So you’re basically restoring them to your original concept.
And resurrecting them as well.

It’s great to be able to [hear] that, and then having the liner notes to let people know the story.

Well, I would’ve needed a couple hundred pages to tell that story.

I know a lot of the early bands had label trouble and a lot of people went through similar things. … But now that you’re running your own label, it seems vinyl is on the upswing again, even though I realize a lot of the vinyl stuff now actually comes out of digital mastering.

Well, it’s not impossible, but it’s getting very hard to get  [true analog]. And you know, vinyl was a statement of the times in the ’70s and ’80s, and that was the sound. Now, when I look to be a purist about it, it’s pointless to me to make vinyl off a digital master. It’s to the point where you can’t represent the technology of that time totally fairly, even on vinyl. … All my masters are digital now for the box set because I went to great pains to make the digital masters as analog-sounding as possible. I have my own process for doing that, but to do that for vinyl would be a completely different thing.