Just under a year after releasing his third solo album, There Goes that Rhymin’ Simon, Paul Simon put out his first solo live concert – Paul Simon in Concert: Live Rhymin. The album is a mixture of his solo singles and hits from the Simon & Garfunkel archive. The first few songs he tackles with just his acoustic guitar including the jaunty “Me And Julio Down By The Schoolyard” and a solid take at “Homeward Bound”. For the next few songs he performs with South American group Urubamba, most pleasingly on “El Condor Pasa (If I Could)”.
For the next batch of songs Simon brings out the Jessy Dixon Singers (Group). This ensemble works well on his solo material including some nifty bass playing on “Mother And Child Reunion” and a rollicking version of “Loves Me Like A Rock”. On the other hand “The Sound of Silence” sounds more like a Christmas carol and “Bridge Over Troubled Water” isn’t a patch on Garfunkel’s classic vocals. It’s the starkness of young men singing the originals that help make them memorable rather than the gospel embellishments found here. The concert album with performances recorded at the University of Notre Dame and Carnegie Hall in New York has a few good moments but overall feels a bit underwhelming with better versions found elsewhere.
One of the most talked about musical events 30 years ago was The Beatles Anthology TV special that aired on ITV in the UK and ABC in the US. Subsequent to those TV shows, the band released three anthology albums, each containing two discs of rarities. All these years later the band has remastered those discs and have also released the fourth version – Anthology 4.
The two disc Anthology 4 extends the entirety of the band’s releases. Starting with “I Saw Her Standing There” from 1963 to the 2023 release of single “Now and Then”. In between is a mixbag of tracks. “Tell Me Why” starts with studio banter and a false start before the band bursts into the song from A Hard Day’s Night. A sweet sounding version of “If I Fell” follows before a stop in your tracks version of “I’ve Just Seen A Face” arrives a few songs later. Like stumbling into a folk bar one night and hearing a singer do a spirited take on the track, helps if that singer is Paul McCartney.
“In My Life” is a more stripped down take, nostalgic young man John Lennon with a lovely vocal. “Got To Get You Into My Life” is more rough and ready, leaving out the horns that get replaced with a gritty guitar. One of the compilation’s highlights is “Baby, You’re A Rich Man” that has John and Paul asking assistants for cokes and cannabis resin before launching into a loose version of the track that would later appear on The Magical Mystery Tour. The band sounds like they are having a blast as they repeatedly sing the chorus. In similar fashion, the instrumental version of George Harrison’s “Hey Bulldog” is another blast of joy, regardless of Lennon’s comments at the end of the recording.
An instrumental version of “The Fool On The Hill” is intriguing as is the strings, brass, and clarinet overdub take of “I Am The Walrus” with Lennon’s vocals bleeding into the mix. The instrumental strings on “Something” are quite lovely while “All You Need Is Love” is taken from a rehearsal for the BBC broadcast with the reporter describing the band’s recording techniques. The album closes with the band’s last recordings with Lennon’s vocals used as the basis of the tracks. The 2025 mix of “Real Love” has a bit of a Ringo Starr drum kick and for some, it’s nice to have a physical version of “Now and Then” rather than the overpriced single from a few years ago.
Critically the album has been both treasured and trashed, a feeling of scraping the bottom of the barrel has been noted. A significant number of the tracks have already been released on past expanded editions of individual albums making those songs inessential for those who have paid big prices to already own them. Many of the songs talked about above are the same ones that other publications have zeroed in on as well, there is a bit of a consensus on what the goods are. While there are some inessential versions/takes of songs, there is a span of about 15 tracks in the middle of the collection that are sublime and a joy to listen to. Perhaps inessential but a great bit of fun to have playing around the holidays, songs that are as ubiquitous as the Christmas carols being played every where else at this time of year.
Geese are the experimental rock band from Brooklyn who’s fourth album, Getting Killed, released in the early fall is one of the acclaimed records of the year. Co-produced with Kenny Beats, songs like “Trinidad” have a chaotic jazz vibe mixed with slam poetry as singer Cameron Winter yells that “there’s a bomb in my car!” “100 Horses” takes on a gritty, southern rock sound with lyrics that does the trick of sounding like they mean nothing yet somehow mean everything in the moment – “there were 100 horses dancing/Maybe 124”.
Winter’s vocals take on a bit of a warble, bit of a Van Morrison feel. This occurs most prominently on the title track where he sings, “I can’t even hear myself talk/I’m trying to talk over everybody in the world”. Later, the vocals get stretched as he sings that “I’m getting killed by a pretty good life”. Whether a singer in an indie rock band or a midlevel office manager, this can feel true at times.
“Taxes” is a bit slower/softer then picks up with jangly guitars before the album ends with a longer jam on “Long Island City Here I Come”. Throughout Getting Killed, it all feels like it could fall apart at any time but it never does and more importantly, the album is constantly tuneful throughout. A really great record, one to spend some time with.
Over the last few years, the music world waits with baited breath for each new Taylor Swift album to carefully dissect the lyrics to figure out who the song are about. While that is happening, Lily Allen snuck in through the backdoor with her recent West End Girl album that outlines in great detail the breakdown of her relationship with actor David Harbour. The album plays like a concept album that The Streets would have released many years ago. An arms length list of producers help craft an auto tuned album filled with adult styled beats and stories of heartbreak, but in the Lily Allen spirit of snuck in jokes and classic one liners.
The title track is string laden with a passage that includes a one-sided conversation between Lily and Harbour while she describes getting the lead part in a West End London play. Nothing is held back lyrically and songs touch on lack of sex in their marriage, infidelity (to put it mildly), his own “Pussy Palace”, and calling up one of the girls that he was suspected of not only sleeping with but also playing “Tennis” with. All this while Lily asks, “who’s Madeline?”.
On “Ruminating’, the one-sided open relationship asks “If it has to happen, baby, do you want to know?” while later Lily sings that “A life with you looked good on paper” over the bouncy beats of “Nonmonogamummy”. Towards the end, a posting on a dating website asks, “I’m almost nearly forty, I’m just shy of five-foot-two/I’m a mum to teenage children, does that sound like fun to you?”
For people following, Lily Allen’s life has been an open book over the years of quotable interviews, addictions, broken relationships, unfortunate miscarriages, and later successfully giving birth to children. West End Girl is a fascinating run through her last relationship and does hold the listener’s attention to wonder, “what’s next”. Whether it holds up in several years time remains to be seen.
With a full slate of touring across Canada in the late autumn that picks up again in Spring 2026, Sloan released their 14th studio album – Based On The Best Seller. Splitting up the writing duties, each member contributes a few songs including a couple of tracks that date back to the 90s. Guitarist Patrick Petland enters with a few stompers that incorporate 70s arena rock swagger, shown on “Dream Destroyer” and “So Far Down”.
Fellow guitarist Jay Ferguson’s tracks mix the 60s with some 90s indie rock guitar before throwing in some country guitar strumming on “Collect Yourself”. Drummer Andrew Scott’s contributions are a bit heavier, bringing in crunching guitars on “Baxter” and “No Damn Fears”. Bassist Chris Murphy reaches back to the 90s to resurrect the sunny 60s pop of the “Open Your Umbrellas” and also throws in the horn driven “Fortune Teller”.
Based On The Best Seller takes in decades of guitar sounds to form twelve decent rock tracks. It can be infectious but overall, Ferguson sums up much of the album with the line, “Trim off some parts and recycle if need be”. The band originally from Nova Scotia is a wildly talented group but here, it does have a feeling of “good enough” for them to have a few new songs to play on tour.
The Light Appears 