Colorado Krew 2 update and more!

Sorry for the long absence, here's an update on our new project(s): 

Denvoid 2-The Colorado Krew: Tales From the Colorado Punk Scene 1988-96. Longtime friend/former bandmate/roommate, Sonny Kay will co-author and bring in his insights and role in the scene. We've been feverishly slaving away collecting materials, interviewing people, and making the artwork for it. We will be releasing bits and pieces every week. Also, we've been working with History Colorado Center about having our book release event there (with live music?) in late 2018 as they gear up for their awesome Colorado Music History exhibit in 2019. Exciting times are on the horizon.

In the meantime, I will be traveling to Denver to talk to a class at DU on Colorado Punk and hosting a panel discussion at Mutiny Information Cafe, 2 South Broadway, Denver on October 26 at 7:30 pm with: 

Jill “Razer” Mustoffa (promoter) 

Arnie Beckman (Choosey Mothers) 

Andrew Novick (Warlock Pinchers)

Jason Heller (Crestfallen/music writer)

Tom Murphy (former Westword music columnist)

Speaking of books. Robot Enemy shows no signs of slowing down. You can still order Denvoid and the Cowtown Punks and Sonny's book, Headspaces by clicking here.

Sonny Kay is a graphic artist and illustrator, punk rock vocalist (Angel Hair, The VSS, Year Future), record label founder (Gold Standard Laboratories), and underground music icon. Beginning in the early nineties, his cut-and-paste flyer making gradually evolved into designing album covers, and by 2007 he was mastering a graphic technique all his own, crafting seamless, painting-like collages, often on behalf of some of the most colorful names in rock music, such as: THE MARS VOLTA, THE LOCUST, RX BANDITS, THE GLITCH MOB, AND SO I WATCH YOU FROM AFAR and 311, to name a few. Ranging from the provocative to the surreal to the incomprehensible, Kay's work is true to his anti-authoritarian nature while often exploring themes of higher consciousness, multi-dimensionality, and so on. HEADSPACES is the first book of his work. Packed with nearly 200 images, it's an exhaustive collection of high-definition, mind-bending collage art new and old, featuring many previously unpublished works, and of course, covers to a lot of albums.  

In October, Robot Enemy will be releasing Patterns of Reconciliation by Matt Mauldin.

Matt Mauldin is a poet living in Santa Barbara, CA, originally from Atlanta, GA. He was involved for many years in Atlanta’s underground rock scene as singer and lyricist for the bands Car vs Driver, Chocolate Kiss and Sonn Av Krusher. His first anthology, Patterns of Reconciliation, is comprised of select poems written between 1993 and 2017, and is organized around themes such as coming-of-age, trauma, love, mourning, depression, anxiety, relationships, enlightenment, social commentary and spirituality. 

Leaked pages of Denvoid and the Cowtown Punks.

Update: Plates are being made and the book will start printing this week. I have been busy contacting distributors and setting up a space on Amazon. Books are expected to be shipped Sept. 21 and arrive a week later. If you pre-ordered, expect mail in 3 weeks. If you still need to order and get some extra goodies you can do so by visiting: http://bobrobart.bigcartel.com 

Mark your calendar for the book release party!
Date: Saturday, October 10 2015
Location: Mutiny Information Cafe 2 South Broadway Denver, CO 80209
Time: 7 pm
Special musical guests: Buckingham Squares and others TBA.

Enjoy a preview of a few pages. 

Anti-Scrunti Faction (A.S.F.) Part 1: A chat with Kat

I have to admit my first encounter seeing the members of Anti-Scrunti Faction (A.S.F.) amongst the audience at Kennedy’s Warehouse and on stage was quite conspicuous. In the context of 1984, sporting mohawks and wearing leather jackets with names of punk bands painted on them and mismatched thrift store clothes was indeed a bold statement. Mainstream Colorado culture wasn’t quite prepared for such fashion declarations. Witnessing the four teenaged girls of the band adorned in such attire reassured me that I was indeed hanging out with likeminded people. It was difficult not to be an instant fan and admire their commitment in challenging society’s predisposed perceptions of how young women should look and act.

Musically coupled with attitude, A.S.F. was Colorado’s version of a Crass-like band. They were the scene’s de facto voice of feminism years before other punk groups across America adopted a similar approach that branched off and created a sub genre within punk. In the scope of the national punk scene at the time, the band was an island. Collectively the members confronted issues related to the inequalities within both the scene and society as a whole sans apologies. With the help of appearing on a Flipside fanzine compilation album, their song ‘Big Women’ gained the group national attention. Their cut was a retort to the perceived sexism of a GBH song sharing the same title.   

While the band had no grand agenda in converting punks to feminism, their honest and raw emotions did evoke awareness. It could be argued that A.S.F. was ahead of its time in addressing gender inequalities that would be later give momentum to the Riot Grrrl movement and later the Queercore scene in the years ahead.

Kat Parker was one for the original members when the band formed in later part of 1983. Additionally, she documented the band’s beginning and the people at shows through her photographs and writing. She was kind enough to indulge me in a little A.S.F. history.    

Kat, Sarah, Tracie, and Leslie. Original photo by Roger Morgan. Brush and ink drawing by Bob Rob (Medina)

Friends, shows, and a camera?

I would take my camera when we'd go to shows to document that moment of time. I wanted to capture what people were doing and the spaces we were spending time in. It was mainly Kennedy's during that period.

Did you feel the need to capture the punk movement? 

Yeah, I did. Maybe, I didn't consider it a lot but it was what was going on in my life. When you’re a teenager, what you’re doing feels urgently important. It was important because there weren’t many of us. We just had a small group of friends who were interested in the same things. I think that was part of it.

How did Anti-Scrunti Faction come together?

Leslie had already started another band, a three piece with Janette playing guitar, Eric on drums and Leslie on bass and vocals. If I remember correctly it didn't work out because Janette was too busy with college or finishing high school and Leslie still wanted to be in a band. Tracie got pulled in at some point. When Janette left they still needed other members. We were sort of in the same social circle so Sarah Bibb and I got recruited; it was pretty sudden. Tracie and Leslie already came up with the name. I was about to get a guitar and Tracie and Leslie were like, you're in the band because you got own guitar. I think Sarah was brought in the same way because she had drums and knew how to play. I did not know how to play at all when we started.

Drawings from Kat's notebook.

Did everyone else in the band know how to play their instruments?

Leslie had not only done the project with the other two, she was doing some other stuff. I remember her playing and recording music by herself. She had a little more musicianship than the rest of us.

What was it like being punk in Boulder at that time, in a college town with frat boys and college kids?

It was pretty bad in Boulder. I know a lot of our guy friends got beat up and we were messed with as well. There was a lot of harassment from frat types on the The Hill. Most of the time people would yell, "Get a haircut!" from their cars. Sometimes there would be other comments. There was more menacing stuff such as being chased by someone in a car. If we were our driving we'd have to look out for other people that would follow and chase us. I was with a boyfriend one time when we were getting chased and I don't think we were that radical looking at the time. Maybe his car was recognizable, I think they were from Fairview High School or something, but we got chased all the way to his house. When we got to the house he laid on the horn until they left. The jocks at Fairview would be relentless picking on the punks. The administration didn't do anything about it. Things didn’t get better until after high school. Fairview was particularly awful, I went to Boulder High and it wasn't quite as bad. I didn't get harassed as much, but I was known as the girl with "the" mohawk because at that time I was the only girl with that haircut.

What made you want to get a mohawk?

I don't remember. (Laughter) I had been playing around with my hair: cutting it, spiking it, dying it and I think the mowawk was just more of a bold statement. Having a baldhead was something unambiguous.

What did your parents think about it?

Well, I asked for permission to get the mohawk. My mom said, "Okay." She was fine with all of that. She wasn't happy when I shaved the rest of it off. Well, I didn't shave everything off, I left just a little bit of the tail part and the bangs. For some reason that bothered her.

Yeah, I get it. My parents were fairly conservative; they weren't down with me getting a mohawk. About the best I could get away with was having short hair and maybe spiking it with Knox gelatin.

You can do that and then wash it out. Right.

The band's debut show. Flier courtesy of S. Slater.

A.S.F.'s first show?

We played a show with four other new bands at Kennedy's in early 1984. I had only been playing for about a month and it was pretty mortifying. I wasn't embracing the not being good part, I wanted to be good, but I wasn't there yet. I was terrible. There was this thing we used to do where we'd switch instruments. I would sing, and I could sing and I was comfortable doing that. Sarah would play my guitar, Tracie played Sarah's drums and Leslie stayed on the bass.

When you switched instruments, were you improvising?

We did. We had the drum kit at my house and we practiced there, that's sort of a loose term. But we hung out a lot together and sometimes we'd play around with different songs and that is when we came up with those other songs that were non-official A.S.F. songs. We might have been playing around with them before I even had the guitar. There were songs I had written and I think those were the ones I was singing. Leslie was laying down a bass line that went with it.

I don't remember if I saw A.S.F. on your debut night, I might have. My friend Jimmy, Ken (Spike), and I were excited to see an all-girl band. I know for sure I saw A.S.F. at Kennedy’s at least once. I remember it being sort of a spectacle; the band looked and sounded punk as fuck on stage just going for it. The band definitely made a splash. I liked the spirit for sure. So after the debut show you weren't in the band anymore, did you leave?

I think I stopped playing with them. When the summer arrived I did my thing, I think Sarah went to Alabama for the summer and Tracie and Leslie wanted to do the Flipside tour. Sarah continued to play on the recordings but didn't want to play live. That was around that time we recorded a few songs for the Flipside compilation. They used our song Big Women. As for that song, we recorded the Flipside tracks around the same time as the show at Kennedy’s, maybe in March.  Sarah played on A Sure Fuck EP that was released later.

The band's debut EP. Image courtesy of Roger Morgan

I had sent questions to Tracy and Leslie and I don't think they wanted to answer them. I would have liked to get a better perspective on some ways they were influential on the Riot Grrrl and Queercore scene that later developed. I know that Leslie was in Tribe 8 later on.

With A.S.F. there wasn't any intent on that. Leslie got involved in that later. The band was more about feminism. Not necessarily in an overt way, but in the sense that we were female and we thought that our opinions mattered. Sometimes we were frustrated when we felt dismissed by people on the basis of our gender.  In some circles, that is still considered a radical point of view.

Stating the obvious, your version of the song Big Women was a retort to GBH's song with the same title, but was it also geared towards anybody else? I had a suspicion that it was a comment on some of the testosterone within the Denver scene.

Leslie wrote the words to that song, if she had specific people in mind, I don’t remember who they were. Really, I think she was addressing inequities that still exist in how women are perceived and in general and how they are included and/or marginalized in social movements.  It was around that time when some of the Denver punks were really getting thuggish and it wasn't really fun going to shows anymore. For me, I didn’t really want to go to shows after I wasn't in the band because the violence was becoming more active. I think because we were living in Boulder and there was an excess of testosterone in the frats. You grow up in that environment and you see these crazy-ass pledge things going on. And you see that extreme versions of masculinity or femininity. We were in a town where we saw lots of “mating rituals” of college students such as guys strutting around, shoving, being noisy and girls strutting and preening and doing the coquettish thing. But you also saw some of that at the shows. In contrast, we were opinionated, loud, and foul-mouthed. We often wore boys’ clothes, drank too much, acted rude, and we had haircuts that people felt they had to comment on. We/I often felt additional jabs at our “failure” to fit into some tidy package of femininity, at not putting ourselves on display for male approval.  The song ‘Slave to my Estrogen’ was sort of about that pressure on women to doll-up and dumb down with lyrics like; “Vanity vanity, I'm losing my sanity. “I’m so pretty, I’m so dumb, come on baby, let’s have some fun.”

We saw a lot of weird rituals fraternity and sorority had their new pledges do. There was plenty of underage drinking and male posturing. There was a frat house with a red door and according to the stories, if a woman walked out of a party at that house and was still a virgin then the door would have to be whitewashed. Pledge week often involved public humiliation as people tried to prove their worth to the house. I once saw a group of girls walking around The Hill wearing diapers and chanting something about their sorority.

Leslie and Sarah at Kennedy's. Original photo from Katherine Parker's collection. Brush and ink drawing by Bob Rob (Medina)  

I thought the song ‘Slave to my Estrogen’ complimented the Canadian Subhumans song ‘Slave To My Dick.’

That was part of it. I'm looking at this book that people in the band wrote comments in during that time so there are lyrics in there, cartoons...I got it out this morning. A lot of the songs weren’t developed, we were just farting around and maybe I had a poem and I was singing along to it or we would say something and sometimes I would get that stuff on tape.

Since you still have that you must have felt at the time it was pretty important to document.

A.S.F. was my social unit for that period of time; we spent a lot of time together including all of our weekends and some of our weeknights. We were together constantly.

EP insert. Image courtesy of Roger Morgan.

What was it like in Denver compared with Boulder: shows and the scene in general seemed more centralized in Denver.

It was the Lepers and us, maybe one or two other projects people were doing or developing that weren’t on our radar. There were almost no shows in Boulder; we all pretty much went to Denver. It would be a big deal if there were a show in Boulder County. We had our own little group of people in our hangout houses. Mostly we would hang out at the house where Leslie and later Tracie lived. Or the four of us would be at my house. At the time Boulder was small enough where you knew a lot of people in the scene. If you went to The Hill you'd probably run into people who were a part of the scene. It was easy to run into somebody we’d all knew in common.

You mentioned that you had become disillusioned with the punk scene in Denver?

I think the violence was part of it. I first started going to shows at 15 and we'd slam dance. It wasn't called moshing. It was like riding a wave. There was physical contact, but it wasn't painful. I remember at some point I didn't even want to go out into the pit because people were using their elbows and I was really short. I guess the energy changed and became more violent. Early on the slamming felt like more of a release and you felt safe within your community, It started to turn into these people with uncontrollable energy and they didn't really care if they hurt people. I remember the Lords of The New Church at the Rainbow Music Hall, at the show something was going on near the front of the stage. Stiv Bators stopped singing and pulled a girl up on to the stage. I think she got her face smashed. He started yelling at people, "What the hell are you doing?" There was that mood for a lot of us, we felt like misfits, we didn't fit in with any particular group and here was this safe space where we didn't have to be cookie-cutter. When the violence was going on it felt like the scene has been infiltrated by people who didn't get what punk was supposed to be about.

Collection of the author.

Special thanks to Ana Medina for proofreading.

This music is evil: The Lepers exposed

Several months ago while I writing about the Frantix, I came across an article where Jello Biafra described the band in both looks and sound as grunge long before the genre came into existence. I think his comment touched on a regional element that I will elaborate on further in the next couple of paragraphs.

During the transitional period at the beginning of the 1980’s, American punk was morphing into hardcore. Not only were there stylistic changes in the music in that the tempo of the music became faster, but the young hardcore punk kids started rejecting the establishment, meaning stereotypical punk fashion (mohawks, dyed hair, and clothing accessories). The emerging American vision of hardcore dress was more in line with the Ramones a la jeans and t-shirts. The fashion sensibilities of people going to shows at the time was eclectic, punk rockers had to tendency to express themselves for the sake of making a statement or personal aesthetics.

Before Denver and other punk scenes across the country went in the direction of becoming more uniform, Boulder based band, The Lepers didn’t buy into the hype. For the band, punk was an attitude communicated through music and lyrics. Looking at older photos of the group, one might get the sense they were sporting practical and seasonal apparel at would be appropriate living at the base of the Rocky Mountains. Like the Frantix, The Lepers existed in a scene that had no literal template for punk; they forged their own definition of what it should be by simply following their own interpretations.

Several of my high school friends dismissed, ignored, or didn’t quite understand The Lepers mainly because they weren’t hardcore or punk enough by the emerging classifications of punk. The Denver/Boulder scene was an oddity compared with other in cities like: LA, New York or Boston. Denver’s look and sound was more regional in part due to geographical location. The climate and even the isolation shaped Denver’s unique scene. More so than ever, I think escaping any form of a homogenized sound and aesthetic was an asset.

Because there were so few bands in the Denver /Boulder scene that had a shelf-life of more than a couple of years, The Lepers were a unique entity that added to the diversity of multi-band shows from 1982-84. Their sound, cover art, and DIY approach to the development of their overall aesthetic was punk in its’ purest form.

Roger Morgan was one of the guitarists of the band. He helped form the label, Unclean Records that released all three Lepers recordings. He was gracious enough to chat about his time in the band and living in Boulder.

How did the Lepers come about? Weren’t you a transplant from Tulsa attending school in Boulder?  

Alan and I were from Tulsa; essentially we were gypsies who ended up in Boulder in the fall of ’81. Fortunately, we had a mutual friend from Oklahoma, Kent Cordray, who worked as a projectionist at night and worked a comic book store by day and most importantly had an apartment. He was kind enough to put us on the floor until we could get our own places. Neither of us had any intention of going to school at the time. I met Laz at a tech company we both worked for. We began talking about music, found some common likes and dislikes and decided to start hashing out some songs in a basement I was now living in. Alan and I had already been in bands together since high school so we called him in and we created a spark and started writing original songs as well as having fun with Wire, Gun Club, Flipper covers, etc.. We actually found Brad through a classified ad we put in the local paper. Not sure exactly what we put in the ad, it would be interesting to see that again…

Eating acoustic guitars and drinking Big Mouth Mickey's is an appropriate way to say "fuck you" to Firefall and the Eagles. Photograph courtesy of Roger Morgan.

What was the Boulder scene like when the band first formed?

I don’t think we ever really knew any other bands in Boulder at the beginning. We would meet at bars after work and drink and watch MTV on the big screen. This was back when Prince, Michael Jackson, Van Halen, and Devo were in heavy rotation. We did have the ‘Over the Edge’ radio show with Peter Tonks on Saturday nights, weekend trips to Wax Trax in Denver to purchase new music, and The Blue Note started booking some interesting shows such as U.K. Subs, Anti-Nowhere League, Gun Club, etc.. Laz and I met a local band at the Blue Note who were hawking a 7” single they had pressed themselves and became intrigued by the whole process. We took the idea to the other band members and soon set out a plan to raise enough money to put out our own record. It turns out the pressing plant they referred us to was run by a Christian family on a farm in Wyoming(?) and when they got our first draft of ‘Evil Music’, it was a No Go for them due to their religious beliefs. They were cool about it, though, and simply referred us to A&R in Dallas who gladly pressed that and many more releases for Unclean.  

Playing out?

On our very first gig at The Packing House, we were unsure what kind of audience we would have. Our songs were slower paced and we had rehearsed them to play that way. However, when the first band played fast and we saw the audience reaction to that, we huddled and decided to play our numbers at a faster pace. It was wild the reaction we got and so we decided at that point we would play a faster, louder sound. We later opened a show at the Packing House with Suicidal Tendencies and another show with Husker Du at Kennedy’s Warehouse.

Mountains, Jesus, UFOs all to the soundtrack of punk rock. Flier courtesy of Roger Morgan 

What I always liked about the Lepers was they were a little different than other bands in the Boulder/Denver area. The members looked unassuming and you had your own brand of punk within a majority HC scene. Did you ever feel the band was underrated or out of place?

I personally never felt any of that about the band. I think I can speak for all of the members of The Lepers in that we took from punk’s original message, that you could make any music you wanted no matter how different, and you could dress however you damn well pleased. The hardcore scene definitely became more militaristic about sound and look and attitude but we drifted into those waters as bravely as we could and maybe took a little shit for it from a certain group of dumbasses. But, after most of the Denver scene figured out we weren’t frat boys from Boulder. They accepted us-as at least freaks. Haha. We were a little older than most of the kids in the scene so I never felt too intimidated when 15 year-olds would scowl at me about my unordinary dress. We had common interests: a love for punk music and we hated Reagan with a passion. We were in our early twenties and Laz was a mind-blowing 38! He was literally the grandfather of the scene. When we wrote about hating The Eagles and Fleetwood Mac, we meant that shit! We lived through it!

Live at Kennedy's Warehouse. Original photograph Valerie Harris. Brush and Ink drawing  Bob Rob (Medina).

When I was interviewing Tom Headbanger, he mentioned that the Denver scene should have had a regional look; kids should have worn hiking boots instead of Doc Martins and Creepers and plaid shirts. I’ve seen you guys play a bunch of times, I think the band sort of fit that Colorado punk look profile Headbanger envisioned. Do you think you had a Colorado look? When did you and Alan decide that having a mustache in a punk band was the way to go?

I don’t think we ever really set out to have a certain look. Though, it does seem like the grunge scene took cues from us and probably owe their entire existence to The Lepers. Ha! Seriously though, the flannel, the long underwear, the boots, the army jackets, facial hair was all a result of the cold environment. Some of those winters in the early 80’s, Denver/Boulder were brutal compared to what I was used to. We migrated from Tulsa where the summers were hot and when I left Denver in May ’84 there was still snow on the ground! It’s hilarious to see myself with a goatee in pictures when I was younger. I’ve never been able to stand facial hair since. It was a youthful indiscretion among many others. Being a punk to me meant being different. A mustache was not something the younger kids in the scene could produce easily so it set me apart I guess.

Why the title Evil Music for your first ep? Did you want to make sure mom’s that were dropping their kids off at the University didn’t accidently buy punk rock for their kid’s dorm room hi-fi system? Or was the Leper’s music really evil?

‘Evil Music’ was Alan’s creation. I think it tapped into a vibe he had always tuned into about people’s warped perceptions of rock music in religious Oklahoma. We were always butting heads with wackos in Tulsa about such things. Once when I was very young and being made to attend Sunday school, I announced that I loved collecting rock records and the teacher scolded me and told me I was falling into the grips of Satan or some such shit. Needless to say, I stopped going to Sunday school shortly after.

The cover says it all. The Lepers debut 7"

On that first record the band gives credit to John Hinkley Jr. for writing the lyrics to:  “So we can talk”. Was he your number one fan? Actually, the band JFA (Jody Foster’s Army) were investigated by the secret service so I’m told because of their band name. Did associating with John Hinkley Jr. get the band any unwanted attention from the government?         

I truly wish I could say John Hinkley Jr. was our number one fan, but I doubt he ever heard the song. Laz found the poem Hinkley had written in an article and we put music to it. I loved that track, it fell together easily. This was when the band was right on the cusp of changing into a faster, louder HC band. We actually sounded more like Pere Ubu at this time and were covering more ‘new wave’ songs like early Modern English, Gun Club and Wire. I’m not aware of any government surveillance about the Hinckley connection, but who knows? I think the government was probably more interested in our connections to radical anti-nuke people in Boulder. We lived and worked with a bunch of those guys and some of them were pretty damn radical.

Unclean Records? 

We started the label ‘Unclean Records’ to produce the Lepers singles, with no real ambition to extend to other bands. Laz came up with the name and we all sort of pitched in different tasks to get it up and running. Our first post office box was up on The Hill in Boulder. Everything was done DIY, everything was done with crappy Xerox machines and when you look at it now, it was some pretty crude work. But, in early 80s DIY was quite acceptable and we enjoyed the independence. If we had been equipped with computers and software and such that we have today we could have ruled the world! Once I decided to leave the band in May ’84 and move back to Tulsa, I had decided to raise my own money and release the N.O.T.A. “Moscow” EP, the Rhythm Pigs “An American Activity” EP and The Massacre Guys “The Rider” EP. I picked up work in Tulsa and began saving the money to do just that. My family in Tulsa thought I was insane and I can’t say they were wrong. Hah! I just carried on the label name for the sake of continuity more than anything else. I did play around with name changes but we had already received some recognition in national magazines so I decided to stick with Unclean.

Record release party flier equals fun with photocopier. Flier courtesy of Roger Morgan 

At one time there was a vision for an Unclean LP comp. Was that supposed to be an all Denver/Boulder comp. Why wasn’t it ever released?

Unfortunately, my vision was larger than my pocketbook and I was never able to raise the dough to release this. I received some of the greatest demos from bands all over the area and wish I had been able to follow through on that project. It actually took a more decided national turn when I started receiving these amazing demos from bands around the country who were actively seeking to get their music heard in different regions. I had demos from bands like Articles of Faith, The Clitboys, Mortal Micronotz, N.O.T.A, Massacre Guys, Bum Kon, Rhythm Pigs and many more. It was sequenced for LP. The album artwork was done by the guy who designed The Freeze LPs at the time. It was a brilliant collage with Ronald Reagan chained to a toilet and someone hovering over him with a hammer! The title was “I thought I Told You to Shut Up!” My inability to get it released was a huge fail on my part. 

The record that never was. Ad from 'Something Better Change' fanzine. 

My friend and I were watching FM TV or Teletunes one late night and low and behold, a Lepers video appears. We were impressed that a band from Colorado had the technology to make a video. I don’t know why, somehow being young and naïve, you assume that music videos could only be made in New York or Los Angeles. Was the video someone’s class project?

I was approached by someone I worked with at Otrona Computers. He also worked part-time with the local TV station. He was fascinated by the whole punk scene and offered to tape the video one evening when we had time. We agreed to do it and, unfortunately, Alan could not make the first taping in the studio. You see that only the other three members were in the first part and we shared singing Alan’s parts. Also, you see me playing guitar on ‘Evil Music’ in the video but on the recording I played a second bass guitar on that song. We taped other segments with Alan in them and added them in. We were as shocked as anyone when the TV station began putting that into major rotation over the Christmas holiday between Michael Jackson and Van Halen! In fact, I got really sick of turning on my TV and seeing it.

How did you find a Jew and an Arab to fight for the video? But more importantly, how did you make that sultry redhead’s snow chains to sound like sleigh bells?

That was all Bill’s idea. He was the creative genius that worked at the TV station. He was using the lyrics in the song to cue up ideas for the video. The dry ice nearly swallowed us alive, it’s hilarious. We had the bells and would use them at our live shows. Bill was determined to get a hot girl in chains in our video. He instructed her to shake them to the sound of the bells.

Black Flag never had sleigh bells. Photograph: Valerie Harris 

Was there a conscious attempt for the cover art on the Lepers records to have a Darwin theme?

Again, this was Laz’s idea I believe. He had a field day with his art ideas and since he was older he had a little more evolved view on things. I was a younger punk so if left to my own devices I probably would have come up with a cover of a punk rocker passed out in his own puke. Hah!

Other punk bands at the time seemed to have a political agenda, the Lepers seemed to be more of a commentary. What did you want to get across with the lyrics?

Laz and Alan were writing all of our lyrics. Laz had played in all kinds of bands throughout his years and had a wealth of experience with all types of scenes. He blended all of this with his newfound love of punk music and it’s independence from everything corporate and it’s platform for protest. He liked to mess with our heads when we young ‘uns got off on our political rant. He was like a father figure who would give you just enough rope to hang yourself.

The band's last 7" ep. 

At one time you mentioned to me that the bassist, Laz passed away, therefore making a Lepers reunion impossible. Have you, ever wanted to play the songs again?

It’s very unfortunate that we lost Laz many years ago and I think it would be impossible to reunite in a manner that would represent the fun and craziness that band was when he was involved. Alan and I played together in different bands before high school and still stay in touch, but we have not pursued anything beyond those few years in Colorado. I am always willing to make music with him, but I doubt we would make much of a Lepers reunion. We are holding out on that million-dollar offer to bring the reunion to Tokyo!

Why did the Lepers stop playing?

The Lepers actually continued playing and recording for a short time after I left in May 1984. I have to say they were damn good as a three piece and there are recordings floating around of that band and some of their live shows they did with Anti-Scrunti Faction and other Boulder punks. I ran off to Austin and became a label tycoon and never really played music much after that. I became absorbed in the business/management side of things and managed The Sound Exchange record store and re-ignited the Unclean label in 1991, releasing over 40 singles, cds and albums.  

The Lepers discography:

Evil Music b/w So We Can Talk 7“ Unclean Records 1983

God’s Inhumane 7” EP Unclean Records 1983

I Wanna Be God 7” EP Unclean Records 1984