Julian Cope’s JAPROCKSAMPLER top 50 albums. Author: RamonesIstKrieg. Julian Cope’s top 50 “Japrock” albums, from his totally rad book. Julian Cope, eccentric and visionary rock musician, follows the runaway underground success of his book “Krautrocksampler” with “Japrocksampler”, a cult. Michel Faber tunes in to Julian Cope’s Japrocksampler.
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The sad truth is that very few people are interested in unusual “foreign” sounds. T welve years ago Julian Cope published his celebrated celebration of s German cosmic rock. His ultra-vivid and hilariously over-the-top descriptions of a legion of German post-psychedelic records suggested that this prolific musician he’s just released his umpteenth solo album, You Gotta Problem With Me might have missed his true vocation as a Lester Bangs-style advocate.
Japanese Independent Music, issued in by Sonore a French publisher is out of print. Cope argues that the West-to-East translation process creates ‘a peculiar copy of the original,’ a wrongness that in some instances allows the Japanese version to surpass its inspiration.
Big in Japan
If Cope’s exaltation of Les Rallizes Denudes seems like mystique-building covering up simple underachievement he hails the hermetic, retired Mizutani as ‘this great nihilistic spirit, this sonic executioner’elsewhere his evocations of all this authentically inauthentic music are enticing and convincing.
The oligarchical structure of the Japanese music business also meant that records – and the groups who played on them – were often put together by company bosses and producers. Context-setting is just dandy, but was it really necessary to start with the arrival of US vessels on Japanese shores, thereby ending centuries of cultural isolationism?
But for the most part, the book persuades you there’s reams and realms of triptastic Japanese music that deserve the wider world’s ear.
A young Yoko Ono attempts suicide in frustration at being upstaged by her first husband Toshi. He raves about the ‘fascinating and wildly eventful’ multi-generic pastiches created by theatre score composer JA Caesar mostly only released as cassettes sold at stalls in the theatresand the bizarre jazz-rock tangents spawned out of the Japanese cast of Hair Shedding the ‘proper historian, me’ persona, his true voice breaks loose with the closing section, his all-time Top 50 Japrock LPs.
Japrocksampler – Wikipedia
All human life is here, somewhat mangled in translation. Although it contained lots of little-known information, the earlier book didn’t belabour the back story but focused on Cope’s rabid enthusiasm for the music. The first, really a prequel to the book proper, deals with the s, with chapters examining Japanese experimental music a scene hugely impacted by musique concrete, with Yoko Ono and her erstwhile composer-hubby Toshi Ichiyanagi prominent among the cast of charactersthe ‘Eleki’ craze for Shadows-style twangy ujlian rock, and the ‘Group Sounds’ movement suit-wearing Japbands modelled on the British beat boom.
The Krautrocksampler equivalent juliian be kicking off with the Franco-Prussian War!
Krautrocksampler and Japrocksampler are decidedly different, however. There are moments in Jalrocksampler that will make more sceptical readers wonder if that very syndrome isn’t going on in Cope’s own text.
Inhe published Krautrocksampler, an evangelistic overview of Germany’s greatest gift to the modern world, that immensely charming genre japrockeampler 70s music known as Krautrock.
Julian Copeself-styled “visionary rock musician and musicologist, hip japrocskampler and one-time frontman of the Teardrop Explodes”, is one of Britain’s more colourful fi gures. Other books on the subject are not on off er. New Crimson Petal Stories is published by Canongate. As a music commentator, Cope is passionately opinionated, which is both his strength and his weakness.
Now here comes Copey with a sort-of-sequel, this time exploring and exalting the even more esoteric world of Japanese freak rock. He raves about the ‘fascinating and wildly eventful’ multi-generic pastiches created by theatre score composer JA Caesar mostly only released as cassettes sold at stalls in the theatresand the bizarre jazz-rock tangents spawned out of the Japanese cast of Hair.
Central to Cope’s thesis is the notion that mind-altering music can only be made by people who ingest mind-altering drugs, and that Japan’s notoriously anti-drug culture therefore impeded the artistic development of its musical pioneers.
Music books Julian Cope reviews. His lack of affinity with folk or the subtler forms of jazz causes him to ignore or sideline many of Japan’s most distinctive artists. Cope astutely notes that for the Japanese, the entertainment industry was japrocksample mythical hinterland wherein almost any opposing ideas could meet head-on”, julixn environment where a singer could contribute to an avantgarde freakout while maintaining a parallel career crooning Perry Como ditties in a velvet tux.
At first, Cope’s trademark hipster hyperbole seems to have been tamed by the challenge of elucidating a subject so obscure to most readers. In our megastore marketplace, the familiar is endlessly recycled, while blinkered journalists reshuffle the same Top lists ad nauseam. Or did he just japrocksampleer a jklian for research while working on his highly-regarded ‘stone circle’ histories The Modern Antiquarian and The Megalithic European?
Japrocksampler aims japrockasmpler do the same thing for Japan, jalrocksampler the context could hardly be more diff erent. With a mixture of aff ection and condescension, Cope relates the attempts of Japanese wannabe “refuseniks” or even “uberrefuseniks” to ape the lifestyles of their American and British idols in a society where strict codes of honour still ruled and where the hippie musical Hair was closed down by the authorities.
The way he tells it, his psychedelic renegades were central to the violent unrest that gripped Japan in the late s, whereas in fact most of the clashes were between riot police and an army of Dylanesque protest singers.
Julian Cope presents JAPROCKSAMPLER.COM
Japrocksampler is by turns hilarious, wearisome, fascinating and obtuse. Behind its showbiz gossip and shamanistic mythmaking, we catch glimpses of another Japan, a Japan that eludes understanding.
The Taj Mahal Travellers hit the road in their runeinscribed Volkswagen minibus, searching for windswept beaches where they can provide musical accompaniment to the waves at dawn. A pop star in the s, he has spent the subsequent decades crusading against “greedhead” values and commercial compromise.
The incident where sword-waving members of Japan’s Red Army Faction including the bass player of the Radical Music Black Gypsy Band hijack a plane “to Cuba”, eventually landing to a heroes’ welcome in North Korea, is retold as a wacky jzprocksampler, but the complex griefs and tensions that led to such gestures cry out for deeper analysis.