JULIAN COPE (2008 REPRINT)

Recording Fried.



The man and his megaliths.


World Shut Your Mouth - ****1/2
Fried - *****
Saint Julian - ***1/2
My Nation Underground - **1/2
Skellington - ****
Droolian - ***1/2
Peggy Suicide - ****1/2
Floored Genius - ****1/2
Jehovahkill - ****1/2
Rite - ****
Floored Genius 2 - ****1/2
Skellington 2 - ***1/2
20 Mothers - ***1/2
Interpreter - ***1/2
Followers Of St. Julian - ****
Rite 2 - ****
Floored Genius 3 - ****
Audience With Julian Cope - **1/2
Rite Now - ***
Live Japan '91 - ****
Rite Bastard - ***
Christ vs Warhol - ****
You Gotta Problem With Me - ***1/2

Plus...
Copeulation (Video) - ****1/2
Modern Antiquarian (Video) - ****
Head-On (Book) - *****
Krautrocksampler (Book) - ****1/2
Repossessed (Book) - *****

So, that was it for The Teardrop Explodes... but Julian lived to fight another day, albeit in a somewhat damaged state which inevitably informed his early solo work. 1984's 'World Shut Your Mouth' (oddly not featuring the future Top 20 hit of the same name), possesses a unique atmosphere, occassionally reminiscent of 'Wilder' but undoubtedly its own thing. There's a lot more guitar here, although not in any overtly rockist sense. The likes of 'Strasbourg' and 'Bandy's First Jump' are typically tuneful and exhilirating twisted pop gems, whilst the twitchy 'Kolly Kibber's Birthday' and downright absurd first single 'Sunshine Playroom' show Cope to be more than willing to mess with the formula. The melancholy's never far away, though, as heard on the touching drone lament 'Head Hang Low' and the wistful outro of 'Lunatic And Fire Pistol'.



The WSYM sleeve.


Our man steps up the ante even further on his second solo outing 'Fried', almost surpassing 'Wilder' for unique vision. The previous album's atmosphere is amplified and built upon, the sleeve depiction of Cope naked under a shell and playing with a miniature lorry on a desolate hill perfectly capturing the unsettling openness of the music contained within. Not that there aren't a few pop/rock classics thrown in for good measure (the aggressive anti-hunting epic 'Reynard The Fox', the laugh-out-loud 'Bill Drummond Said', the ornate romantic guitar-pop treasures 'Sunspots' and 'Holy Love'). It's just that the real backbone of the album is to be discovered in the loneliness evoked by the hazy contemplation of 'Laughing Boy', the sparse yet truly moving 'Me Singing' and the autumnal shades of 'Search Party'. Obviously cut with the finest songwriting chops and possessing a notable degree of non-wanky guitar prowess (partly courtesy of newbie Donald Ross Skinner), this, my friends, is the good shit.



The beyond-classic Fried cover.


Of course, in true Cope style, Julian went in a totally different direction for the 1987 album 'Saint Julian'. In the intervening years, both his image and sound were tightened up considerably, although perhaps not always for the better. Sure, there's some mighty fine garage-pop single material here (minor hits 'World Shut Your Mouth' and 'Trampolene' in particular), but some of the material simply lacks his customary charm. The glossy production has to be to blame a bit on the likes of 'Planet Ride' though.

Follow-up 'My Nation Underground' moved even further in this direction, featuring a couple of great singles ('Charlotte Anne' and the swooning 'China Doll'), but really wasn't prime Cope. Now dismissed both by artist and fans as probably his weakest album, it's not without bright spots, but won't keep you coming back for more.



8mm movie for 'Laughing Boy' from Fried.


Clearly a knee-jerk reaction to such indulgence, 'Skellington' benefits massively from a lo-fi ambience and songs picked from the back pages of the Cope songbook perhaps lacking the commercial viability of recent offerings but much more likely to turn on the old charm. The playing is again surprisingly impressive at times, but not to the point that it hides the sheer fun at the heart of songs such as the singalong rocker 'Out Of My Mind On Dope And Speed', the plain-brilliant whistling stroll of 'Robert Mitchum' and the amusing 'No How, No Why, No Way, No Where, No When'.

'Droolian', recorded and released in very small numbers for the benefit of recently imprisoned psych-rock legend and 13th Floor Elevators leader Roky Erickson, follows a similar template to 'Skellington'. It possibly floats away a little too easily on the campfire vibe at times, but still holds you in with ditties like 'Jellypop Perky Jean' and the impossibly blissed-out 'Commin' Down'.



'Reynard The Fox' live. No blood-letting. Not this time at least.


A few years in the wilderness coincided with this artistic volte-face, but Cope came back as strident as ever with the critically-adored 'Peggy Suicide' in 1991. Although the odd track among the 20 presented here sounds a bit too in thrall of the in-vogue 'baggy' beat, the songwriting, political thrust and ambition behind the set more than compensate. The 'Hanging Out' two-parter is particularly storming, superbly combining Julian's love of snotty garage rock and expansive Krautrock, whilst the likes of 'Beautiful Love' and 'If You Loved Me At All' are clear challengers for best ever Cope pop song.

The 'Floored Genius' compliation followed on from this and stands as the best introduction to all things Cope/Teardrop available. It flows very nicely in its own right, but will most likely leave you wanting more, exactly as a good compilation should.



The epochal 'Out Of My Mind On Dope And Speed' from the first Skellington album.


'Jehovahkill' followed a similar structure to 'Peggy Suicide' but introduced a soon-to-be-prevalent theme of ancient history to the already overflowing cauldron of influence. It's more serious in tone (perhaps a little too much so on 'No Hard Shoulder To Cry On'!), but just as thrilling, spanning funky folk pop ('The Mystery Trend'), soaring Krautrock tributes ('Subtle Energies Commission', 'Necropolis') and even thoroughly bonkers techno funk ('Poet Is Priest').

After being dropped by his label following that record's baffling failure, Cope tried something new on 1993's 'Rite', a collection of four extremely spaced out, gentle meditational grooves, demonstrating the influence of the more creative/less pretentious end of progressive rock, as well as the more expansive elements of 70's funk.

'Floored Genius 2' is another real treat for fans, featuring a marvellous set of BBC session recordings simply oozing his normal charm, from the drum machine pop heaven of 'Greatness And Perfection Of Love' to the forgotten sad jangle of 'Christmas Mourning' and even finding room for a medley incorporating the likes of Frank Zappa and Funkadelic.



The krautrock mind-melter 'Necropolis' from Jehovahkill.


Following the popularity of the original 'Skellington', a similarly lo-fi sequel was cooked up. Released with its predecessor as 'Ye Skellington Chronicles', it didn't surpass the first collection, but still contained enough odd-pop gems like the pretty 'London Underground', disturbed lounge groove 'Madonna Bag Lady Blues' and the thinly-veiled Count Five tribute 'The Angel And The Fellatress' to satisfy.

It's around this stage that things got rather spotty in terms of the main Cope releases. I don't actually own 'Autogeddon' but it's apparently weighed down by its muddy production and unwelcoming songwriting. I do, however, own 1995's '20 Mothers', which might just be the most all-over-the-place album of them all, but just about manages to pull together under the umbrella of sheer Cope-ness. The last of the lengthier epics (at least for the time being), this one's got predictably reliable guitar pop ('Try Try Try') sweet orchestral numbers ('I Wandered Lonely As A Cloud') and intimate acoustic paeans to fatherhood ('I'm Your Daddy', 'Cryingbabiessleeplessnights'), as well as the requisite amount of guileless mucking about (synth pop ridiculousness on 'Just Like Pooh Bear').

Actually, scrap that... the next year's 'Interpreter' has to be the most all-over-the-place album of them all. So much so that it seriously divided fans and critics. There's swinging lounge ('Maid Of Constant Sorrow'), operatic space-rock ('s.p.a.c.e.r.o.c.k. With Me') and even a bloody rap track ('The Loveboat'). Yes folks, we're a long way from base camp at this point. But don't get too concerned, there's enough reliably pretty guitar-led pop like 'Planetary Sit-In', 'Since I Lost My Head' and the glorious 'I Come From Another Planet Baby' to keep any swing voters on side for the time being.



Upping the 'dickhead factor' stakes on Top Of The Pops with 'I Gotta Walk' from Autogeddon. Beyond explanation.


This is where our man pretty much gives up on any interest in 'pop' viability. There's still the odd compliation to keep the faithful contented though. 'Followers Of Saint Julian' collects the B-sides from that strange period where Cope was still a realistic proposition for chart success. Amusingly enough, it also shows the sheer audacity of the man, exemplifying his habit of putting some truly bonkers material on the reverse of some of his most mainstream work. To be honest, i actually prefer this collection to the main album from this period, given that it tells us much more about the guy than the fun but slightly sterile chart fodder of 'Saint Julian' itself. You get live tracks, some choice covers of key influences, remixes, unhinged experiments, but most importantly of all, some great Cope originals in the form of the exhilirating brass-led psych pop of 'Disaster', the attractively churning gloom of 'Mock Turtle' and the megaphone-led loopiness of 'Warwick The Kingmaker' (hard to imagine this on the flipside of 'Trampolene'!).

To be honest, my collection now starts to look a bit holey from this point onwards, partly due to the scarcity of the records, but also due to Cope's turn towards a more heavy rock aesthetic. There's still much to shout about though - for example, 'Rite 2' is another mind-expanding trip through rural Britain with Sly Stone and Tangerine Dream as your guides. The rare 'Floored Genius 3' compiles some truly fascinating unreleased stuff similar in nature and quality to the 'Followers Of Saint Julian' stuff (especially worth hearing are the irresistable 'Propheteering' and the uproarious 'Conspiracist Blues').

'An Audience With Julian Cope' was my introduction to the new, greasier Cope sound and, to be honest, i find a lot of the jamming a bit of a drag. There's still a few bright spots, such as the charming harmonium-led pop song 'Holy Mother Of God', but on the whole, this for me typifies where and why Cope and i have diverged somewhat. 'Rite Now' and 'Rite Bastard' were still worthy additions to the family, but lacked the space and thoughtful approach which made their predecessors so enjoyable.



More from Fried, this time the toy-piano majesty of 'Sunspots'.


'Live Japan '91' draws largely from 'Peggy Suicide' and mirrors that album's wide-eyed, thrillingly fresh approach (oh to have been there for the sheer energy of opener 'Hanging Out And Hung Up On The Line'), as well as throwing in a few surprises for good measure (a sweet 'Bill Drummond Said', a wild-as-ever 'Sleeping Gas').

'Christ vs Warhol' is a bootleg of very early solo demos recorded largely for the 'World Shut Your Mouth' album. Although some tracks vary little from the final versions, it's still a fascinating glimpse into the bruised psyche of a guy finding his feet after the Teardrop split. Plus there's a couple of... interesting unreleased songs in 'She Brings Me Flowers' (bizarrely featuring traces of the 'Charlotte Anne' melody) and the brief, warped 'Jesus Christ And The Mysterons'. Suffice to say, fans of this period should really try to hear it.

The only one of the recent triumverate of albums i have heard is 2007's 'You Gotta Problem With Me'. By all accounts, 'Citizen Cain'd' and 'Dark Orgasm' had their bright spots but were pretty hard going - wouldn't mind hearing them though. 'Problem' shows a lightening of the mood, but doesn't really go for anything resembling subtlety on the likes of 'They Gotta Different Way Of Doing Things' and not-as-dodgy-as-it-sounds 'Can't Get You Out Of My Country'. All very right-on in their way, but the album only truly connects for me when Cope remembers to bring the melody and prettiness, as he does in buckets on the likes of 'Woden' and 'A Child Is Born In Cerrig-Y-Drudion'.

On top of all these albums, there's a bunch of extra-curricular Copeness for the devotees out there. The late 80's video compilation 'Copeulation' (see what they did there?) covers both Teardrops and pre-Skellington solo promos, as well as including a few oddities like the glorious and oddly moving 'Laughing Boy' clip. This would be a full 5 stars if they'd included a few more live tracks alongside the awesome 'Reynard The Fox' and 'Spacehopper'.

I found the 'Modern Antiquarian' video on YouTube recently. Although it's hardly my area of speciality, it's actually very engagingly done and brilliantly presented, not to mention a real treat to see our man in a fluorescent outfit discussing the significance of the megaliths with various terrified old biddies.



Infectious enthusiasm abounds on this first part of the 'Modern Antiquarian' documentary for the BBC.


Finally there's the books. Frankly, 'Head-On' and 'Repossessed' (the autobiographies covering his early life, the Teardrops and early-to-mid solo career, now selling as a twofer), should come attached with copies of 'Floored Genius' to perhaps present the most perfect introduction to an artist ever. They're genuinely hilarious, sad, shocking, sweet and above all, completely engrossing. The man does his best to present himself in the least flattering light possible, but you can't help but love him all the more for it!



Head-On. Essential reading even for non-fans!


There are a few other Cope-related tomes out there, covering both musical and historical interests. The only one i've encountered is the brilliant 'Krautrocksampler', a distinctly opinionated guide to all things German, cosmic and 70's. The usual suspects appear (Neu!, Can, Faust, Amon Duul II etc) alongside some less-celebrated legends (Harmonia, Popol Vuh, Walter Wegmuller), every single one covered with the intelligence and enthusiasm we Copeheads know and love.

Well, that's it. Sorry about the odd gaps here and there, but surely this will keep me/you going for the time being?!

*******************************
2010 UPDATE

Julian continued his progress towards more bucolic pastures on his 2008 album 'Black Sheep' (****). The political gesturing again felt a bit heavy-handed at times (witness the openeing two tracks and the undeniably catchy 'All The Blowing Themselves Up Motherfuckers (Will Realise The Minute They Die That They Were Suckers)'), but there were several moments of acoustic-led pastoral melodicism rarely heard on Cope albums for at least 15 years. Songs such as 'These Things I Know', 'The Black Sheep's Song' and 'Dhimmi Is Blue' make this an album well worth investing in for anyone scared away by the grizzly, somewhat alienating heavy rock of recent releases. A fascinating opus.

An acoustic collective sharing the album's title was formed around the time of its release. This group debuted (i think) with a simply deranged performance at Latitude festival, then presented a charmingly homespun live trawl through the back catalogue at Liverpool Academy (which i was lucky enough to attend). They closed 2008 with a Joe Strummer Memorial Busking Tour which apparently combined a love for marching bass drums and heavyweight political rhetoric (specifically the celebration of women's rights). Sadly i missed the concluding Liverpool leg, which consisted of the disparate troupe marching around Mathew Street (home of post-punk epicentre Eric's no less) to the strains of the Teardrop classic 'Sleeping Gas'. Wish i'd been there.

Cope then decided to go all contrary on us again, releasing the Black Sheep debut 'Kiss My Sweet Apocalyspe' (**1/2), an experimental double album whose (now customary) fantastically enlightening sleeve notes proved more entertaining than the music within. Consisting of six extended 'dirges' (to quote my Mum), for me the album only provided flickers of light between sometimes plain-annoying acoustic clanging and gruff chanting. I must reiterate that there are moments of mind-expanding loveliness here for those completists who are willing to persevere (bits of the revamped Teardrop song 'Leila Khaled' in particular), but they're sadly few and far between. Cope is more than capable of stretching out (see the early 'Rite' albums), but this just didn't do much for me i'm afraid.

It would be fairly easy for a more cynical sort to mock old Jules these days (don't call him that to his face). I'm sure Ian McCulloch is having a good old laugh right now at his old Eric's rival from the comfort of his Bunnymen revival tour. For me, though, the unbridled enthusiasm and willingness to face ridicule is part of what makes Cope so much more interesting to follow, even if some of his detours may leave me a bit bemused (still not convinced about some of his more controversial sartorial habits). Rather than doing the old act each night, Cope prefers to throw in a lecture on the romantic poet William Blake or an effusive guide to Japanese rock (on my to-read list). Long may he confound!