The Descendents are a band that I thought I’d never get a chance to see live, let alone get the chance to interview them. When I heard they were getting back together with Milo and recording new material I was more than excited. “Everything Sucks” comes out and they tour extensively on the record which lands them in Lawrence at Liberty Hall where Fungus Boy caught up with them. NOVEMBER 22,1996.

Fungus Boy: I’m sure a majority of these questions you’ve probably been asked like 200 times by now, but for our sake just pretend like you’ve never been asked them.
Milo: All right, we’ll respond in Swahili just to make it kind of different and unique.
FB: I’m sure everyone who's reading this wants to know how, when, and why the Descendents got back together?
Milo: OK well, it’s weird ‘cause we don’t really refer it as a getting back together or reunion of sorts because these guys have—All’s been playing all along. So, basically they’ve been doing their thing for the past nine years and I’ve been doing my science deal. But I’ve kept in contact with them over the years. In a really kind of informal sense like I used to sing back up on all the records and I’d jump un on stage and sing with them once in a while. So basically what happened in specifics is just that in January I started writing music again and I got really into it, I was really excited to do it again. So Bill and I struck up a collaboration at that point and just took it from there and started recording in like June, and just uh, plowed through a bunch of material. These guys had already written, they’d already written about twenty some odd songs and I had about nine of my own songs that I contributed, and just put it all together and recorded the best sixteen.
FB: I’m sure most people probably thought that you didn’t have any involvement with music for a while but we have a copy of the Milestone CD that you sang on.
Milo: Right, yeah. That was just, I just did it for like a year and a half, 1989-1990. It was just a something I was doing as a hobby basically when I was in graduate school. That CD, it was almost like I didn’t really want that really to see the light of day. It was more like, it was a live performance, we never went into the studio to make it. So for better or worse it’s out there. I don’t like to even speak of it in the same breath as the Descendents really. (laughter)
FB2: What do you think about the influence the Descendents have on a lot of the bands today?
Milo: Well I’ve been having fun just listening to a lot of the current bands, and you know? I’m a fan of that kind of music any way, so I can hear our influence in certain bands but I like the bands that I’m hearing anyways. I’m flattered by it. As long as they’re not directly like ripping us off, like a complete rip off or any thing, which I don’t hear. Bands have influences just like we had our influences and its kinda what makes rock & roll kinda progress, you take a series of influences and then you kind of make something novel out of it. So I don’t really have a problem with it, I just find it kind of flattering.
FB: A lot of people consider you guys to be the pioneers of the pop punk sound, do you see it that way?
Milo: I just see it as we were just making music, it just happened to be music that I think a lot of people really grabbed on to. Definitely we some kind of influence. I wouldn’t say that we pioneered, or invented or any thing like that.
Karl: There was bands like the Fly Boys that had a row of fans. A lot of people had experimented with the possibilities, maybe people liked the style with which it was presented, or the anti-style with which it was presented. (laughs)
Milo: I definitely think we could say that we contributed but its not like we were the originators.

FB: Were there any fears at all that when you got back together that the chemistry wouldn’t be right?
Milo: Well I think because my history with them over the past eight years has been relatively close—you know Bill’s been my best friend since high school. Bill and I went to high school together, so for me at least I felt a very natural kind of assimilation when I got to do it. We walked into the practice room the very first day and it was like, “OK, ready to go”, and it was a very kind of natural thing. I had no problems with it. Chemistry wise was not an issue with me. For me it was more like, “OK can I even like do it?”, ‘cause I hadn’t really performed and stuff like that for a while. You know I think having these guys be very supportive of the whole thing and just having a tremendous amount of enthusiasm surrounding it made it a lot easier for me just to kind of get over it as an issue.
FB: (To Karl) What about you?
Karl: I don’t know, it was just another day at work for me. You know it’s cool. We’ve been through quite a few singers over the years so its a lot easier to get back with one that you know how they do it, than it is trying to introduce someone.
FB: Each time I saw All it was with a different singer. I saw the very first tour actually.
Karl: With uh Dave Smalley. That was Doughboys and us at the Outhouse.
FB: Yeah, that was a good show. The Descendents played the Outhouse. I was talking to a guy who frequented that place and he said you played there quite a bit, like about three times?
Karl: Uh hum.
Milo: That was the place to play when you were in Lawrence, Kansas.
FB2: Was your recording process the same for this album as the earlier ones?
Milo: No, for me it was a lot different. For these guys it was very much the same. Compared to things like “Breaking Things” and “Pummel”, so it was probably very similar to them but for me it was a lot different. And that’s because these guys have their own studio out in Fort Collins, Colorado. And that just provides them with a lot of—what does it provide you with? I don’t know.
Karl: Experience. You learn how to best record things and we’re able to help out a lot of friends of ours bands. Like giving them some ears that understand what they’re trying to do. It’s called The Blasting Room, we’ve done a lot of different stuff there.
FB: Yeah, I have a CD by Alligator Gun that was done there.
Karl: That, we’ve done Hagfish, who else?
Milo: Oh, Pollen.
Karl: Pollen, Shades Apart, all kinds of stuff.
FB: So why did you guys (ALL) decide to get out of Missouri? Nothing happening there?
Karl: It was kinda we wanted to start a studio but we knew that if we wanted to be doing our friends bands it probably wouldn’t be a good idea to have it be Brookfield, Missouri. There’s pretty much nothing for them to do there outside of recording. We thought West was a good idea to move and I was born in Colorado. I have a lot of family there and we’ve played Fort Collins quite a bit and liked it. So that’s kind of why.
FB: What compelled you to move to Missouri in the first place? Were you fed up with California?
Karl: No, it was more of a financial decision. It was just really expensive to keep a place together in L.A. while we were out on tour ten months out of the year. So we moved to Missouri where we could pay very, very little rent and have a fairly nice place to live.
Milo: What were you guys paying? That was like a five bedroom house and you’re paying like...
Karl: Three hundred fifty a month. And it was so much cheaper that it was really smart. A smart thing to do.
FB: Did you guys ever see the band as something bigger than you thought it was? People are always using Black Flag, Circle Jerks, and Descendents all in the same sentence.
Milo: Not at the time. Definitely not back in the early eighties. Because we were a pretty tiny band, we’d play these shows to twenty people. That was like, I can remember literally dozens of shows where we be playing to twenty people or whatever. In the mid eighties when you’re surrounded in the musical sphere with popular bands at the time like Poison, or you know Tears For Fears or what ever, that doesn’t allow you to kind of have any perspective of are you making your mark or anything. We just played, we just played and toured and tried to kind of progress as musicians. I never felt that there was any kind of mark that we were making. (laughter)
Karl: No, no you don’t feel that because in the world of punk rock the thing where you influence your friends is really obvious no matter what. No matter who it is, you know. You know you go out and see five friends’ bands and you pick up something from all of them. As far as being like in the same breath with the Circle Jerks and Black Flag maybe it has to do with the quality of records that were put out. The records clearly were the best rock & roll of that time. You’ve gotta remember that stuff was happening before speed metal, and that stuff was happening before heavy metal acknowledge the heavy part of it. So that was definitely some of the best records of the early eighties, were rock & roll music. Maybe that’s why people mention them in the same breath. I’m saying this as an outsider, I was not on the “Milo Goes To College” record, I’m saying it as some one who bought the record and had his ass blown off when it came out. So I think the reason people remember those bands is because they rocked.
FB: After the fact did you see the impact that you had on people and the music community?
Milo: For me it was probably over the last three or four years where I’ve actually kind of pulled my head back out of the sand and actually kind of started trying to interact with people outside of my very limited sphere, which is like science nerd guy or whatever. Via e-mail and communicating with people via e-mail I’ve become aware of it, and it was definitely a surprise to me. I just thought, “OK, what’s going on here?” But I think just by listening to the current music out there, just listening now alone would probably be enough evidence that we left some kind of mark ‘cause theres definitely lots of influences out there—err, we had a lot of influence on them.
Karl: Well said.
FB2: Would you say “I’m Not A Loser” was the perfect anthem for the ‘80s?
Milo: It’s still a perfect anthem.
Karl: It’s anthem for human life on planet Earth, let’s get real. I mean, you know people, we’re real conscious in this culture of dating stuff decade by decade. I don’t get that. Like if something is a great piece of art or music it doesn’t fucking matter if it’s addressing something thats humanly true, it’s gonna hit you no matter what.
Milo: Especially a song like “I’m Not A Loser” where you’re, I mean that’s a specific subject matter of like high school, fucking jocks in your high school or whatever. Or just the fucking cool guys, the guys that think they’re cool.
Karl: Or your boss at work or what ever.
Milo: Yeah, thats a universal, thats like all eternity you’re gonna have to deal with those kind of bozos. I imagine I could just walk in to any given high school any where and just find the same clique-y little deals. I think it pretty much still applies.
FB: Yeah that’s why punk rock was so appealing to all those kids.
Karl: But now it’s got it’s own cool, so where does that leave them?
Milo: Yeah, I know. Isn’t that weird?
Karl: It’s got it’s cool.
FB: Six years ago you’d see a kid with a mowhawk and know where they were coming from, and now you’re not sure.
Milo: Right.
Karl: Plus back when I was getting into punk rock music people thought you were a complete and total loser to begin with thought you were even more of a loser if you were into that music. That was the thing, it was like putting yourself beneath the underdog pretty far.
FB: How did you end up on Epitaph? Did Greg Ginn attempt to sign you back to SST when he found out you were playing again?
Karl: No what happened was we (ALL) were on Interscope Records and then we got off Interscope Records and it happened so simultaneously with Milo talking to us about doing a Descendents thing and Brett was the first person we talked to about finding any new label and it just felt like a good thing to go with him. He obviously knows what to do as far as putting records out obviously, and plus he is one of us. He lived in the vans, and played music when no one wanted it.
Milo: That entire label is kind of like one of us in a sense because they’re all basically fans of punk rock, they’re just enthusiasts. We played this series of shows out in L.A. and most of them were at the shows like slamming in the pit and stuff.
Karl: You’re not gonna get that at Interscope Records. They’re nice guys but you’re not gonna see the guys at the top there in the pit, it’s just not gonna happen.
FB: One time I got a press release for a CD on a major label and it said something like, “Rock out in your cubicle”. I thought that was funny as hell. You picture all these people sitting in cubicles typing reviews.
Milo: I don’t know, maybe thats a reflection of more people are working those weird cubicle jobs. (laughter) You know those human hive jobs. God I’d never want to work in one of those.
Milo: A cubicle job?
Karl: A little cubicle job. Like I got family members that do that and don’t mind.
Milo: It’s like Brazil or something. You’ve seen Brazil haven’t you?
Karl: That movie called it. Do you guys know this film? Brazil.
FB: Yeah, I’ve seen it.
Karl: Like I saw that thing when it came out and I said, “In ten years people will realize what this film’s talking about”, and ten years down the line, yeah it’s all there. It’s like Devo, you know Devo were right. They were ahead of their time, they were right.
FB: Most people probably think that “Milo Goes To College” was like one of the final Descendents albums. But that was right at a point where you guys actually kind of broke up for a little bit right?
Milo: Yeah, I mean it was one of the many hiatuses ‘cause I just ended up quitting the band all the time ‘cause I’m a puss. So I’d quit and I’d go to school and do this whole academic thing. But yeah, that was one of those periods where I had left the band and Bill went to go play with Black Flag and you know. I guess you could say we were broken up but in retrospect it was more of just kind of a hiatus. It was basically about two years that we basically didn’t play out or anything, or didn’t record or anything. So that was the first of many times where I just went AWOL and took off, just because I’m a quitter.
FB: He’s gonna quit tonight on stage, half way through a song.
Milo: Yeah, I could quit.
Karl: He can’t decide whether the microscope or the microphone had more appeal to him, he’s bobbing between the two.
Milo: But you know sometimes that microphone is kinda like a microscope because there’s all these little microbes on it. I can study those.
Karl: Maybe you should bring a microscope on stage with you.
Milo: Yeah and look at the microphone.
Karl: Or make some culutres during the set during an instrumental. Get them both in, you know like Bill Nye The Science Guy. You gottta go do experiments.
Milo: That’s a good idea. That’s what I should be doing in between songs. I should bring like my scientific articles on stage and read excerpts from them.
Karl: Sure. Something like that. Are you published?
Milo: Yeah.
Karl: Oh you’re published. See he gave up a promising academic career to sing punk rock.
Milo: Well see I have nine scientific publications and, no wait, how’s it work? I have ten scientific publications and we only made nine records, so I kind of like feel obliged to make another record.
FB: There’s your next liner notes.
Karl: Make one into a song.
Milo: Yeah you know that hasn’t worked out that well, talking about D.N.A. (singing) “D.N.A. it’s really cool!”. You know Bad Religion had that song “Entropy”, “Its matter of course”, that was the line ever.
Karl: It’s a physical truth as far as we know it.
FB: What was the reason you released two live albums in the same year? I heard that “Liveage” was like more of your “greatest hits”?
Milo: Well I think, yeah, the first one that came out was you know supposedly the kind of like the “classics”, or whatever. But even so we would get people writing us after “Liveage” came out saying, “Hey, well what about ‘Christmas Vacation’, what about this song? What about that song?”, so I think we just felt obliged at that point to out like another one just from all the kind of responses.
Karl: Plus we had recorded—didn’t we record that Berkeley stuff before we did the Minneapolis stuff?
Milo: Yeah, yeah so actually...
Karl: But then “Hallraker” was recorded before...
Milo: No, but I think it’s all interspersed.
Karl: It is interspersed on “Hallraker” but a lot of that stuff was recorded before the stuff for “Liveage”. I think we just went back and listened to it and thought it sounded kinda cool too.
Milo: OK.
Karl: Also there’s a thing where like I think a live record is a thing of beauty because there’s no lying, a studio being what it is it’s very possible to cheat. The highest compliment I’ve had since we started doing this thing again was someone went up to me and said, “You know, I used to think you guys really, really, over mixed your albums, but you guys just sound like that.”, and I’m just sittin’ there going, “Yeah, yeah. That’s kinda cool”.
Milo: So they didn’t know how many overdubs we did for that live record?
Karl: No. (laughter)
FB2: We think “Liveage” is the best album.
Milo: Oh, really?
Karl: I like “Hallraker” just because it has some of the more hateful songs on it. It’s not the pop hits, I mean it’s got the hate hits.
Milo: That’s why it’s called “Hallraker”.
Karl: Yeah, you’ve got to understand that even if you’re not into that stuff we are, ‘cause it’s fun. We play the pop songs, the super melodic stuff, you’ve got to have something to counter.
FB: The design of your new album looks a lot like the older ones. Was it a conscious effort to make it look the same as the others?
Milo: Well I mean I think, we always have stuck with, at least the Descendents have always stuck with very, very simple art. And whether or not we put the caricature on the cover or not that’s beside the point, but it’s always been about very simple art. I think that in that sense it’s just a continuum. As far as putting the character on there we just—that was more of a brainstorm, “OK, what can we put on the cover?”. I think there was definitely a conscious effort to keep the art simple, that’s a definite aesthetic.
Karl: Also that Milo cartoon is one of the most instantly identifiable things of the Descendents. And we thought well if it’s gonna be a bonafide Descendents album lets let it all hang out, this is it.
FB2: Do you play many old songs live?
Milo: Yeah we mix all it up. We play an old—we kinda just play what we wanna play, and that includes some All stuff that we play as well. It’s kind of what ever song’s our favorites.
FB: I’d imagine you’ve started work on a bunch of new songs already?
Milo: I think it’s a continuous process of writing. I’ve written new songs, I’m sure everyone else in the bands written new songs. I mean as far as working those new songs in the set, we haven’t been able to as much of that probably because I live...
Karl: We have a lot of songs going on all the time because with our group of people. There’s four of us obviously, but our roadie Bug has helped us write stuff, Chad who sings for All has stuff going on, and all of our affiliated friends. There’s never a shortage of songs.
FB: So how many of you live in Colorado?
Karl: Three. Me, Bill, and Stephen live out in Fort Collins.
Milo: I live in Wisconsin.
FB: So how are you guys gonna pull this off, both bands going at the same time?
Karl: Like you guys are doing this interview, probably tag team. You know we’ll do this as Descendents, then we’ll do an album as All and a tour as All, and so on.
FB: So will you guys ever have time to rest now?
Milo: They don’t need rest.
Karl: I don’t know man, it’s like you know if you’re a plumber or something a day you don’t go into work is a day you don’t get paid or don’t get to do your thing. We like to play, thats what were gonna be doing. It’s not the off time is the hard time, thats when your brain feeds on itself and you just go nuts, playing’s fun.
Milo: Part of why we’re doing the All thing and the Descendents thing and kinda alternate is it seems to accommodate everybody. For example me, I like, I’m still gonna be involved in science in the future, this next year I’m gonna be focusing on music but after that I’d like to do more science. So when I go back and do more science then the whole thing works out, like they can go be All. And I can go back and do science and the two bands can kind of co-exist.
Karl: It’s kinda like if you read comic books, you know. There’s the Avengers and sometimes they have Thor and sometimes they don’t, it’s kinda like that.
FB: Did you have any All fans that were afraid that All was no longer going to be around?
Karl: Yeah, yeah. We’ve had a few pretty rude letters about it, “How could you disband”. Well no, we didn’t brake up. Me, Billy, and Stephen have been full timers for ever in this thing. We like it obviously or we would’ve quit years ago. We want to keep doing whatever.
FB2: So at the All shows will you still play Descendents songs?
Karl: Yeah probably. Yeah we don’t have any problem with that, we played ‘em all, we wrote most of ‘em, yeah what the hell. (laughter)
FB2: Yeah that was the main reason I went to see you guys, All, was to hear the Descendents songs.
Karl: Sure. I think it’s kinda fun like because we do play All songs in the Descendents set too and I think its fun hearing different singers have different handles on different songs. Like in the back of my mind with some songs I’ve always wondered how say Milo would sound on “Fool”. I always wondered about that, I thought it was an interesting song. Not that Scott didn’t do a good job, it’s just a curiosity, and there’s some songs that Chad does with us, some Descendents songs, where I’m really impressed by what he does with that song. He is rad. It’s kinda great, mix and match.
FB: Do you think that if you guys wouldn’t have started All that you’d be in a situation now where you’d have the Descendents back all this time later?
Karl: I don’t even think it was even a possibility. For real me, and Billy, and Stephen really all we want to do is play music and write songs and stuff like that. That’s all we want to do, that’s all we’ve ever wanted to do. And all the stuff that surrounds it doesn’t really even matter because we’d be doing this no matter what. In a way it sucks, we’re pretty obsessive about it.
Milo: Let’s just say for the sake of argument that just for whatever freak accident or whatever, in other words that All did not play through this period, I don’t think the Descendents would be here (today).
Karl: No.
Milo: It just wouldn’t be because, you know I’m continually thinking about those twenty people that were at my show back in 1985, and I’m thinking, “Well how did twenty people become eight hundred people?”. And you could say that it was partly because of you know, whatever the kind of modern rock current trend or whatever. But I think a large part of it is the fact that these guys built a huge fan base over the past eight or nine years and a lot of those people are going back and discovering the Descendents.
Karl: Yeah, you’re probably right about that. Plus like I think the hardest thing in the world to negotiate as far as like a band reunion per se, is trying to get people who’ve been living apart for ten years or more back into a cohesive rock unit. Something that sounds, has even close to the kind of passion and intensity they might’ve had in the first place. That’s almost an impossible feat to do, when you think about it. At least the three instrumentalists have been working the whole time. I think actually a lot of these songs would be physically impossible for us to play if we hadn’t been doing it the whole time.
Milo: Kept your chops up.
Karl: Not even chops, like muscle power. Like stamina and muscle power and shit. I mean you know, we’re 31 through 33 years old, there’s some stuff that’s not that easy to do if you’re not use to it. When 18 years old you’re spastic enough that its easy.
FB: Its like skateboarding if you quit doing it and try to do it again, it screws you up.
Karl: Yeah, thats the thing. The way we play music it is almost like a sport hting in a way. That’s something I think thats rad about punk rock as opposed to pop music or as opposed to like a lot of music, at least its physical.
FB: Do you have any plans in the works for any kind of home video type thing?
Karl: Odd that you should ask that. Yeah we are. We filmed a lot of the Whiskey shows, we did seven shows there. What was that a month ago?
Milo: October 8th through...
Karl: Yeah somewhere in there, thats going to be a Descendents live thing. Then I’m working on a documentary, a full length documentary.
Milo: Its actually a rockumentary.
FB: It will cover the entire span of the band?
Karl: Yeah, yeah. I don’t know whats coming up but its still in the early stages. We’ve got enough live footage to choke a hog though.
FB: Do you have early live footage?
Milo: Yeah, like super 8 or somehthing.
Karl: Thats what I’m thinking. I’m gonna go digging. We’ve never compiled an archive of the stuff we have.
FB: Have you ever seen the Minor Threat home video? The first clip is so grainy, its a great video though.
Karl: Yeah I want to do all the weird footage I could possibly get. A video was made for “Coolidge” back when the record was released and was never completed in time for release. And I managed to track down the one existing copy of it. It freaked me out ‘cause like we never even saw it! (laughter) That’s a mysterious thing, we never even saw it.
Milo: I can’t even remember why it never, it just kind of just never got finished.
Karl: Yeah, never got finished or some damn thing.
FB: We saw your new video a few times. (I’m The One)
Karl: The happy sperm video?
FB: Yeah. Was that pretty crazy to make?
Milo: The bouncing skateboarding sperm.
Karl: Yeah, that was fun.
Milo: I had a lot of fun doing it. It’s funny, I don’t really watch MTV at all so I don’t really...
Karl: And you get the rare sight of him on a stick. (laughs)
Milo: Hey man I used to skateboard. Years and years ago.
Karl: I know, I know.
Milo: I had a Black Knight.
Karl: You guys are too young to remember Black Knights. They had clay and a wood, and it was like rollerskates or something. There was like no shock absorption whatsoever, you hit a cigarette butt you’d go flying. (Bill enters the room)
Milo: (to Bill) Have a seat we’re doing an interview.
Bill: I want to go to sleep.
Karl: That’s like the most primitive form of skateboard.
Milo: If you don’t have a seat we’re gonna say nasty things about you. (Bill starts talking about where to sleep)
Milo: Our van broke down so we don’t have any place to sleep tonight.
Bill: I wanna just go beat my weenie and go to sleep. Instead I have to hang out here where all the cigarette smoke is.
FB: What have your crowds been like? Are they a mixture of older guys from way back when and a bunch of kids that haven’t had a chance to see you yet?
Milo: It’s just a mixture, yeah. There’s a fair amount of them who are actually All fans. They’re All fans as such they’re likely to be Descendents fans as well. And then there’s a fair number of people who are old Descendents fans that are coming out of the wood work, you know, who haven’t really checked out the scene in the last twenty years. It’s like, “Whoa, OK I’ll come see those guys”. And there’s maybe some newer fans who just kind of discovered us via the current whatever trend thing that's happening. So it’s a mix and we welcome them.
Karl: Well you can’t stop ‘em. I mean set someone at the door, “No you can’t come in here”.
Milo: “You’re not cool!”
FB: Here’s a question about a movie that had one of your songs in it.
Milo: Pump Up The Volume.
FB: Yeah that’s the one. Did you guys get any royalties for that?
Milo: I don’t know Bill what do you think?
Bill: I got a little bit, it’s a little song. But it’s about a big cock.
Milo: No but see I thought that song was so short that they could use, that they could say it was a...I thought it was so short that they could classify it as like a sound bite.
Bill: They probably can.
Milo: If you could classify something like that as sound bite you don’t even end up paying royalties.
Karl: Yeah the song “All” flat out could be a sound bite. It’s short enough.
Bill: What’s a sound bite? Why do they call it a sound bite? It’s like you can steal a little bit of shit but you can’t but you can’t steal it all.
FB: I know All has played in Europe and you’re heading over there as the Descendents, will this be the first time for that?
Milo: Yeah.
Bill: Yeah but our bus over there is not broken.
Milo: Which is a distinct advantage, in fact we’re really looking forward to Europe at this point.
Bill: I’m not happy man!
FB: (to Bill) What was it like to be in Black Flag?
Bill: It was just like a normal band.
FB: A friend of mine saw them in Topeka, I forget what year it was, but he said it was some crazy shit.
Bill: Was that the one where we fucked that Indian broad? Is that what you’re talking about? (laughter) No, I wouldn’t know anything about that, I’m not sure. Honestly I don’t ever remember playing Topeka, I just made that up off the top of my head. I don’t think we ever went there when I was in the band. Maybe we did though, who knows? Topeka’s awful small isn’t it? Who was there to see somebody in Topeka, would there be people there?
FB: Back in the early 80’s they use to have punk shows there.
Bill: Did they? Maybe we went there. I don’t remember. I remember we went to Oklahoma a few times. I remember we played in—I don’t fuckin’ know. (laughter) We played the same fuckin’ clubs for like three years, so I don’t know. I lose track. Plus my bunk’s broken mister tape machine listener.
Karl: It’s a print medium, so it’s a reader.
Bill: Mister magazine reader, Bill’s bunk is broken!
FB: Final question, give us your future plans? We know about the video and touring.
Milo: Fix the van. We’re just gonna tour all next year. We’re gonna be going to Europe, we’re gonna be going to Japan, Australia, basically any where that’ll take us. Any where we can go we’ll probably go. As far as the All/Descendents thing probably All will be putting out a record next year, Descendents maybe putting out another record after that. It’s kinda hard to think that far in the future but I’ve been having fun doing it so I’d like to keep doing it.
Karl: And currently Chad is working on a country music project called Drag The River.
Milo: Is that the name?
Karl: Yeah.
FB: The next All album is going to be on Epitaph?
Karl: Yeah. We’re with them pretty much as long as they’ll have us. We’re pretty much going for that attitude now, we’re pretty loose.
FB: One final question, what’s the most requested song?
Milo: It really varies, we get all sorts of different requests.
Karl: “Loser”, people scream “Loser” all the time. They might just be calling us losers and we don’t know.
Milo: That’s true. That’s the one that’s imprinted in the back of our brains, we play that one every show. It’s like if we don’t play that one the kids beat us up after the show. Which since we are losers that seems fitting some how.

selected discography

Ride The Wild/ It’s a Hectic World 7” 1978
Bonus Fat EP 1980 SST Records
Milo Goes To College 1983 SST
I Don’t Want To Grow Up 1985 SST
Enjoy 1986 SST
All 1987 SST
Liveage 1988 SST
Hallraker 1988 SST
Somery 1991 SST
Everything Sucks 1996 Epitaph
* See also ALL *

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