Julian Cope

Julian David Cope (born 21 October 1957) is an English musician and author. He was the singer and songwriter in Liverpool post-punk band the Teardrop Explodes and has followed a solo career since 1983 in addition to working on musical side projects such as Queen Elizabeth, Brain Donor and Black Sheep.

Cope is also an author on Neolithic culture, publishing ''The Modern Antiquarian'' in 1998, and a political and cultural activist with a public interest in occultism and paganism. He has written two volumes of autobiography, ''Head-On'' (1994) and ''Repossessed'' (1999); two volumes of archaeology, ''The Modern Antiquarian'' (1998) and ''The Megalithic European'' (2004); and three volumes of musicology, ''Krautrocksampler'' (1995), ''Japrocksampler'' (2007); and ''Copendium: A Guide to the Musical Underground'' (2012).

Early life

Cope's family resided in Tamworth, Staffordshire, but he was born in Deri, Glamorgan, Wales, where his mother's parents lived, while she was staying there. Cope was staying with his grandmother near Aberfan on his ninth birthday, the day of the Aberfan disaster of 1966, which he has described as a key event of his childhood."Stone me!"
– interview with Julian Cope by Jon Savage in ''The Observer '', 10 August 2008.

He grew up in Tamworth with his parents and his younger brother Joss. He played Oliver in Wilnecote High School's production of the musical. Cope attended City of Liverpool C.F. Mott Training College (now Liverpool John Moores University), and it was here that he first became involved in music.

Music

1976–77: Early bands

In July 1977, Cope was one of the founders of Crucial Three, a Liverpool punk rock band in which he played bass guitar. Although the Crucial Three lasted for little more than six weeks and disbanded without ever playing in public, all three members eventually went on to lead successful Liverpool post-punk bands—singer Ian McCulloch with Echo & the Bunnymen and guitarist Pete Wylie with the Mighty Pah!. Post-Crucial Three, Cope, and McCulloch initially went on to form other short-lived bands UH? and A Shallow Madness (Cope had also spent time with Wylie in another short-lived band, Nova Mob). When Cope sacked McCulloch from A Shallow Madness, McCulloch went on to form Echo and the Bunnymen. The two former bandmates would maintain a frequently antagonistic rivalry from then on, often carried out in public or in the press.

1978–1983: The Teardrop Explodes

In 1978, Cope formed the Teardrop Explodes with drummer Gary Dwyer, organist Paul Simpson and guitarist Mick Finkler, with himself as singer, bass player and principal songwriter. Drawing on a post-punk version of West Coast pop music (which gained the nickname of "bubblegum trance"), the band became part of a wave of neo-psychedelic Liverpool bands. Cope and Dwyer (and later their manager-turned-keyboard player David Balfe, who served both as Cope's creative foil and his personal antagonist) were the only band constants, although seven other members passed in and out of the lineup during the band's fractious four-year existence. Several well-received early singles (including "Sleeping Gas" and "Treason") culminated in the band's biggest hit, "Reward", which hit number 6 in the UK singles chart and took the ''Kilimanjaro'' album to number 24 in the album charts. Cope's photogenic charm and wild, garrulous interview style helped keep the band in the media eye, and made him a short-lived teen idol during the band's peak.

Success brought the Teardrops plenty of attention, but no further stability. Their second album '' Wilder'' experimented with different and darker psychedelic styles, as well as delving deeper into Cope's complicated psyche: it spawned no major hits and sold relatively poorly at the time (despite being critically praised in retrospect). Excessive drug use plus continued infighting undermined the band, and a final lineup of Cope, Dwyer and Balfe split apart in 1982 after failed attempts to record a third album and a final disastrous tour.

Despite the relatively short life of the band, The Teardrop Explodes has continued to sustain interest and praise since its demise and the band's back catalogue of recordings has been reissued several times over the last thirty years. Cope, however, has strenuously resisted taking advantage of any nostalgic and commercial opportunities to reunite the band.

1982–85: The Mercury years – ''World Shut Your Mouth'' and ''Fried''

In 1982 (accompanied by his new American wife Dorian Beslity), Cope moved to the Staffordshire village of Drayton Bassett (close to his childhood home of Tamworth). Following the break up of the Teardrop Explodes, he spent a period in seclusion recovering from the strain of the group's final year. Cope's well-documented Teardrops-era LSD excesses, eccentric behaviour and subsequent retreat had led to him being labelled an "acid casualty" in the vein of Syd Barrett and Roky Erikson, an image which took him several years to shake off. During this period, Cope befriended a teenage Drayton Bassett musician called Donald Ross Skinner, who became his main musical foil for the next twelve years.

In 1983 Cope began recording the songs for his first solo album, '' World Shut Your Mouth''. Although the album generally retained the uptempo pop drive of the Teardrops, it was also an introspective and surreal work with many references to childhood. Former Teardrops drummer Gary Dwyer, guitarist Steve Lovell and Dream Academy oboist Kate St John all contributed to the album, which was released on Mercury Records in March 1984. '' World Shut Your Mouth'' was seen as out-of-step with the times, gained poor reviews and sold indifferently. A single from the album, "Sunshine Playroom", featured a disturbing video directed by David Bailey. During a concert at Hammersmith Palais on the subsequent promotional tour, Cope slashed across his bare stomach with a broken microphone stand in an act of frustrated self-mutilation. Although the wounds were superficial, it shocked the audience and resulted in another memorable addition to his reputation for bizarre behaviour.

''World Shut Your Mouth'' was followed six months later by 1984's '' Fried'' album for which Cope was joined by Skinner, Lovell, St John, ex-Waterboys drummer Chris Whitten and Wah! guitarist Steve "Brother Johnno" Johnson. The album was much more raw in approach than its predecessor, and although in many respects it prefigured the looser and more mystical style which Cope would follow and be praised for in the next decade, it sold poorly at the time (as did the accompanying single "Sunspots"). Notoriously, the sleeve featured a naked Cope crouched on top of the Alvecote Mound slag heap clad only in a large turtle shell.Julian Cope entry in ''The Rough Guide to Rock'', 3rd edition, page 226 (2003), ed. Peter Buckley (article written by Nig Hodgkins) The album includes a song called " Bill Drummond Said" about Cope's A&R man at WEA, to which future KLF star Drummond responded with a song titled " Julian Cope Is Dead", pondering how much more famous Cope might have been had he been shot at the height of his fame. The commercial failure of ''Fried'' led to Polygram dropping Cope; he subsequently engaged a new manager Cally Callomon, and signed a deal with Island Records.

1986–1992: The Island years

1986–1990: ''Saint Julian'' and ''My Nation Underground''

With Cally's encouragement, Cope made the effort to clean up and compete. He formed a new backing group (informally known as the "Two-Car Garage Band") featuring Skinner, Whitten, former Teardrops associate James Eller on bass guitar, and himself on vocals, rhythm guitar and assorted keyboards (Cope performed the latter under the alias of "Double DeHarrison" until the band hired Richard Frost as full-time keyboard player). This band lineup recorded Cope's third solo album '' Saint Julian'', mostly composed of crisp and memorable rock songs. It was trailed by the single "World Shut Your Mouth", which became Cope's biggest solo hit, reaching No. 19 in the UK in 1986 and becoming his only Top 20 solo hit. The parent album was well received and generated two more singles ("Trampolene" and "Eve's Volcano") but the fresh momentum did not last. Cope fell out with Callomon, and the Two-Car Garage band disintegrated as Eller joined The The and Whitten left for Paul McCartney's band.

Back in London, and with only the faithful Skinner remaining, Cope enlisted his A&R man Ron Fair as producer and recorded a follow-up album called ''My Nation Underground''. This featured a varied lineup of musicians including Fair, Skinner, Danny Thompson, eccentric percussionist Rooster Cosby (who was to remain a close Cope associate) and assorted sessions musicians (some of whom, such as James Eller, had contributed to the previous album). ''My Nation Underground'' produced only one Top 40 single, "Charlotte Anne", which also met with modest American success by reaching the top of the Modern Rock Tracks. Subsequent singles " 5 O'Clock World" (a cover of a 1965 Vogues song) and the orchestral pop ballad "China Doll" both charted considerably lower, disappointing Island Records and further discouraging Cope, who had not enjoyed making the record and did not believe that it represented him properly as an artist.

To comfort himself, Cope spent a single illicit weekend at the end of the ''My Nation Underground'' sessions to create a second, lo-fi and unauthorised album called '' Skellington''. Recorded in the same studio used for ''My Nation Underground'' on Island's money (and predominantly featuring the same core team of Cope, Skinner, Cosby and Fair) it was seen by Cope as a far more genuine artistic statement recorded at a fraction of the money and time. Neither Island Records nor Cope's current management team had any desire to release ''Skellington'' and Cope refused to record any other material while he feuded with them to try to get his new work released. Eventually, ''Skellington'' was released on the tiny Zippo label later in 1989, showing the poor relations between Cope and Island.

In 1990, Cope followed up ''Skellington'' with a second lo-fi album called ''Droolian'', also recorded over three days. It was released only in Texas (on another small label, Mofoco) and the profits were used to aid of one of Cope's heroes, the former 13th Floor Elevators frontman Roky Erickson, who at that time was in jail without legal representation.

1991–92: ''Peggy Suicide'' and ''Jehovahkill''

During this period, Cope discovered the book ''Guitar Army: Rock and Revolution with The MC5 and the White Panther Party'' by John Sinclair. He later described it as his "Holy Book" and enthusiastically embraced its one-take approach to making and recording music (as well as its message of rock- and-roll being a weapon of cultural revolution). This method typified Cope's musical approach from then on, as he forever left behind the more measured and constructed approach of ''Saint Julian'' and The Teardrop Explodes in favour of more spontaneous expression.

Having repaired his relationship with Island Records, Cope began recording his next record against the background of the civil demonstrations which became the Poll Tax Riots. Cope joined the demonstrations and took a prominent role in them. Wearing a huge theatrical costume throughout the march, he was later featured on the BBC
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