DWS: It is—I don’t know if I’d say it’s natural—but I think it’s where we left it. It’d be easier for us than it would be for a lot of bands that were around in our time. So I think we’re fortunate, because we’ve gotten these very, very good responses to the shows and the 7” pack we put out and the reissues we’re putting out in October.
What are your thoughts on the latest situation with Touch and Go?
DWS: I don’t exactly know what the deal is with Touch and Go. They’re contracting a lot. I don’t have much to add other than what’s already out there. I’m very grateful that even when they were doing that they decided to go with the reissues. I’ve heard them, and they sound great, they really sound a lot better. On the original records, the mastering was just not very good, so that was fixed. Just the other day when we were in Nashville, Adam [Reach] from Touch and Go came down with the records and showed us the gate folds and the inserts. When they were telling me about it, I just wasn’t that interested (I never read liner notes). But when they showed up and showed us the packages, I have to say they really did a great job.
You were always seen as more of a live band, so I don’t know how starting things out in festivals seems. How did things go in Nashville?
DWS: The show in Nashville was cool because it was the smallest show we’ve done. We basically did it as a warm-up show for the bigger shows to follow. It was a small club that holds about 400 people, and was very hot and crowded. It was sort of the smallest, most punk rock show.
Are you more comfortable in festivals now?
DWS: I actually like the clubs better. The festivals are fun too, and the pay well, but at the end of the day the clubs are more fun.
You’re blog is very fun, and I’ve heard a lot of bands from your era say they would have loved the access new media provides. It goes both way, of course, so I’m wondering how you’d evaluate things from when you were starting out, through to '90s, to now.
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