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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But in a book as over-amplifi ed as this, acoustic guitars don’t register. 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.
A pop star in the s, he has spent the subsequent decades crusading against “greedhead” values and commercial compromise. Topics Music The Observer. In our megastore marketplace, the familiar is endlessly recycled, while blinkered journalists reshuffle the same Top lists ad nauseam. Krautrocksampler sought to rekindle an interest in music that was once widely appreciated in Britain but which had fallen into neglect due to changing fashions and fickle journalism.
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. Japrocksampler is by turns hilarious, wearisome, fascinating and obtuse.
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. In parallel to the way Amon Duul were involved in Germany’s commune-dwelling counterculture and allegedly had ties to Baader-Meinhof, one member of Les Rallizes Denudes participated in the Japanese Red Army’s hi-jacking of a Boeing All human life is here, somewhat mangled in translation.
Less adventurous readers may simply enjoy the anecdotes about a host of chancers, mad idealists, Buddhist gangsters, Monkees clones “Are We Not Crazy Cats?
Julian Cope presents JAPROCKSAMPLER.COM
Behind its showbiz gossip and shamanistic mythmaking, we catch glimpses of another Japan, a Japan that eludes understanding. 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.
Experimental violinist Takehisa Kosugi takes time out from the avant-garde to compose music for the children’s cartoon series Atom Boy. Or did he just develop a taste for research while working on his highly-regarded ‘stone circle’ histories The Modern Antiquarian and The Megalithic European?
There are moments in Japrocksampler that will make more sceptical readers wonder if that very syndrome isn’t going on in Cope’s own text. Japrocksampler is a flawed copw welcome reminder that there are musical worlds beyond our ken.
All have become prized by Western record collector fiends this past decade, especially now the Kraut Kosmiche seam has been mined beyond exhaustion.
Book: Julian Cope, Japrocksampler | Music | The Guardian
T welve years ago Julian Cope published his celebrated celebration of s German cosmic rock. New Crimson Petal Stories is published by Canongate. 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. It quickly became a cult item and was widely credited for kick-starting the Nineties boom of interest in Krautrock something of an over-estimation, given that groups like Stereolab had long been citing Neu!
Cope himself is not a Japanese speaker, but his omnivorous LPcollecting and his friendship with some of Japan’s current rockers make him a credible candidate to write this book.
Julian Cope presents
For that matter, Julian Cope’s Krautrocksampler is out of print too. I’ve spent a fortune buying Japanese stuff because it has a great jacket’. 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.
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. No, We Are Spiders! The Krautrocksampler equivalent would be kicking off with the Franco-Prussian War!
In the introduction, the word ‘study’ crops up repeatedly, including the assertion that a ‘detailed study of this book will have you rethinking your attitudes to music, art, time Julian Copeself-styled “visionary rock musician and musicologist, hip archaeologist and one-time frontman of the Teardrop Explodes”, is one of Britain’s more colourful fi gures.
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.
At first, Cope’s trademark hipster hyperbole seems to have been tamed by the challenge of elucidating a subject so obscure to most readers. It’s a heavier book more than twice the page count of Krautrocksampler and heavier-going, too.
Cope astutely notes that for the Japanese, the entertainment industry was “a mythical hinterland wherein almost any opposing ideas could meet head-on”, an environment where a singer could contribute to an avantgarde freakout while maintaining a parallel career crooning Perry Como ditties in a velvet tux.
Context-setting is just dandy, but was it really necessary to start ujlian the arrival of US vessels on Japanese shores, thereby ending centuries of cultural isolationism? Krautrocksampler and Japrocksampler are decidedly different, however.
He raves about the ‘fascinating and wildly japrocksampper 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 divides into two parts. Music books Julian Cope reviews. 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 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. As a work of scholarship, Japrocksampler is slapdash and error-strewn.