Interview with Corn Mo
December 2002
The first time I saw Corn Mo was at the Knitting Factory, a little more than a year ago. When I saw the name on the blackboard as the opening act, I was at the time telling my friends, whatever Corn Mo might be, it doesn't sound like something we should go see, that our time might be better spent seeking out dinner, and showing up later when the main act arrives. I also said that the name does sound intriguing, and it also might behoove us to find out what kind of music gets attached to a name like that? Bluegrass, Country, Delta Blues?
We were mistaken. If you take a little bit of Tiny Tim, Weird Al, Nikki Sixx, Night Ranger, and a heaping tablespoon of Jonathan Richman, you will come up with a shake full of Corn Mo. He played with a crash cymbal and an accordian, that's it. A towering vision of long hair, mutton chops, and 80's metal attitude. It was a sight to behold, and his voice was as powerful as a Meat Loaf epic ballad.
Stylistically, though his songs aren't caught in the trappings of a novelty performer. The songs he plays are poignant, funny, and sometimes revealing of simpler time in our life; our childhood. He has odes to people confusing him for Gary Busey, detailed accounts of purple nurples on school buses, estolling the virtues of Hershey Minatures, and a song dedicated to a childhood toy of a plastic bear which has a break in the middle complete with a Welcome Back, Kotter sketch. His songs though walking that delicate line though; they aren't jokes or parody songs, but heartfelt renditions with a splash of humor like any retelling of our life events naturally have.
Tell me about the brief history of the genesis of Corn Mo . . .
Corn Mo’s first performance was at the NT Gong Show at the University of North Texas in Denton, TX, April 1991. I played "My Epilady" while my friend read from the Communist Manifesto, "attempting to incite a riot". We passed out paper to the kids through a plant in the audience who encourage the crowd to throw wads of paper at us.
I also had joined a juggling troupe called "The Flying Couch Potatoes" who I performed with that night, also. I did the music for them for a few years and we landed a brief stint at Six Flags Over Texas.
In 92, I joined with a guitar player named Mauve Oed. We put out a cassette release. In 95, Mauve Oed left and Chris Flemmons of the Baptist Generals filled in. Soon after, I went solo.
I put out "I Can Tell By Your Pants That You’re an Entertainer" in ’99 and "I Hope You Win!" in 2000 and "The Magic Is You!" in 2002.
Do you consider yourself an artist, a performer, an entertainer, or a musician?
1. A performer
2. An entertainer
3. An artist
4. A musician
How did you learn to play music?
My mom and dad sent me to piano lessons in the first grade. When I got to high school I played in the jazz band. The marching band was appealing so the band teacher showed me how to play saxophone and I quit football the next year and joined the high school band. I was in the church choir, also. I played in some country bands and some rock bands and some metal bands. I recorded a song called "Vain Vizards" in my metal band Tiruth (named after the middle earth town, Minus Tiruth).
What drew you to the accordion and to make it rock?
I was introduced to Brave Combo my freshman year of college and was taken by their "nuclear polka" stylings. Carl Finch was the first accordion rocker I had ever seen. They are an amazing band. I also liked Weird Al and Dr. Demento and most of all "They Might Be Giants". When I started playing accordion, I still had not shaken off my metal roots. I did covers of old country songs and 80’s metal songs and the originals. It started off quirky and sincere to rocking and sincere.
How did you decide to become a one-man band?
Mauve Oed quit and it was easier than finding someone else to work with.
What are your sources of employment? You have been able to travel a bit. Does not having any permanency an asset or a hindrance?
I work part time at Alloy for my roommate. It’s the best joe job I’ve ever had. There’s not that much horseshit and everyone is nice. I sort mail and move boxes around.
No permanency is definitely an asset. A few years ago I was almost talked into buying a car. I’m glad I didn’t. Monthly payments are the work of the devil.
How difficult was it raising money for "The Magic is You"?
It was easy. I had a good friend, Chris Weber, pay for it. He’s a great person and wanted to start a label. In Denton, he produced shows for the Good/Bad Art Collective such as "Roots Rock vs. Space Rock" in ’98 having bands like Slobberbone play for the kids sitting in their section and then bands like Mazinga Phaser play for kids in the space section. He loved watching the tension. He also produced the "Rock Lottery"- Selected members of different bands would show up at 10 am Sunday, pick their "teams" out of a hat, and have 3 original songs ready by 9 pm.
He had money to put into it to make it good. I’m very lucky.
I have
been having a hard time looking for information from Hot Link Records, release company of
your last album, "I Hope You Win". Guns a Blazin’ has your entire catalog
now, Is Guns A Blazin’ your own record label?
No. It’s Weber’s label. I don’t know what’s up with Hot Link right now. The owner of that label bought a house with a fallout shelter and got married. He’s doing very well. He’s real good folk, too.
Your interests seem to be going in a lot of directions lately: you have been involved in making an independent feature, releasing your new album, writing and performing a rock opera . . .can you tell me about these projects?
Kung Fu Teenage Bigfoot - The film is on hold right now until we can get more money. David Austin, Chris Flemmons, and Doug shot the trailer over a year ago. I tried pitching it to MTV as a TV show but they like the reality shows right now.
The Album - I’m still trying to promote it with Weber.
The Rock Opera - one song has been recorded. I have 5 songs for it and it’s called Alice Wakeman. It’s still be worked on. It’s been performed twice and will only get better.
How has performing with the Bindlestiff Circus affected your music and/or performing?
It’s made me a better performer cause we did so many shows on the road. It improved my confidence as a performer and made me a better musician by making my music work as a background for other people’s talents.
Your lyrics seemed to have gone from a surreal to a more impressionistic tone? Has your writing style changed at all that you are conscious of?
Yeah. I stopped trying to be weird and moved to trying to be beautiful. Although I still try to be sincere.
Why was junior high and high school important to you? Were you popular?
I wasn’t popular at all. I was picked on and made fun of especially in junior high. Junior high sucked but had a special charm and high school just sucked most of the time. From kindergarten to 3rd grade I had the time of my life.
How’s Corn Mo’s love life?
Good. I’m seeing a trapeze artist, Una, and we do shows together sometimes. We’re working on projects for future shows, too.
What happened to your writing on Kittenpants?
Kittenpants.com was lost and became Kittenpants.org. I still contribute to that site. Darci’s a good writer and good at interviewing her idols.
Check out what's going on in the world of Corn Mo at his website, plus email him to get on his mailing list if you live in the New York metropolitan area; his concerts get booked very quickly, and this is the best way to get to a show to see him. You can purchase his music online at Guns A Blazin.
