My brother used to say that when he was running behind. He’d make a real dumb face and say “You know what they say! Better late than REALLY, REALLY late!”
He’s dead now, which means he’ll never be late again. But I still say it, because it’s funny.
Another person who’s dead is Spot (aka Glen Lockett), and that’s who I want to talk about today.
If you listen to the Revolting podcast (and of course you do, because you’re the sort who likes to have their finger on the pulse of even the most obscure subcultures), then you’ll know that we talk about music constantly. In fact, Revolting is probably really a music podcast masquerading as a cycling podcast (or maybe it’s a live group therapy session for a pair of attention-shattered adults), but why try to pin it down?
The point I’m struggling to get to is that music is real important to both Stevil and myself, and specifically, loud, fast, chaotic music, which, through our superior taste and advanced breeding, we’ve trained ourselves to sing along and tap a toe too. MANY of the seminal recordings in our personal record collections were produced and engineered by Spot, who was the in-house producer at SST records from 1979-1986.
He was behind the controls for Black Flag’s Jealous Again, Damaged, and My War. He was there for Husker Du’s Metal Circus and Zen Arcade. He recorded the Minutemen and Meat Puppets, Descendents and Misfits. This is, honestly, a large part of the punk rock canon. Can you imagine dealing with all those ass-hats in the studio. Dude probably deserves a sainthood.
Spot was also a fine photographer who captured all sorts of LA roller skate, surf, and punk rock culture during that same formative period.
So this post is late. Spot passed away in March, but I’ve been meaning to write it for a few months, and at least it’s not really, really late.
We’re grateful, Stevil and I both, for Spot’s contributions to the aural joy we’ve experienced over the last 30 years.