Depending on one’s interest, one is either amazed and entertained or bored to tears with Bill Kopp’s encyclopedic knowledge of the popular music of the last fifty years. A rock/pop music historian, he has amassed a collection of way more than 6,000+ albums, nearly half of those on vinyl.
Even when I was a kid, I knew I wanted to be a Rock Journalist™. People who have seen the film adaptation of Nick Hornby’s High Fidelity say that John Cusack’s character reminds them of me. I don’t know if that’s meant as a compliment or not.
Bill has written for No Depression, Trouser Press, Ugly Things, WNC Magazine, BLURT, Mountain Xpress, Colorado Springs Independent, The Laurel of Asheville, Shindig! Magazine, 60sgaragebands.com, the now-defunct Skope (where he ran things as Editor-in-Chief for two years), Billboard, Stomp and Stammer and Jambase.org, among others.
He has written liner notes for CD reissues of albums by Brotherhood (a Paul Revere and the Raiders spinoff group),heavy rock giants Iron Butterfly, jazz legend Julian “Cannonball” Adderley, progressive rock keyboardist Rick Wakeman and Bobby Lance.
Bill has interviewed and written features on artists including Les McCann, Chris Squire (Yes), The Psychedelic Furs, Bill Wyman, Todd Rundgren, The Flaming Lips, Ray Manzarek (Doors), R. Stevie Moore, Harry Shearer, Larry Coryell, Nick Lowe, Swamp Dogg, Van Duren, George Thorogood, Ozric Tentacles, Steve Hackett (Genesis), Dave Mason, Tommy James, Graham Parker, Captain Sensible, Robert Guillaume, John Wetton (UK, Asia, King Crimson), Felix Cavaliere (Rascals), Chocolate Watchband, Akron/Family, Paul Revere & the Raiders, Shuggie Otis, The Moody Blues, Gary Wright, Keith Emerson and Greg Lake (Emerson, Lake & Palmer), Martin Newell (Cleaners From Venus), Bootsy Collins, Kenney Jones and Ian McLagan (The Small Faces), Ann Wilson (Heart), Kim Wilson (Fabulous Thunderbirds), Ian Anderson (Jethro Tull), Henry Rollins, Yoko Ono, Van Dyke Parks, Richard Barone, Jason Falkner, The Knack, Rose Windows, Tony Levin, Mitch Ryder, Steve Cropper (Booker T & the MGs), Crowded House, Ken Stringfellow and Jon Auer (The Posies), Camper Van Beethoven, Project/Object, The Church, Bill Spooner (The Tubes), Jack Casady, Trey Gunn, Porcupine Tree, The Turtles, Howard Jones, Creedence Clearwater Revisited, The Fleshtones, KT Tunstall, Andy Partridge, Max Bloom (Yuck), Terry Adams (NRBQ), Carmine Appice, The Black Angels, Bobby Lance, Robyn Hitchcock, Roky Erickson, Gentle Giant, Richard Barone, Adrian Belew, Ray Thomas (Moody Blues), Blues Magoos, David Torn, Jeff Daniels, Matthew E. White, Steve Barton (Translator), Lloyd Cole, The Polyphonic Spree, World Party, Drivin N Cryin, Shoes, Zoé, Thrice, Pat Mastelotto, Lloyd Price, Patrick Moraz (Moody Blues, Yes), Steve Wynn, Nik Turner, Fall Out Boy, Dungen, Richie Havens, Sean Lennon, Rod Argent and Colin Blunstone of The Zombies, Bigelf, Pete Yorn, The Residents, Los Straitjackets, RPWL, Radio Birdman, Veruca Salt, Richard X Heyman, Jean-Luc Ponty, Tommy Keene, Adrian Barbeau, Black Mountain, Marshall Crenshaw, Keith Allison, Bob Moog, The Veronicas, The New York Dolls, Johnny Winter, Mark Volman (The Turtles), Thijs van Leer (Focus), Roger Manning (Jellyfish), The Waterboys’ Mike Scott, Jeremy Spencer (Peter Green’s Fleetwood Mac), John McLaughlin, The Fuzztones, The Electric Prunes, George Thorogood, Randall Bramblett, Rose Windows, Opeth, Bobby Rush, Thijs van Leer (Focus), Doug “Cosmo” Clifford (CCR), Southern Culture on the Skids, The Orange Peels, and many others. He’s reported on the Bonnaroo, Moogfest, Hopscotch, YepRoc 15, Dig!, Ponderosa Stomp, Big Ears, Americana Music Association, Mountain Oasis and Echo Project festivals, and written about consumer products including the Microsoft Zune, Rock Band: The Game and (huff, puff…) many others.
He’s currently working on a couple of book proposals (music-related, of course). He lives in a nearly century-old house in Asheville, NC with his wife, two cats, that mountain of vinyl, and way, way, way too many synthesizers and guitars.
And, like everyone else, he’s everywhere: