I considered calling this tribute “A Spot in Time” or “Spot on the Spot.” Obviously, the former won the contest. Either would have worked because Spot, also known as Glenn Michael Lockett, became part of underground music history at a specific point in time and he was the right person at the right place. If you bought punk, metal, or other underground records in the 80s, there is a good chance you know the work of the man known as Spot. The first time I came across the name was when I purchased Saint Vitus records in the 80s. Later on, I purchased other records produced by Spot such as Up On the Sun and Meat Puppets II by the Meat Puppets, Husker Du’s Zen Arcade, and Saccharine Trusts Paganicons. To many the name Spot is as much a part of SST Records as Raymond Pettibone and Gregg Ginn.
It is true that many of the early SST releases had lackluster production. It is hard to blame Spot for this. I recently read Jim Ruland’s book, “Corporate Rock Sucks,” about SST records. Ruland relates that a producer was asked to produce a record for one of the bands (I cannot recall which band). Greg Ginn offered him $4500 to make it happen. The exasperated producer asked if this was for a single song. Ginn’s response was that the cash was for the entire album since that is how SST did things. Spot was dealing with one of two things or perhaps a mixture of them, a label with limited resources, or a label owner unwilling to spend money. This forced the producer and the bands to record at the cheapest time possible, the graveyard shift. The albums were recorded in just a couple of nights. Considering the budget and the marathon recording sessions, it is astounding that the albums didn't sound much much worse; some, like the Meat puppets, Up on the Sun, sound pretty good.
Spot’s production was raw, and with minimal sound effects, loops, and other foreign noises. Spot worked with the bands in a collaborative way and captured their live sound. If the band had warts, those warts are on the records.
The production of 80s punk rock and metal records, and the willingness of small labels to let the bands be themselves made those bands sound unique. I adore the sound of the early Saint Vitus records. I believe that having the vocals prominent in the mix and the muddy melding of the bass and guitar created a doom sound that hasn't been reproduced by any other band. When Dave Chandler would break free of the groove and solo, it was jarring and very evil sounding – it was quite awesome. I believe that Saint Vitus themselves, on later records, were not able to capture the haunting doom sound of the Spot produced records.
Spot tickled my pristine teenage taint, and some of his work continues to tickle my nasty and abused middle-age taint.
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