Caught in the Carousel

Damn Handsome and The Birthday Suits

By Peter Hamm, CITC Punk Editor

Damn Handsome and the Birthday Suits

How would one juxtapose reckless musical abandon with ones own politically-charged reactions and thoughtfulness? In the 1980s, The Dead Kennedy's Klaus Fluoride, Jello Biafra, D.H. Peligro and East Bay Ray found an answer that inspired many and pissed off more than a few. Meanwhile, on the other side of the country, in Washington D.C., the Bad Brains' H.R., Dr. Know, Darryl Jenifer, and Earl Hudson found an (arguably) faster-paced way to their own political consciousness, philosophy, and truths. These and other bands of the post-punk or 80s hardcore era delivered amazing and sometimes threatening music that supported lyrics that challenged contemporary ideals and status quos.

Fast forward. Present day. San Francisco-based guitarist/singer, The Reverend Rob Barrett; bassist, Jack Dunham; and drummer, John Rogers of Damn Handsome and the Birthday Suits (DH) have their own elixir/current amalgam of that juxtaposition. This, however, in no way is intended to suggest that DH sound anything like the Dead Kennedys or Bad Brains. Instead, this eminently talented band, has self described its music as "cocktail punk." It's a brand of music that at its core is a blend of pop-punk-based snap-your-fingers-to dance quality sounds that set a foundation for lyrics that passionately bring a biting satirical sarcasm to social and political issues.

DH are on to something here. And you are the beneficiary.

Damn Handsome and the Birthday Suits

Embracing the DIY aesthetic of punk rock, Damn Handsome and the Birthday Suits offer us their self titled, self-produced and self-released EP: three songs that represent a coming of understanding along with one amazing punked up cover of Soft Cell's "Tainted Love." On the bass and drum driven "Delectable" guitarist/singer, The Reverend Rob, asks, "Excuse me Mr. President, did you do all this for me?" Later, (on my favorite track) "Tooth Decay," a percussive syncopation that will make you want to get out of your seat and move around plays against a grand riff that supports the ringing words of the chorus: "It's hard to wanna live when everything is shit/Decapitate the people for the government." Through this one riff, the song ebbs and flows in and out of that wonderful loud/soft/loud build between its verses and choruses. The point here is that drummer John Rogers and bassist Jack Dunham together with The Rev are able to craft a style of music that is all at once musically and melodically listenable while firing rousing, whip-it-up lyrics into your ears.

Damn Handsome is a band wanting to say something about what they're passionate about and this EP is their means of delivery. All in, Damn Handsome's desire is to contribute to the overall conversation and while they pursue their own truths, they do it with a healthy degree of punky skepticism. Describing Damn Handsome's sonic and philosophical attack, the Rev says, "We do it with a Big Band sensibility together with the in-your-face-edness of Jello Biafra."

Damn Handsome are in the midst of completing an LP which they hope to release in the summer of 2010. Based on my five-Oi! review of their EP, it should come as no surprise that I can't wait for a full-length of their big band brashness. DH are three men who are not only passionate about their craft, but who also have fun pushing their case. And it's a case well worth enjoying. To paraphrase their song "Tooth Decay": "It is unlawful how they'll mesmerize you!"

Damn Handsome and the Birthday Suits

Caught in the Carousel: Brilliant name—how did you come to it?

Jack Dunham: I think it was part of a dare, right? Like, someone bet Rob that he couldn't get a band together with a name like "Jacques Strapp and the Ten Commandos" and Rob doubled down, saying "Not only will I get a band together, but I'll also get us on the radio, and have an even more ridiculous name..."

The Reverend Rob Barrett: So the name is one of those somewhat interesting band stories. Me, the Reverend Rob, and the drummer John Rogers, started this band with a friend of ours, Josh Mohr. One day he came to rehearsal after a whole lotta conversations about names, most of which revolved around us just trying to not have something stupid. Go figure. So after many "nothing" names, he shows up one day with Damn Handsome and the Birthday Suits. Some 8 PBR's (my hands down favorite beer) later, I was laughing my ass of thinking he was completely kidding. Noper...he was not, and I was amazed that he would want to stand in front of a crowd and say that. Are you kidding? Well, soon after we parted ways with our good friend. We met Jack Dunham and started thinking about what the hell we were gonna call ourselves now. In the meantime, I had sent the disk out to a local radio station. It was an older song and not as punky and the DJ responded with, "I am not too sure the song fits our format, but I love it, and I am dying to say the name on the Radio." At that moment, we knew we were on to something. I love it, and now the radio thinks it's funny...SOLD!!! And Damn Handsome and the Birthday Suits was born! One side note—I am still not really all that comfy saying that shit live with me being the front man, so we always announce that our super hero, the handsome one, could not make it as he is out fighting crime and saving the world. Or sometimes, I mention that Jack (bassist) is the handsome one and we are the birthday suits.

CITC: What were you doing musically or otherwise when this band came together? What were you doing before this effort?

Dunham: A few years before this I was playing with a very cool "rock-Americana" band, The Famous, and writing software for a couple of very large software/internet companies that you've definitely heard of—one that everyone loves, and one that everyone loves to hate.

The Rev: At the time when this band was a little twinkle in my eye I was taking a several years break from rock music. I had been songwriting on the piano, more jazz style music. My formative years in music are in jazz. I started as a jazz sax player, and then moved on to guitar. More girls and booze in the rock of the roll in the 80s...for a young kid anyway. I had really tired of bands and the music scene. All the nonsense of getting people to show up for rehearsals, pay their own way, book clubs—that sucked. But all that comes with being in a band when you're a young kid. Luckily we have solved most of those problems. So then I just woke up one fine sunshiny morning, and got a strange urge to go skateboarding again. Something I loved when I was 16, but hadn't done in 5-7 years, so off to the store to buy a brand spankin' new board. Custom built..."MMMMM..." and what skateboard adventure is complete with out the Dead Kennedys blasting in the background? And then it hit me: I knew I had to go back to playing harder punkish/alt music. I came home, opened up the case on my 1974 Les Paul Standard, turned on the 1981 JCM 800 Marshall, and pissed the neighbors off for a few hours. The rest is on the disk...

Damn Handsome and the Birthday Suits

CITC: What was going on at that point in each of your lives when you decided to pick up an instrument and give it a go?

Dunham: Lemme see...I started playing bass in my late teens, after years and years of classical training on clarinet and piano. My school orchestra (in which I played clarinet) did a concert with the jazz band, which had a smokin' electric bass player. I saw that guy and decided, "I want to play that!" I didn't even know what a bass guitar was, but I knew I had to learn that instrument. I don't even think I had a choice, regarding clarinet and piano—my whole family was musical, so it was just sort of the "done thing", to start seriously taking music lessons at the age of 8.

John Rogers: Since the age of 9 I had been performing in gospel bands in the Bay Area. We would play churches and church conventions. I started playing drums as a child to buffer my mom's sovereignty over my life. She forced me to be an usher during the church service. So I chose to play the drums during the service instead, and the rest is history.

CITC: Can you put into words what it was like the first time you realized a crowd was actually resonating with what you were playing?

Dunham: Ha! It wasn't in a "rock" setting—I was a senior in high school and I got to perform a clarinet concerto with the orchestra—you know, as the soloist that stands out front, near the conductor. I can't even remember which piece it was. Anyway, big auditorium full of people and the piece had a big finish; at the end, people were clapping, and standing and whistling and I thought, "Hey, this is pretty cool."

The Rev: Man o'man...how is this for the answer? I'm not sure there are words for it, but I know every musician out there remembers that moment. I think the biggest and best moment was when I was playing with my last bigger band. We were at the Berkeley Beer festival, and played to about 3,000 people. The crowd went nuts. It was like an amazing drug, with no hangover. There's no feeling like it in the world.to feel the energy from a crowd that "gets" the feeling you are sending out to them. We used to say it was like having a crowd all move as one. There's nothing like it...I'm suddenly feeling awfully "hippy." Man down, dawg! Man down!

Rogers: When I was twelve, I had an opportunity to play at the Oakland Coliseum with a gospel group for the "Gospel on the Green". When I realized the crowd was into our music, and began to participate, I had an overwhelming feeling of "musical completion"—it felt like for the first time I was vindicated as a drummer.

Damn Handsome and the Birthday Suits

CITC: Some writers seem to get hit by songs that are fully formed. Others have a long, windy process—what's it like for you? Describe the process for the band.

Dunham: Rob will bring in, like, some 25 minute long magnum opus (haha!), and I mercilessly get it down to 2.5 minutes. I guess that makes me the editor. I always keep in mind something Tom Petty said in some documentary regarding songwriting—"Don't bore us, get to the chorus." Occasionally I throw in a suggestion for a bridge or something, if it seems like we're being too repetitive. Coming up with bass lines and vocal harmonies, I try to split the difference between what's satisfying" and what's interesting but not 100% expected.

The Rev: I think I am a "get hit" with something writer, and then I fill in the blanks. What normally happens is I sit down to mess with my guitar, and something will come from that. Like a riff that just started as a little mess around thing, and then I play it until it comes into its own right. I really like to not over think the music and let it happen. I think that makes for a better balanced song. Not trying to fit a square peg into a round hole by over thinking the parts and getting all weird on it. Sometimes, we're at a rehearsal and the drummer starts something, just jamming, and that is really inspiring. I think THAT is my favorite way to write music. I love writing to drums. From there, the band comes together and we all make it a song. I really think it's not a song, until we all work it together. It's just parts and ideas at home, even if it seems complete. Jack, our bassist, has an ear for cutting the fat and making it a flowing and listenable song.

CITC: There's clearly a political element to the lyrics. Who writes the lyrics, and will political commentary continue to play a role?

The Rev: So, here is the hardest question of the interview; how do I talk about where the lyrics come from and not rant and rave like a madman...As for "the who" that would be myself on some of the songs. On others, it's my good friend and former bandmate, Josh Mohr. Specific to the political aspect, I wonder how one can be alive in America today, or what was America and not be mad as hell. Every day they take another freedom away. That's the issue for us all to care. I mean, who gives a shit if they're printing money...And yes, America, we are printing it, the sky is not falling! We are on our own currency. Make no mistake; no one really knows how much we have printed. They (politicians) lie. There's no magic number for the value of the dollar based on how many dollars are out there. They have no idea. They recently had to admit that the Fed—a private bank by the way—lost 1.9 trillion! They have no idea where it went. Really? No idea? And yet they claim they need to bail us out by printing more money! Ok, ok...Deep breaths, I'm calm. Anyway that is where it comes from. I am never gonna mind my mouth. I love America and all that it used to stand for, and I will scream and yell until as many people as I can find will get mad and fight back against all lying politicians. I think I need to lie down now...

CITC: The Internet has allowed artists to reach a wider audience than ever before, how does that affect what you do?

The Rev: Well, this is another one of those tricky things. I think it's been amazing to have the internet so that many people can have access to your music, and to amazing media like Caught in the Carousel. However, at the same time, I think it makes for the market being flooded. Kinda like, anyone can make a song as a garage band, give it a name and post it on any one of the million free sites. Hence, I see the listeners getting jaded. I get it. I do it too. I get something that someone spams with me, and I usually completely ignore it. I would love to say I listen to all, as I know there are diamonds out there, but it gets overwhelming. I don't personally facebook. Not really into all that. We have a brilliant manager, Saul Tallarico, with Fog City Music, who handles all that for the band. I know people tell me it's important, but I just really don't like it. I really love getting a real CD in my hands. So we really try to continue to mail things to people, sell them at shows, whatever we can do to get it in your hands, and onto your CD player. We care about the art on the record. I think that's some of the fun. So, I know we need the Internet to get it out there, but I still think the main way to get on college radio is to hand it to someone. And I truly think that it weeds out a lot of the bands that should be rejected. Let the radio, some of that media and the fans be selective. It should take hard work to make a good band, and the easier it is, the less effort people will put into it. Thus the quality will suffer. We've seen that in the rock world over the last several years. All in all, the concept is a way we can get out to more people. I just think it's hard now to make them want to listen.

Rogers: Well, the Internet is very influential to what I do as a musician. It's current and a great place to be discovered. It does present a good challenge to us a band because, our "skillz" and sound are open to huge audience. It definitely makes us strive to do our very best.

Damn Handsome and the Birthday Suits

CITC: What you think of current "scene" cities—how do you feel about S.F. now, or L.A. or New York City?

Dunham: Are there still scene cities for live music? I haven't been to one recently. These days when I go out, I see DJs. People like to denigrate DJs as not being musicians or not being artistic, which is definitely, sometimes true. However, when you see some of these guys do live mashups, or incorporate keyboards or live vocals, or manipulate the sound in totally novel ways, you realize that to write them off as trite would be a big mistake. San Francisco is definitely a good DJ city, as is Miami.

The Rev: I don't think there is a scene in S.F. anyway, unless you want cover bands or DJ's. Your shit outta luck for the most part. There are some larger clubs that still book bands, but it's harder and harder for the little bands to get on the bill. The smaller venues that will book an original band don't draw, so the chances of making some new fans that you don't know are slim to none. As for L.A., there seems to be a little buzz here and there, not really all that sure. N.Y. Dreamin'! We are all about getting to N.Y. and Austin to see what that has to offer.

CITC: Describe your favorite period, era or event in music.

Dunham: I remember around '88 or '89, three really amazing, and very different albums came out that totally changed my idea of pop music: Nirvana's Blew EP, The Pixies' Doolittle and Throwing Muses' Hunkpapa. Those albums really opened my eyes to the idea that music doesn't have to be buffed to a perfect high-gloss to be good.

The Rev: I would have to say the 90s in S.F.—we saw a real music scene then. Maybe even the late 80s. I remember seeing Jane's Addiction at the I-Beam in S.F.—there were maybe 100 people there. Perry Farrell was in a vinyl suit and poured veggie oil all over himself. Then they hit the strobe light—what a scene! You can only imagine. At that time in San Francisco things were on fire. Every weekend there was a club to go to that was packed. And the bands all gave a shit. They dressed up to be there, and had some bad ass musicians—people that knew how to play their instruments. Not just a power chord or two, then throw on the iPod with some effect noises and crap like that. Anyway, to each their own, I guess.

Rogers: My favorite period in music would have to be the Harlem Renaissance Era, when musicians focused on a "new thang." They inspired and uplifted folk's spirits during the Great Depression.

Damn Handsome and the Birthday Suits

CITC: The EP has a terrific version of Soft Cell's, "Tainted Love," complete with Oi! chants. Is the concept of covering that song to use it as a closer to your live shows?

The Rev: I just think that's a brilliant song. I love the chord changes, and the bouncy feel. It makes for a great punked up song--we commonly close with it. Sometimes we also do The Kinks', "All Day And All Of The Night." I loved the 80s music. Most don't want to say it, but brother, I think there are some awesome songs from that period. And I love to cover them. You know, punk-em-out a little...We also do "Personal Jesus." That's always been a crowd pleaser. We're not really into more than one cover a set. Sometimes two if we have a longer set, and that's the max. But, I love "Tainted Love." Just a bad ass groove, in my opinion.

Internet: www.myspace.com/damnhandsomeandthebirthdaysuits