Chris Robinson

Right.

And regurgitated as just, you know, and it just so happens the Dead Kennedys have one of the greatest logos of all time.

Yeah.

Let the people... Yeah, yeah.

In a way, I mean, someone took a chance... You know, a band like Alan Vega and, you know, like Suicide.

Like someone... You know, the no-wave music in New York in the late 70s.

Someone took a chance and said, yeah, I was thinking about how weird was that?

You know, like bringing that into a studio where... Who was just in here?

Fucking 38 Special or some shit?

You know what I mean?

And then there's like this or whatever.

You know what I mean?

I mean...

It's a cool thing about early, you know, like, the first Sex Pistols record, the Clash record's a little different, but even the Dead Boys or bands like that, like, a lot of those early punk records and a lot of the post-punk records...

Those bands, they're not making records trying to sound... Oh, I can make a record sound like I Don't Give a Fuck or something on my garage band.

You can do anything now with a button and people... And I like lo-fi shit too, of course.

But back then, these bands, they're not making lo-fi records.

They're in just... That's a real band, but with great gear and people who are making records that we would think are...

Yeah, we were always... And it's funny, I just saw Billy Gibbons a couple weeks ago in London, and we've been friends for many years, and a massive ZZ Top fan.

I mean, those records, especially the early records, I mean, they just sound delicious.