The United States of America (band)
The United States of America was an American experimental rock band founded in Los Angeles in 1967 by composer Joseph Byrd and vocalist Dorothy Moskowitz, with electric violinist Gordon Marron, bassist Rand Forbes and drummer Craig Woodson. Their 1968 self-titled album, often cited as an early showcase for the use of electronic devices in rock music, was met with critical acclaim and minor chart success.[2] They disbanded shortly after its release.
Not to be confused with The Presidents of the United States of America (band).
The United States of America
Los Angeles, California, U.S.
1967–1968
- Joseph Byrd
- Dorothy Moskowitz
- Michael Agnello
- Stuart Brotman
- Craig Woodson
- Gordon Marron
- Rand Forbes
- Ed Bogas
- Jeff Marinell
- Richard Grayson
- Carmie Simon
- Dennis Wood
The group’s sound was grounded in both psychedelia and the avant-garde. Unusually, the band had no guitar player; instead, they used strings, keyboards and electronics, including primitive synthesizers, and various audio processors, including the ring modulator. Many of the songs' lyrics reflected Byrd's leftist political views. AllMusic described them as "among the most revolutionary bands of the late '60s."[2]
History[edit]
Background and formation[edit]
Composer Joseph Byrd and lyricist and singer Dorothy Moskowitz first met in New York City in early 1963 when Byrd was working on a recording of Civil War period music for Time-Life. A devotee of composer Charles Ives, Byrd had already become a respected and innovative composer, involved in experimental music as part of the Fluxus movement with John Cage, Morton Feldman, La Monte Young, David Tudor, Yoko Ono and others.[5][6] Moskowitz was studying music at Barnard College, where she was taught by Otto Luening; she also sang in a vocal group with Art Garfunkel, and worked with David Rubinson on a musical theatre production, as well as on the Time-Life project. Byrd and Moskowitz began a relationship – he has referred to their "profound musical and personal relationship",[6] and she has described him as being her "aesthetic guru" [7] – and he helped her obtain a post with Capitol Records; when she left, she was replaced in turn by Rubinson.[6][8]
Later in 1963, Byrd and Moskowitz moved together to Los Angeles, where Byrd started a doctorate in ethnomusicology at UCLA.[7] According to Moskowitz: "Joe brought with him a New York avant-garde cachet ... a background in electronic music ... and composing skills ... He attracted immediate attention. Exciting musicians, dancers and visual artists sought collaboration with him. The talent pool for what eventually became the USA was sourced from this group."[8] Byrd co-founded the New Music Workshop in Los Angeles with jazz trumpeter Don Ellis, and, after Ellis left, began to incorporate elements of performance art into his events. Moskowitz helped stage Byrd's performances, and performed in some of them.[9] Both Byrd and Moskowitz also contributed to an album of Indian raga music by Gayathri Rajapur and Harihar Rao, recorded in 1965[10] and released by Folkways Records in 1968.[11] On one occasion in 1965, as the concluding part of a series of concerts and events called "Steamed Spring Vegetable Pie" (a title taken at random from The Alice B. Toklas Cookbook), Byrd organized a blues band fronted by his friend Linda Ronstadt, to play during a "happening". Byrd said that "the realization that rock was an access to a larger public came out of that concert, and the idea of forming a band began taking shape."[6]
Byrd became increasingly attracted to radical politics, and became a member of the Communist Party, explaining that it was "the one group that had discipline, an agenda, and was willing to work within the existing institutions to educate and radicalize American society." He left UCLA, but continued to stage performance art events, albeit on a reduced budget. After their personal relationship broke down in 1966, Moskowitz returned to New York, but she and Byrd stayed in contact. In early 1967 Byrd started to form a rock band with another politically radical composer, Michael Agnello, together with Moskowitz, bassist Stuart Brotman (previously of Canned Heat and later of Kaleidoscope), and African drumming expert Craig Woodson who had also been involved in the New Music Workshop. Audition recordings by this version of the band, from September 1967, are included on some later CD reissues.[12] However, Agnello left the project on a point of principle when a commercial recording contract with Columbia Records was being considered, and Brotman also left.[7]
The first public line-up of the band included Byrd, Moskowitz, Woodson, and two contemporary classical musicians with whom Byrd had worked on earlier experimental projects in the New Music Workshop: Gordon Marron (violin) and Rand Forbes (bass). Later, for some of their recordings and performances, they added Marron's friend and writing partner Ed Bogas (keyboards).[6][7] Byrd initially commissioned electrical engineer Tom Oberheim to build him a ring modulator, later replaced by electronic oscillators in a monophonic synthesizer built by aerospace engineer Richard Durrett.[11][13] Among other effects, Marron used an octave divider on his electric violin, and Woodson attached contact microphones to his drum set and hung slinkies from his cymbals for a musique concrète effect.[10][13]
As the group's founder and leader, Byrd stated that his aesthetic aims for the band and album were to form "an avant-garde political/musical rock group with the idea of combining electronic sound (not electronic music) ... musical/political radicalism ... [and] performance art."[11] According to Moskowitz, the choice of the band name "The United States of America" was intentionally provocative: "Using the full name of the country for something so common as a rock group was a way of expressing disdain for governmental policy. It was like hanging the flag upside down."[8] As well as crediting the influence of Dada-inspired band The Red Crayola,[14] Byrd said: