use the native sound or are you triggering a module?
Julian Shah-Tayler: I used — what’s the name of the thing –it’s the endemic one in Pro Tools.
Popular Culture Beat: I don’t know that one. Okay, but at least you have — I mean it’s very important for piano to have a realistic hammer action so that you can get the feel.
Julian Shah-Tayler: Yeah. I’m a pianist. I’m not a keyboard player. I mean, I am obviously a keyboard player, but I’m a pianist first and foremost. I didn’t try to do everything that Mike Garson did on “Sweet Thing.” But I’m very proud of my playing on “Sweet Thing.” I thought I did a reasonably good job..
Popular Culture Beat: Yes, it’s beautiful. The piano plays a big part in it. Yeah, and I noticed you did stick to the arrangements. You didn’t do any weird interpretations on most of it.
Julian Shah-Tayler: “Sweet Thing” is to me one of Bowie’s high points in his whole career.
Popular Culture Beat: So, you’re familiar with Bowie’s style obviously, and do your interpretations. Rather than when you create a new music as opposed to this, was it something more like flexing a muscle for you? Because you were doing something you were very familiar with, rather than like opening a vein, you know, making something new and painful or something.
Julian Shah-Tayler: I’ve done a lot — you know I work all the time. So I’m doing a lot of remixes and doing a lot of stuff like this. I got kind of asked and coerced into doing this album. I mean, I think I was mostly being coerced so people could do it with me like the Aladdin Sane album last year, but I just didn’t want to do this album with other people. I’ve never done anything like this before. This is an interesting first for me. It’s like a whole album cover. Like I mean, I don’t know many people have ever done that actually. I’m sure they have, I’ve known lots of compilation albums of many bands.
Popular Culture Beat: But this is an accomplishment, and you’re in a position to do it. I mean, because your Bowie tribute is recognized as one of the ones…. You heard from Claudia Lennear, who inspired Bowie’s “Lady Grinning Soul” — how did that feel to have her compliment you on that?
Julian Shah-Tayler: Oh, you saw that! Yeah. I mean my friend Christy Gonzales who is a big Bowie fan, been to a lot of our shows. She just knows Claudia, and she said I’m going to go and see Claudia. She was the “Lady Grinning Soul” in the song. I was like, ‘Whoa, can you play her this song? Because you know, obviously, I mean I’ve seen pictures of Claudia back in the day and…
Popular Culture Beat: Stunning.
Julian Shah-Tayler: Yes lovely. So it was it was a big thrill, because she also inspired “Brown Sugar.”
Popular Culture Beat: I guess I didn’t know about that.
Julian Shah-Tayler: I mean, think about that. “Brown Sugar,” which is one of the biggest rock and roll songs of all time. That’s enormous. That’s amazing, and “Lady Grinning Soul,” which is one of the most requested and most beloved Bowie songs. That woman has had a deep profound impact on culture for those two songs.
Popular Culture Beat: It’s amazing with all the media today, we still get to see these people like fifty years later. It’s kind of awesome to see how they have changed and they’re still around. And “Brown Sugar…” Not necessarily one of the most politically correct songs in The Stone’s catalog.
Julian Shah-Tayler: Politically correct is ridiculous when it comes to expression. I mean is Mick Jagger a misogynist asshole? Yes. Absolutely. He’s awful in so many ways, but you just have to take for what it is, which is like a young man being kind of a cocksure dick, and that’s fine, isn’t it? It’s like no, I’m not going to listen to “Brown Sugar,” and feel, you know, like I should take myself a slave. Yeah. Do you understand what I mean?
Popular Culture Beat: Oh, yeah, and obviously for him. It’s more of an act now. I think he’s probably refined his passions.
Julian Shah-Tayler: They’ve stopped doing the song, I understand, and that’s a pity because it’s art, it’s a commentary. It’s like I mean, you know, you can you can derive what you wish from it, and if you’re worried about people being sensitive…I wouldn’t I wouldn’t write it honestly.
Popular Culture Beat: It’s a mirror. It’s a mirror to a certain attitude, which is important because it’s an exposé in a way. He’s self-exposing and he’s also revealing, you know, men’s intentions, which is important.
Julian Shah-Tayler: Yeah, and it is commentary on things and you know on something that he obviously observed and wish to put down. I feel bifurcated in my attitude towards these things.
Popular Culture Beat: Ambivalent.
Julian Shah-Tayler: I’m ambivalent. Thank you. Yes, it’s in some ways, let people say what they want to say and make their own choices and then some ways it’s like make sure that you try to be kind to people and not offend them. I mean I do I try my best not to offend people in what I write not actually I don’t try my best. I don’t actively try to not offend people. It’s just I don’t write about anything that’s going to be deemed offensive in a way.
Popular Culture Beat: Yeah. I know, you don’t hear me using coarse language that much, unless I really want to make a point or something. That’s just a choice, or maybe it’s something I grew up with.
Julian Shah-Tayler: And why would you do, that and why would you do that stuff in a song, it doesn’t make any sense. It’s like unless it’s, you know, you can write a song like “Forget You” by CeeLo or whatever and that’s fine. But I just don’t feel it. Well, I have plenty of reasons to be angry, but I don’t wish to express them in my art.
Popular Culture Beat: I want to get to some more questions here. So I see you’re on the road with Strangelove, and, it’s very awesome that you get to do the Bowie tribute ahead of that on many shows which is nice. So how do you go about staying fit and healthy on the road? Because that , that as a touring musician you can party all the time, I know you’re past that. What do you what’s your routine of staying fit?
Julian Shah-Tayler: Well, I’m not I’m not gigantic but that doesn’t mean that I’m fit. On stage, I’m very active. So in some ways, I get thirty five, forty minutes of actual physical workout when I’m doing it. And if I’m doing the Bowie, I am very very active and stretch a lot and all that stuff.
Popular Culture Beat: With Strangelove, you’re doing just straight up touring?
Julian Shah-Tayler: We’re touring every week pretty much, not this week. It’s the first weekend off we’ve had. I’ve been flying to the East Coast every week for months. It’s really a pain with Strangelove and there was a brief period of time where I was opening up with originals, then doing Bowie then Strangelove.
Popular Culture Beat: Awesome,
Julian Shah-Tayler: I mean a people love the originals, when it’s presented as a sort of opener for Strangelove. They get it, the sound obviously resonates very deeply. I have a new original album done in the back at the moment.
Popular Culture Beat: It’s almost too much to ask for you to do three shows a night.
Julian Shah-Tayler: I’m fine with it. I mean, I would rather just do my own stuff.
Popular Culture Beat: What’s the new album about like, what’s the title or concept?
Julian Shah-Tayler: Yes, it’s called Honne/Tatame. It’s about the post relationship context with my last relationship. “Fall Apart” is one of the songs on it.
Popular Culture Beat: The title is Japanese?
Julian Shah-Tayler: Yes, it’s Japanese. So Honne and Tatame. I don’t know which one is which — one of them means the real face that you really are, and Tatame or Honne, one of them is the face that you present to the world. So there’s the visceral and the ephemeral. I guess it’s a duality of how you present that.
Popular Culture Beat: That all ties into theater so well, which the Diamond Dog album of course is.
Julian Shah-Tayler: Yeah, I mean in some ways. Is it’s a mask versus not a mask.
Popular Culture Beat: It’s as David Byrne said, it’s always showtime here on the edge of the stage. But I think he was talking about everyday life, and not the stage.
Julian Shah-Tayler: You know, it’s difficult for me because you know, I don’t have — I’ve been moaning this – I don’t have a hobby. I don’t have a thing that I do that isn’t music-related. So sometimes it’s very easy, and I think you know my ex would complain very deeply about this –that I don’t have a separation between what that is and real life so that the only separation I do have is my daughter, who, she doesn’t care that I’m performing for thousands of people. She doesn’t care that I’m this, you know mock star. I’m just her dad and I’m not cool and I’m not stylish.
Popular Culture Beat: What advice can you give to other musicians want to have a career in music, at least make a living out of creating.
Julian Shah-Tayler: Don’t.
Popular Culture Beat: Other than ‘don’t.’
Julian Shah-Tayler: I mean it’s well, it’s not a remunerative affair anymore. It used to be a little bit in the 90s and early 2000s, but nowadays it’s a vocation. I mean, if you want a career, I would choose a different career. If you want to feed your soul do music, of course do art, just do anything you can, I can’t remember who said it. Maybe it was Eno, maybe it was, who’s the guy that did Slaughterhouse Five – Kurt Vonnegut.
Popular Culture Beat: Kurt Vonnegut. Yeah, I know the quote you’re talking about. Yeah.
“The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven’s sake.”
Kurt Vonnegut
Julian Shah-Tayler: Yeah, and you know, you just make art. Andy Warhol, same thing. It’s like make art, and while you’re showing your art make more art, and just do what you love, and feed your soul — because your soul is more important than money. But trying to make music, make money, that’s lightning in a bottle and it’s very difficult to do. You know, tribute has been my choice but it’s there’s a lot of work involved. I’m working very hard doing the tribute.
Popular Culture Beat: For sure, and there is a cost of being a highly profitable, well-known artist. Obviously success does affect the quality of the art, too.
Julian Shah-Tayler: Yes, of course — look at Sting, post Police. There are good high points in Sting’s career, but there are also a lot of very mediocre sort of mid albums where he’s just he’s very happy and very rich. And I feel like he’s stopped.
Popular Culture Beat: At least he’s still around. He looks healthy to me. Well, I got a couple quick ones that are obligatory here. I’ve got to ask — is this this is on your label with David Chatfield, the Diamond Dogs one.
Julian Shah-Tayler: No, no, this is on my label. David is really The Greatest Hits. He’s remixing everything and that’s going out (on his Harmony Records label –KW).
Popular Culture Beat: And then, finally are there any moves with Static, with your project Static?
Julian Shah-Tayler: With Darwin — we just spoke about one of the songs that was left. Actually we did about five or six songs, Darwin took two of them to completion. I mean, I’m just vocalizing. I’m not doing anything else. So there’s one other song which is the best one. I felt the verse was weak. The chorus is very strong, but the verses vary, so I wasn’t happy with it. And I feel like Darwin and Dustin agreed.
Popular Culture Beat: Back to the drawing board.
Julian Shah-Tayler: So we never got around to finishing it, I’m happy to finish it, now. I’ve just done a remix of a song that Leo Luganskiy, singer from Strangelove did with Beauty Of Chaos. I also remixed one that I did with Beauty Of Chaos. That’s a lot more synth-oriented than the original which was kind of Cure-ish. And it’s all right. I really like it.
Popular Culture Beat: I reviewed that last year. Yeah. I try and keep up on all the projects — I don’t mean to offend anybody but I can’t I’m only one guy doing all three blogs.
Julian Shah-Tayler: Right? No. I know it’s crazy. I have great respect for your work, you write really well. I mean your writing is really well considered, and you have the knowledge of it. I don’t know how you manage it.
Popular Culture Beat: I wouldn’t do it if I didn’t love it, but it’s kind of what I’m called to do right now — maybe at this level for some reason. It’s not at Rolling Stone or the L.A. Times but I’m still young, I’m still only 60. So who knows!
Julian Shah-Tayler: L.A. Weekly, I mean, I think they are always looking for people. I mean you can always submit stuff.
Popular Culture Beat: Okay. I set you for a half hour here, so I want to give you your afternoon back. Are you on the road again?
Julian Shah-Tayler: Not this weekend. And then the next weekend, yes, but back out to Houston. I want to say some somewhere. I don’t think it’s on social media.
Popular Culture Beat: I know you’re out there.
Julian Shah-Tayler: So, it’s Houston. Yeah,
Popular Culture Beat: Houston. I’m also admiring your work and the opportunity to speak to you is very welcome and appreciated.
Julian Shah-Tayler: Thank you. Thank you very much. You’re one of the one of the dedicated people that I appreciate.
Popular Culture Beat: Okay. Alright this is wonderful Julian. It’s great to catch up with you. I’ll talk to you soon I hope, and I’ll look forward to everything you’re doing, the new album and so on.
Julian Shah-Tayler: Thank you.
Popular Culture Beat: Thank you.
Synthbeat.com‘s Review of ‘Hunger City’
Julian Shah-Tayler Dot Com
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Julian Shah-Tayler On YouTube
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