Julian Cope "20 Mothers" 1995***

Julian Cope is one of English rock's more interesting figures: in 1977, he co-founded Liverpool's first punk band The Crucial 3. They proved to be too combustible, so the members very soon went their separate ways: Ian McCullogh founded Echo & The Bunnymen, Pete Wylie The Mighty Wah!, and Cope continued with neo-psychedelic band Teardrop Explodes. T.E. did a good job of updating their 60's influences (The Doors, Syd Barrett, Love etc) for the new wave audience, but Cope fell victim to his own psychedelic explorations, frequent LSD use leading him to behave erratically, alienate himself from the rest of the Liverpool music scene, and display self-destructive behavior onstage. The 80's were a schizophrenic time for Cope, as he wore two identities, with looks and songs to match: the new wave pop star (when the record company had its way) and the fucked-up drug fiend (when he went off the rails). Slowly, though, another identity emerged: the scholar, the researcher of rare psychedelic music (he's published erudite treaties on German and Japanese rock) and, more surprisingly, an authority on England's druidic past, as well as neolithic and copper age archaeology. His book The Modern Antiquarian is actually both a best seller on the subject (thanks to his infectious enthusiasm for the subject) and a serious scholarly work (thanks to his deep knowledge and thoroughness of his research). Starting in the early 90's, he's gradually broken loose from the corporate rock world and makes records for himself and a few loyal followers. 20 Mothers strikes a balance between the commercial artist and music experimentalist - it even contains a hit single (his last) the instantly catchy "Try Try Try". The song is dedicated to his mother, while other songs here also touch personal subjects: the love for his wife, his kids (lightly strummed "I'm Your Daddy"), the relationship with estranged brother ("Wheelbarrow Man"), even his wife's 90-year old senile Greek grandma getting on everyone's nerves (on the upbeat garage rocker "Senile Get"). This presents a departure, following an album trilogy on heavier subjects: environmental destruction (Peggy Suicide), the perceived tyranny of the Judeo-Christianic faith (Jehovakill) and cars as the embodiment of modern consumerism (Autogeddon). The personal character of the songs is mirrored on the albums' cover, featuring 20 literal mothers - mostly friends and family. Wife Dorian is on front row, 3rd from left; if you're curious about the rest, read here. The back cover depicts Cope as a happy daddy posing with his two little daughters. "Stone Circles And You" is a pleasant mid-tempo piece augmented with otherworldly synthesizer sounds. This, and and the noisier "By The Light Of The Silbury Moon", are about those megalithic monuments he loves so much, while the appropriately Nirvana-like "Queen/Mother" is about Kurt Cobain and Courtney Love. Universal themes aren't absent of course: his concern for Mother Nature is voiced on the gentle acid folk "I Wandered Lonely as a Cloud", and anti-religion views on "1995", a song reminiscent of Pink Floyd circa Ummagumma - especially in the percussion and oriental keyboard melodies. Another 60's-sounding track ("Adam and Eve Hit the Road") reprises Autogeddon's attack on the auto industry. I myself am rather partial to the metallic "Greedhead Detector" about large corporation CEO's, some of whom are mentioned by name in the liner notes. Especially of the chorus "fuck-fuck-fuck you, fuck-fuck-fuck you, fuck you!". Sometimes one word is all one needs to convey their meaning - and all that some people deserve. Musically, the album is all over the place. From a compositional point of view, the songs are quite straightforward. You can easily strip them down to demo-like acoustic guitar and rough-and-ready vocals. Then it sounds as if someone took these demos and superimposed all kinds of studio trickery - primarily keyboardist/co-producer Thighpaulsandra's retrofuturistic synths. Ballad "The Lonely Guy" is a good example, as it sounds like Frank Sinatra giving a concert in a flying saucer landing sight. "Don't Take Roots" has a groovy 60's garage rock vibe, while "Just like Poo Bear" is bouncy synth pop. It's followed by the understated "Girl-Call" emulating Can's motorik rhythms. "Highway To The Sun" initially sounds like Jim Morrison in his mystical crooner guise, later picking up pace and featuring an electronic screech. 20 Mothers is divided in four phases, roughly corresponding to four sides of a double vinyl album even though -this being 1995- there must have been very few vinyls pressed. The last phase kicks off with "Cryingbabiessleeplessnights" a stark folk piece - until, that is, a medieval choir starts chanting. "Leli B" is a instrumental, and orchestrated ballads "Road Of Dreams" and "When I Walk Through The Land Of Fear". Somehow I'm reminded of The Beatles' "The Long And Winding Road". Generally, while this 20-track/72-minute album doesn't contain any bad songs or performances, it could do with a bit of trimming and homogenizing. As it is, it can seem a bit too varied sonically, with the disjointed feel of a singles collection but without the well-crafted quality we associate with successful singles. Although it did get very positive reviews, and sold well enough, I personally don't consider it to be among Cope's best - that's my two cents' anyway. On another note, you might want to check the potentially interesting video below: Julian Cope the scholar taking us on an instructive road trip around neolithic England.

         

**** for Try Try Try, Stone Circles 'N' You, I Wandered Lonely As A Cloud, 1995, Greedhead Detector, Cryingbabiessleeplessnights, Road Of Dreams

*** for Wheelbarrow Man, Queen/Mother, I'm Your Daddy, Highway To The Sun, By The Light Of The Silbury Moon, Adam & Eve Hit The Road, Just Like Pooh Bear, Girl-Call, Don't Take Roots, Senile Get, The Lonely Guy, Leli B.,When I Walk Through The Land Of Fear