Larry Boyd
Interview
Originally printed in Spinal Jaundice #8 – 1989
Still writing for Suburban Voice after a few years, and he drummed and sang for
Disarray, now a lost band and one that I am starting to appreciate a bit more
than initially. Definitely check out his stuff, written and recorded.
MJ: Who is Larry Boyd?
LB: Born 10/1/57, Phoenix, AZ. Father was officer in the Marines, so I moved
around quite a bit, most of my childhood in So Cal. Mother died when I was 12.
Brother died when I was 13. Was knocked around a lot at home, lotsa haircut and
music wars, typical early 70’s stuff. Ran away from home a few times,
institutionalized most of ’73 and ’74, was happy to be out of my house. Sent
back home at 17, followed by nervous breakdown, punched out a glass door, almost
bled to death on front lawn and crippled myself for life (I had been left handed
until then). Left home the day after turning 18. Hitched from VA to AZ to join a
band with my friends but was fired 3 weeks later due to inability to sing. Spent
most of ’76-’77 thumbing 30,000 miles crashing with various friends on both
coasts and Arizona. Met some people in Middleboro, Mass (from whence my AZ band
friends had returned) and settled here in late ’77 where I’ve remained, except
for an ill-dated 4 month move back to AZ in ’86. My employment history includes
work as a movie extra, pump jockey, destroyer of old buildings, cook, night
watchman, plus a couple lumber mill and nursing home jobs. At the moment I’m
allegedly a white collar worker, in middle management for a retailer of comic
books, baseball cards, etc. I drive a ’64 Dart station wagon and my cat’s name
is ‘Terrible’.
MJ: How about a quick rundown on Disarray?
LB: Disarray was founded on New Year’s Day, 1979. The early lineup was
basically an extension of a band we’d had in ’78 called The Locals, plus a guy
named Neil Maranville on bass. Neil was one of those legendary small town
incredible musicians who don’t bust out and who don’t live to see 30. Neil had
given me work and a place to stay, encouraged my writing and taught me most of
what little I know about technical music. He also took a lot of shit from his
‘musician’ friends for playing with us. Anyway, the first Disarray crashed to a
halt by that June after one gig, a house party which ended in a brawl and 9
police cars. That summer, Disarray included anywhere from 3-10 people pounding
away on improvised drone jams playing 3-5 hours at parties at this same house.
An “Animal House” sort of place we called the “Big House.” Nowadays the house
holds the offices of an oil company but back then it was pretty crazed. After
some intense “Peyton Place” style intrigue, Disarray reformed as a fixed band in
late ’79 with me on drums. We’d already done some recording but didn’t play live
until I could come fairly close to drumming and singing at the same time. Our
first gig was in front of 2500 at an outdoor beer bash in May, 1980. 65 gigs and
3 or 4 lineups later, we played out last gig in April, 1986. The intense “Peyton
Place” style intrigue rarely let up.
MJ: So what did, uh, punk rock have to do with all this?
LB: Back before ’76 there was what was referred to as ‘underground rock’. A term
that encompassed a fair range of sounds. I left home with this dream of having
or being in an ‘underground’ band, y’know like, uh, radical hippies man…largely
inspired by Hawkwind, or my teenage impression of them with “Doremi Fasol Latido”
and “A Space Ritual…” I wanted an anti-establishment, confrontational noisy rock
band. When punk rock hit the fan I was already there, way the hell over in a
corner. It sprung up around me and no doubt some other folks off in their own
corners. The idea was that you could do it your way, that you didn’t have to be
this kinda clam or that kinda clam. Disarray was my band and I did what I
wanted. That was supposed to be the whole point, but that much freedom was a
scary notion, then as now. Disarray wasn’t rock star assholes or musician
fascists or ass kissers to a defined trend. Creativity and expression and not
being a goddamned clone was what we were about. I lived in a rooming house with
the bathroom down the hall, going from paycheck to paycheck, eating beans 3
times a week, pulling 21 hour days when the band starting playing out.
Middleboro was a pretty isolated place for us to do what we were doing. We were
the whole scene by ourselves. We are also lousy businessmen and not very able to
conform. All that considered, we went pretty far.
MJ: Influences?
LB: Tons actually…most 60’s music, from Phil Spector on, individualists like
Zappa, Neil Young, Todd Rundgren, Hendrix, mid-70’s King Crimson, The Who, Alice
Cooper up until “Billion Dollar Babies,” Spirit, the first couple Eno albums,
“Ziggy Stardust,” “White Light/White Heat,” Hawkwind when Lemmy was in the band,
a bunch of others I’m sure – Lester Bangs too.
MJ: How about during the ‘punk’ era?
LB: Well, I was apeshit about the early Ramones, pissed off a lot of my old
friends with them…the first couple Saints albums, Wire, The Adverts, early
Damned, Buzzcocks, the first Banshees lineup, The Residents, Gang Of Four,
Pistols and Clash of course, later on, stuff like Bad Brains, The “Damaged” LP
from Black Flag, Flipper, Husker Du, The Misfits, Angry Samoans, Mission Of
Burma (who people said we sounded like), and The Minutemen…I was totally crushed
when D. Boon bought it. In a way I gave up that point. It was like, “What’s the
fuckin use…” The last band I got excited about was The Buttholes…currently I’m
not really following the scene or whatever, but I liked Union Carbide
Productions, anything Kenny Chambers is involved in, the last Dinosaur Jr. LP…
MJ: Are you actually writing nowadays?
LB: Well, uh, not too much actually…I’ve written maybe 10 times in the time
since Disarray ended, only a couple last year…they haven’t been leaping out of
my brain lately. A couple of the Disarray guys and I spent over a year working
on songs to be recorded under the name Pennies From Heaven, but bass players
kept disappearing and were all busy and old now, we cancelled more rehearsals
than we actually played. We did some tracks which are lying around incomplete…we
might still finish them before too long…I’ve played a couple fill-in gigs
drumming for Shattered Silence, Al Quint’s band, and I bought myself this Yamaha
keyboard at K-Mart to play around with…3 or 4 times a year I try to arrange jam
parties at my house, get a bunch of players together and start plowing…I’m open
to offers and I like working on other people’s projects but I don’t think I have
the temperament to lead a band of my own into the arena again. Not to mention no
one has asked me to come back…
MJ: Would you want to elaborate on the Boston scene currently, and the impact
of NYC and the ‘youth crew’, etc.?
LB: Scene? You mean a group of people or bands united by a common goal, if not
their musical orientation, working together in a positive direction? Gee, I
dunno, I think that’s a question for Al – I barely go to gigs at all anymore, as
for NY, I’ve got some friends in Norwalk, CT, and I’ve been to Anthrax a few
times…the last time was for the “No More Censorship” benefit, and I recall the
straight edge contingent standing apart from everyone and leaving the moment the
straight edge band’s set was done…I’ve heard stories of bad blood between
certain more upscale Boston bands and the folks down there. But I don’t know any
new developments since ’87.
MJ: Does seeing those ‘skinheads’ on TV and all that pose any more real
threat than just enforcing shopping mall rules against them?
LB: I like the way you worded that question…I realize that having a buzz cut
means a bunch of different things, that there’s quite a variety of
skinheads…I’ve got no problem with straight edge kids if they’re not enforcing
their beliefs on others by force, if they think they’re superior I think they’re
wrong, but they don’t trouble me personally…I think the reactionary, Nazi
skinheads must make it a real drag to be one of the more enlightened skins…Nazi
skinheads are lower than wormshit and I’d like to say, “Fuck you asshole” to
every last one of them. I don’t see where deliberately ignorant white trash have
any reason to feel superior to anyone else, no matter who they are…They’re too
lazy to think about the shit they’re full of. They’re ignorant by choice, and
there’s no fucking excuse for them. But you look around and they reflect an
attitude in America which has been here from the start, and the 60’s were one of
the very few times when that attitude was driven back to any degree. The Reagan
years made it okay again to be white and wealthy and stupid and fascists grew up
in that atmosphere, so it’s not shocking they exist, it’s just tragic. Tragic to
the bone. I’m not saying black racists are okay, though they may have earned
their attitude the hard way. As far as I’m concerned the only ‘other’ kind of
person in the world is someone you can’t get along with. I’m a mongrel myself:
Italian, French, Dutch, German, Irish and Cherokee Indian. Actually ‘hybrid’
sounds better than ‘mongrel’…David Duke is now a Louisiana state legislator.
Right-wing extremists received 7.5% of the vote in West Germany. On TV just
yesterday I saw the story of the so-called “Aryan Woodstock” in California. How
pathetic and disgusting! But to answer your question, the Nazi skins reflect an
unfortunate trend in the U.S. and other parts of the western world that should
be resisted at all costs, and if they come in my face with that shit I’ll sure
as hell resist, to say the least. The best defense against ignorance is
knowledge…Wising them up would be preferable to smashing them down, but if they
come marching down my street it’s gonna be a little late for the intellectual
approach. I hope it doesn’t come down to that.
MJ: So how do you feel about Famous Hardcore Of Punkland calling you an
‘anti-hardcore witch hunter’?
LB: Hey, I wrote a critical letter to Maximum Rock N Roll about Craig Hill and
his zine. I expected him to respond in kind. That would have been fine with me.
But he responded with out and out lies, he deliberately wrote untruths. He knew
he was lying. It was pretty depressing to have those lies be the last word on
Larry Boyd in MRR. In the context of their ‘Letters’ page, I don’t know if it’s
worse to be called a ‘nazi’ or ‘commercial soft rock’, but I can see where
Yohannen’s got more important matters to consider in general. As far as I’m
concerned, I buried Craig Hill in my column in Suburban Voice #25. There’s
nothing more to discuss. He lied and I didn’t. I’m not anti-hardcore I’m
anti-stupid categories perpetuated by jerks like Craig Hill. This isn’t a club
where you have to follow rules to join. I mean, if I’m anti-hardcore witch
hunter, what does that make Craig Hill? A martyr to the cause? What a conceit,
what a bunch of shit! Independent is independent, what the fuck is ‘conditional
independence’? I didn’t realize that my letter of criticism would so thoroughly
shatter his ego that he would respond with slander and character assassination.
In that respect I regret writing the letter. Middleboro’s a small town where
everyone knows everyone – at least it seemed that way, especially before cable
TV came to town…Disarray was good gossip to some folks, and lots of weird
stories used to circulate about me and the band, such as I was a junkie, I wore
ripped up clothes to hide the fact I was a rich drug pusher, I was fucking band
members’ wives behind their backs, we liked eating cat food, we signed various
contracts, broke up twice as often as we actually did…My favorite stupid story
was when some girl asked, “Were you the guy who wrote ‘Sweet Jane’?” Some of the
stories lingered on longer than the band itself, being lied about totally sucks.
MJ: How long do you intend to keep writing your column in Suburban Voice?
LB: Well I keep sending them in and AL keeps printing them, and it’s been that
way for almost 5 years now…When I started I had no idea I’d still be doing it 5
years later. I feel real positive about SV. It’s a pretty solid zine and I’m
happy to have been involved. I’m not sure how much longer Al’s gonna keep at it,
only 2 issues came out in ’88, not counting the heavy metal spin-off zine. As
far as I can tell though, I’ll be in SV for its duration. Hi Al!
MJ: So what’s the deal here anyway, is this revolution, or safe teenage
rebellion to be outgrown, or record collecting, or what?
LB: It’s all those things depending on who you’re talking to and what time of
day it is. A lot of music which was considered threatening to authority and/or
trash for young people 20 or 30 years ago now sells products and provides movie
soundtracks for these former young people who went on to become citizens with
their own kids. These kids need their own music to upset their parents with, not
music they hear in TV commercials, so their extremes are by necessity more
extreme. People who grew up with doo-wop and Elvis Presley found themselves
troubled by Jimi Hendrix and Alice Cooper, and those from that period of time
have Slayer or Neubauten to be troubled by. Those who considered Robert Plant an
extreme now have Axl Rose to contend with. The first Ramones LP was considered
real fast once…I had a good long adolescence and while I’m not quite elderly,
the fact remains that I’m not a teenager. This music or anti-music, this ’89
scene or whatever, is first and foremost the province of youth, it’s gotta be
that way. I accept the fact that I don’t enjoy or understand or relate to a lot
of what’s happening, that’s how it should be, and I’m not inclined to tell the
youth how to run their own domain, other than speaking out against categories
and clones and peer pressure. 10 or 15 years from now, we’ll see what you have
to look back on. Wait till this current strain of yuppie toddlers hits
adolescence.
MJ: Who really gives a shit about you or your dead band or your column?
LB: Another well-worded question. I don’t know who gives a shit. I didn’t know
you were reading my column out in Colorado until you wrote to me. I didn’t know
Al Quint had heard my band on the radio until he wrote to me. I’ve tried to
create reactions, I’ve tried to get people to respond in kind, I haven’t fed
people stuff that went down smooth…The message needs to be projected outward
into the big world. You and I can sit here and bitch about what’s wrong and what
should be done instead and feel very satisfied with ourselves, but the message
hasn’t gone anywhere and nothing has changed. The most I could hope for with
Disarray or my column is that at some point someone goes, “Hmmm…” I’m not
presuming to know the true way, I don’t have the answers in a notebook, but if
someone pauses long enough to go, “Hmmm…” that’s where change comes from. Even
that may be presuming too much, but that’s what I hope or wish I’m doing.
MJ: Are you an artist?
LB: An artist isn’t something someone calls one’s self.
MJ: If you could attend your own wake, what would you overhear?
LB: Gee, that Larry, he was sorta spooky, didn’t socialize too much, spent a lot
of time in his room, mighta smoked too much dope on occasion, but he kept a
pretty good beat and made a wicked pot of Curry.
MJ: Any parting words for the youth of America?
LB: If it’s in you and it’s gotta come out, then let it out as best you can.
Don’t be jerked around by artificial categories, be true to yourself and the
rest will follow. Or not.