Sitting down with Tim Leitch, better known to punk fans as Spit Stix, means diving headfirst into a career that reads like a history of underground music itself.
From his early days behind the kit with FEAR—a cornerstone of LA’s hardcore punk scene—to producing the Red Hot Chili Peppers’ first demo, Leitch has seen a lot. He’s the guy who shared stages with John Belushi on Saturday Night Live in 1981, helped pioneer the chaos of slam dancing on national television, and carved out his own space in a scene that thrives on disruption.
His work behind the board brought the Chili Peppers their first break, while his later ventures into scoring films and launching experimental solo projects showcased a versatility that belies his punk roots. Now back with FEAR, alongside projects like Nasalrod and his jazz-infused solo explorations, Leitch proves that punk’s ethos of reinvention isn’t just a slogan—it’s a way of life.
In this interview, we unpack the highs, the chaos, and the evolution of one of punk’s true lifers.
Let’s just get straight to the heavy-hitters, Spit: why did you initially part ways with FEAR in 1993 and what made you decide to re-join the band as recently as 2018?
In ’93, I needed a break from Lee. He was paying Philo and I poorly and he did not appreciate what we brought. Philo left at the same time.
In March of 2018, Philo and I got a call from Lee asking us to play a 40 year anniversary show. Philo stayed for a few shows but I have stayed on.
When you recorded and produced the Red Hot Chili Peppers’ 1983-84 demos (that would later appear on both the deluxe edition of The Red Hot Chili Peppers (1984) and Out In L.A. (1994),) did you have any idea or inkling that they would become the Stadium Arcadium powerhouse band they’ve now become?
I had no idea. I just dug what they were playing and had a cheap way to record them.
What can you tell us about FEAR’s relationship with the late great John Belushi: from him helping book the band on Saturday Night Live (SNL) on the Halloween 1981 show to recording “Neighbors” together for the 1981 film with Dan Aykroyd of the same name?
Derf was giving bass lessons to one of John’s Second City brothers, Tino Insana. Derf gave Tino all of our phone numbers after John watched New Wave Theater segments of Fear. John loved the mock punching and kicking of the host, Peter Iveres. Peter was a black belt in karate but played along. John had to meet us and I was the first he got through to.
I spent some quality time with John producing the demo for the title song for the movie. That gave him something to present so that he could get the budget for a star studded final version.
I haven’t met Dan. I don’t think he was in Neighbors.
So, was it $10,000, $20,000, $200,000, or $400,000 worth of “damages” caused to the SNL/Studio 8H set in 1981?
It was less than $20k. A cable got disconnected, pumpkin guts were all over the stage area.
I never saw it but apparently the green room for our “guests” got thrashed, too. They were butt hurt that someone pulled one on them. (which we were not trying to do).
Just another gig with slam dancing and chaotic serendipity. Most people at that time had not witnessed that though.
How does it really feel to be within the elite class of bands/artists banned from SNL alongside Elvis Costello & The Attractions, Sinéad O’Connor, The Replacements, Rage Against The Machine, Cypress Hill, and David Bowie(!)?
It’s an honor but I feel no difference before or after.
How would you say the More Beer (35th Anniversary Deluxe Edition) Spit Stix 2020 Remix differs sonically from the version originally released in 1985?
I only had 2 hours to mix the first release of More Beer. I spent a couple of weeks on the new release.
What can you tell us about the origins of “Brainwash” which you wrote and sing lead throughout? It recently appeared as both the physical and digital B-side on FEAR’s single of your cover of Bob Seger’s “Ramblin’ Gamblin’ Man.”
I We talked a little about this earlier how I’m very disappointed in the release of that song.
Originally Flea played bass and Lee sang. That recording was lost so Fear’s management wanted to re-ecord it. I sent a lifeless demo so Lee could relearn it. It was not meant for release. I would have spent more than 5 minutes on singing it.
How did the band go about writing, recording, producing, creating, etc. your latest album for Atomic Age Industries/FEAR Records, THE LAST TIME?
Atom Age is Lee’s management. They booked studio time and I showed up.
So, this is the first album recorded with the latest interaction of FEAR (yourself, Lee Ving, Eric Razo, Amos Lee, and Frank Meyer,) correct? How else would you personally say this album differs from the last FEAR album, 2023’s For Right & Order, recorded with a slightly different line-up?
Frank Meyer came into the band and replaced Lee’s rhythm guitar. Plus, he brings a great energy with him.
Lee hadn’t played for a while at live shows and the rhythm guitar was missed on guitar solos and harmonies.
What would you say was the most memorable gig you’ve ever played with FEAR thus far, why, and who else was on the night’s show bill?
The first show I played at Mubuhay Gardens in 1978. The Dead Kennedy’s had sold out the show but backed out at the last minute.
Now, the night had 2 bands instead of 3. I think the first band was The Dogs. So, we headlined (technically) to a sold out house.
What was it like getting a chance to record with Slash (Guns N’ Roses, Slash’s Snakepit) and Duff McKagan (Guns N’ Roses, Velvet Revolver) on “Nice Guys (Don’t Play Rock & Roll)” from FEAR’s For Right & Order album?
I prefer to record a band playing all together but Slash and Duff overdubbed over my drums.
Did you and the guys from FEAR ever communicate with anyone from Black Velvet Flag and/or Go-Kart Records? I’m curious to hear what you thought about their 1995 covers of “I Don’t Care About You” and “I Love Livin’ In The City?”
Nope. Maybe management but not I.
Can you tell us a bit about the background behind the latest Nasalrod project, In The Modern Meatspace, a split album with Victims Unit?
We had just written a few new songs and had toured with Victims Family recently and talked about touring again with a split 12” to sell.
We recorded the finished 5 new songs and Victims Family did the same.
What is the current status of your two long-standing solo projects/bands, Sol-I and SPIT?
Sol-I may return and SPIT might appear in a movie or some one time thing.
I’m writing a new Latin Soul Jazz record right now as an antithesis to my more aggressive projects.
What’s planned next for FEAR?
December 8th in Florida, December 21st in LA.
