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Anyone who listens to Devo or Pere Ubu or anything that mixes rock with progressive, electronic elements should be made aware of the debt such artists owe to the late 60s band United States of America (not to be confused with the terrifying Presidents of the United States of America, though that's the name that will pop up first on a music-related Net search for the former band).� Since it is my duty to be informative and/or didactic, I guess the burden falls upon me to educate *grin* (with the invaluable assistance of the wonderful book Unknown Legends of Rock 'n' Roll by Richie Unterberger).
At the core of the band were singer/lyricist Dorothy Moskowitz, who had a background in musical theater, and composer/electronicist Joe Byrd, who moved in avant-garde/experimental circles.� Together, they had dabbled in Indian music, to the point of contributing to an LP of it in 1965.� These were just some of the ways in which the band's core differed from the average garage-founded musical combo.
In 1967, they got together with bassist Stu Brotman and multi-instrumentalist Michael Agnello, among others, to form the first line-up of the band - but this version was gone by the time they got to recording their only and self-titled album for Columbia.
By then, the band consisted of: Moskowitz; Byrd; Gordon Marron on violin and ring modulator; Rand Forbes on fretless bass; percussionist Craig Woodson and extra keyboardist Ed Bogas.� That's right - no guitar player (though I wonder about some sounds and know they brought in horns and woodwinds, I will respect that assertion and guess some of the roaring, lead-axe-like tones were violin, fuzz-tone bass or synthesizer).� It was another way they stood out, and one which further limited what commercial hope they had.
Musically, much of the record is accessible, though the sound collages and the tape/synth experiments get intense (I shudder to think what listening to this on drugs would be like, though, of course, I'll never know).� Pieces such as: 'Hard Coming Love' (featuring bizarre whooping and reverberating electronics that presage Brian Eno); 'Song to the Clouds' (which resembles sonically what I imagine a cloud is like - trippy enough for you?) and 'I Wouldn't Leave My Wooden Wife For You, Sugar' have catchy tunes and wonderful singing (all but 'Sugar' feature Ms. Moskowitz's smooth alto lead voice - Byrd occasionally sings, with mixed results).� 'Where Is Yesterday?' is exceptionally pretty and melancholy, and has Gregorian chanting long before Enigma made that viable in pop.
Lyrics were another matter.� 'The Garden of Earthly Delights', despite its Doors-like organ part and its lively swing, would have been too much at the time (songs about dangerous women prevailed then, but song sung (and written) by a female voice with glee and affirmation about that deadly quality).� 'The American Way of Love', a song cycle, would not have stood a chance in hell of getting mainstream airplay, though, astonishingly, a section of it was released as a single (S/M; washroom sex (beating Wayne County, Fifth Column and even George Michael to it!); cruising porn theaters; prostitution; queens; all the things that Americans dealt with, but didn't want to hear about).� Even 'Coming Down', despite the fact that veiled songs about tripping were getting airplay, was beyond the pale (and the icy, calm tone in Dorothy's voice is disconcerting even now).
Unfortunately, several factors would lead to the disintegration of the band. � First of all, constant battles about direction within the group and with its producer.� Secondly, the difficulty in getting gigs (according to Moskowitz, they once opened for the Troggs - much as I adore that band, I have a hard time finding this an appropriate combination - as did the audience).� Finally, the growing drug problems of various members and the increasingly difficult, controlling personality of Joe Byrd.
Not long after releasing the album, the band called it quits.� Joe went on to do one album for Columbia with his new band, and Moskowitz formed another group (significantly, she does not name it, or point out whether it recorded, in the interview in Unknown Legends, but simply describes it as 'too mild'. � Evidently, Country Joe MacDonald of the infamous Country Joe and the Fish was the leader of this band).
Today, Moskowitz still works in musical theater and lives '...in this lovely suburban house with a fine family...' and is '...glad (she) got away from it, more or less intact' (p. 370, Unknown Legends).� As to the other members, since the interview was only with Moskowitz, I could not tell you.� I have caught references to Joe Byrd, outside of a rock context.
This album is available on CD, though it might be difficult to find, on Columbia/Legacy, and has two bonus tracks, including a rocker written entirely by Moskowitz and an instrumental by Byrd.
It's a trip...take it...
Consumerist is a Kingston, Ontario (my 'home' town) band that has issued a split LP, Hands off Street Youth! (see review in Things That Spin) with Oakville's Hoodrat.� Having caught them at all-ages shows (where I feel as close to being a 'grandpa' as I'll get) and being pleased to see them have 'product' out, I decided to get a hold of them and subject them to e-mail grilling (the best kind of inquisition - no way to fight back).� Many thanks are due Ali, their bassist, for answering and for the arrogance of speaking for the whole project (kidding on that last part).
When did Consumerist form (who formed it / lineup changes /stuff like that)?
We formed about a wee bit over 2 years ago.� I was just beginning Grade 10.� It was originally me, Brad, this guy named Adam and this guy Pierre singing.� That was only in theory...our first jam was me, Brad, Pierre and Morgan.� We then got Matt...� Then Hugh would practice with us behind Pierre's back - we then kept him.
I understand you used to be called 2.3 Children. � Why the name change?
2.3 Children was such a rad name...so rad that another band had snagged it before us.
What does Consumerist (the name) mean to you?
Consumerist doesn't mean much - our first show, we needed a name fast, so we picked it up.
What inspired you to form a band? Had any of you been in other bands?
Boredom - I think we all felt as though we wanted to kill time during the school year.� There is also the lure of being in a band.� I'm not too sure what it is.� Just the concept of getting a message out to a group using a really cool means.
Who are your influences and idols? (I know - such a cliched question - but someone has to ask it...)
Consumerist doesn't have any...people say we sound a bit like the Pist.� I don't believe that.� The entire band hails from different influences.� I can't speak for anyone else, but my musical tastes stem from bands like Charles Bronson, Los Crudos, Submission Hold and Spazz.
What do you think of the punk/HC scene in Kingston (i.e. is there one)? How do you feel it operates/cooperates/etc.?
Currently there is no scene to speak of.� Unfortunately, the one person who always puts on shows went away to university.� Me and a couple of friends are trying to revive it by putting on shows and stuff.� I have some serious problems with the scene...� I get kinda jaded sometimes when I notice we're playing in front of this hierarchical structure of white male punk kids and a lot of them are too strung out to notice what is going on.� The show to sum this up was the Submission Hold show.� The venue got torn apart; people were cat-calling the lead singer as she was singing and generally turning a one time experience to see one of my favourite bands into a social gathering.
What do/did you think of other area bands, be it punk/HC bands like Response-Ability or No Way Out, or just in general? Any faves/recommendations?
Response Ability broke up - so did No Way Out. � From No Way Out's ashes came this band, Vendetta. � They are SO GOOD! They are so talented! It's a 3-piece; the drummer and bassist from No Way Out and the guitarist from pen15.� I can't put how much I like them into words...shows how articulate I am.
Do you 'fit in' (and would you want to)?
We fit in like any other band.� I'm also in a hardcore band called Atomkinder+. � I love that band - but I generally like almost all of the bands in the city. � If we could all get our shit together we could have a really good scene.
What do you think of the venues available to play in Kingston? Do you prefer all ages/DIY venues like Club 477 (ed. comment - the gay bar in town, that used to allow shows to be put on) or church/community halls, or would you rather rock out at A.J.'s, Stages or Trasheteria (ed. comment - mainstream clubs in town)?
There are no venues for punk/HC bands in Kingston.� It's not a very youth-positive city.� In fact, it's not a very positive city in any way, shape or form.� We can't use 477 anymore, but when it was around, I loved it. � It was so small that it felt like the place was packed.� It was great! I hate A.J.'s, Stages and Trash.� I refuse to play a 19+ show.
How did you hook up with Hoodrat / decide to put out a split LP?
Hugh put on a show for his birthday and they came down to play. � They loved us - we loved them.� Later, they popped the question.� It was originally a 7", but it morphed into a 12".� They are amazing! The coolest people anyone could meet.� Really dedicated, patient, intelligent...all-around punk-rock saints.� It's really cool 'cause a couple of us have become really close friends of theirs.
Why vinyl? Isn't that stuff, like, SO over? : )
Holy shit! I've killed people for less! It's so not over! It's just begun! Did you know that the sampling rate of a 45 is higher than that of a CD? Also, I prefer the full sound of vinyl to the digital/tin/immaculate of CDs.� If you've ever owned a release on CD and record format, you'll know what I mean.� (ed. comment - of course, I WAS teasing - but a spirited and informative response...).
Was it finances or a sense of spontaneity/deliberate decision to record all in one take?
Well, it was the fact that we were an untalented lot who had never recorded before and had no patience.� I'm trying to get us back in the studio, and this time we're going to be fucking meticulous! No more of this: 'No-one will hear me when I stop playing half-way through the song' bullshit.
Do you feel that Hoodrat and you are well-matched and complement each other's style?
Yeah! Hoodrat is really fast and mosh-oriented.� I like to think the same about ourselves.
I notice in such songs as 'Shoving Values Down Your Throat' that you state "right-wing, left-wing, always arguing and gettin' nothing done." In your opinion, what NEEDS to be done; HOW is it to be done and WHO would do it? In short, what are your political philosophies? Also, several songs, such as "Silly Lil' Rebel" and "Scared New World" seem to have a resigned bent towards the corporate agenda.� In that case, why resist? (That IS a devil's advocate question).
I didn't write any of the lyrics and my views are often contrary to them.� I think of myself as a political guy.� Categorized, I'd be an anarchist, but not in the form of the chaos/punkthink.� I'm a firm believer in education as a form of subversion.� I see a lot of the activists in Kingston who are just as complacent as anyone else.� I mean, it's just this idiotic perception that any organization that is remotely lefty is good.� There is no hope in any future unless we have knowledge in how to create an egalitarian structure.� I don't think I answered that question well... (ed. comment - oh, I think you did okay).
Do you consider yourselves 'political'? What do you think of other political punks like Propagandhi or Los Crudos? What about people like Ripcordz, who do benefits, etc., but don't say much overtly political on their records?
We, as a band, all have our own opinions.� We argue immensely. � On occasion, our opinion differences have caused problems.� But now we try to keep things civil.� Basically, I exclusively listen to political bands.� I really think music is an amazing way of reaching people.� My one problem is the fact that so many political punks have this perception that politics stems from punk, and punk exclusively is THE political culture.� I mean, when you look at all sorts of bands that may not necessarily be punk, they have achieved their goal of getting a message out to people better than any punk band could.� In 1985, I bet more people went vegetarian when the Smiths proclaimed 'Meat Is Murder' than by every Propagandhi song ever written.� It's okay for bands not to always be overtly political. � The Ripcordz are a fun-loving band.� They have a lot to say, but not necessarily in their songs.� I'm not really a big Ripcordz fan, but, at the same time, they're good at what they do.� They're really conducive to creating a friendly atmosphere that encourages unity.� *cheese*
I gather from some of your lyrics that you espouse a straight-edge philosophy.� What do you think of people like Earth Crisis, who (to my ear) seem to come at this from a right-wing perspective and actively oppose a woman's right to choose and homosexuality?
HAHAHAHA! No.� The entire band, excluding yours truly, drinks. � I try to escape the term 'straight-edge' a lot, but, often, I give in.� I don't really think that boneheaded bands like Earth Crisis accurately reflect straight-edge (ed. comment - I agree, but I was being provocative...).� I mean, straight-edge has a lot of really stupid people in it right now.� But so does punk as a whole.� If you look beyond the Victory Records/One Life Crew thing, you can see a lot of amazing people.� Look at members of Los Crudos, Charles Bronson, Good Riddance and millions of other bands that are straight-edged and actually intelligent.� Just because a few heterosexist jock fuckheads decided to stamp a big ugly X on their hands, doesn't mean straight-edge as a whole is like that.� I hate to argue by example, but Martin from Los Crudos is gay, he's straight-edge and his lyrics are mind-bogglingly intelligent. � Basically, the point Hugh was trying to get across was when alcohol and drugs become one's main focus and one's life becomes the pursuit of that, it ain't no good.
*END*
Contact CONSUMERIST at 800 Johnson Street, Kingston, Ontario, CANADA, K7L 2B5.
E-mail at [email protected]
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