Ryan Clark: Sure.

RC: It was kind of a gradual dissipation, like a few of us were living out of state. My brother had been in Arizona toward the end of Training to be with his fiancée at the time, so we were playing as a three piece for awhile without him, and then he came back for a little while. There was no band meeting or anything where we talked about "let’s not do this anymore," it just kind of slowly came to an end. Some of the guys were going back to school, and just some different things. It was kind of an unspoken thing.

RC: Um, just kind of goofing around.

RC: We were just kind of all hanging out one day, and we weren’t even thinking of actual band names. And it just kind of popped out, and it just stuck.

RC: No, definitely not. It’s tongue-in-cheek, also. It did mean something to the people that wanted it to.

RC: I can kind of answer it and make it one question. Pretty much we started it because we wanted to do something more accessible.

RC: We always kind of… For a period, we liked really noisy stuff, and we still do to a degree. But it was more like a fleeting trend within our taste. But we’d always been, since the very beginning, big music fans in general. Like the more pop sensible metal acts, like Machine Head and Prong and Pantera. So kind of in the back of our minds, we wanted to do something like that. It was just kind of like, we had a big gap between bands, and we were like, "Let’s start doing music again." And the direction we took it, it was like, "Let’s just do what we’ve always wanted to do, and make it more pop sensible and more structured, just a little bit like more like what we were kind of always into."

RC: Yeah, I think definitely. I don’t listen to anything specifically for inspiration, but in a roundabout way I’m inspired by that stuff when I’m writing. If I listen to metal all the time, I think the choruses and things on the songs would just kind of be… A lot of what metal bands do when they’re trying to do the singy thing comes off like a metal band trying to do the singy thing.

RC: You know? What I at least attempt to do is make it sound a little bit more pop sensible than most metal bands do. I think that, if it does sound that way, it’s because I’m not like a purist metalhead where that’s all I listen to. I listen to literally everything in the spectrum of music. I wouldn’t even, you know… Some people might kill me, but I probably wouldn’t even put metal as my favorite kind of music. I’m like a huge British pop rock nut, and I’m kind of a collector of that whole genre. I’m definitely like a metalhead, and my roots are in metal and stuff like that. It’s what I can write best, I think, and perform best. It’s really fun to do. I think that’s definitely what comes across in the pop parts of the songs, that’s where they’re derived from.

RC: Right.

RC: I agree.

RC: [Laughter]

RC: Well, it was just kind of, at the time, we were looking to do something a little bit different. We didn’t want to be a band that just comes out and looks like every other band and sounds like every other band. Especially for Solid State, it was a different kind of metal than they’d been putting out in the last few years. A lot of the stuff was just kind of either like screamo stuff or like straight metal with no melody, like no singing melody. In doing something different, we wanted to do it all the way different. A lot of the thinking behind not having names attached or faces for awhile was just that we wanted to... We didn’t want to be under the umbrella of a band that was comprised of these ex-Solid State guys. Even though that might have given us instant fans because of our previous bands, we kind of wanted to just prove it without having that as a security. In the more recent past, we’re kind of all about changing what we’re doing to keep it fresh. We didn’t have any agenda to keep everything secret for too long. When we left for tour last year, we didn’t do anything to hide or anything like that. Other than the first couple of months, it wasn’t really about that.

RC: There was much of an agenda. It was kind of a mixture of… We did deny a lot of things to people that wanted to do interviews and things like that. It was also still building at the time. A lot of people didn’t want to accept it or take it seriously, so there wasn’t a huge demand for a lot of press until the record started doing… Like the record came out, and started to make people think about it a little more seriously.

RC: It was me and my brother, and we had Jesse [Sprinkle] who was basically our drummer for that record and tour and this newest record. Me and Don played all the guitars, and I played all the bass.

RC: And I did all the vocals. We basically did everything on it. We have a live bass player. Kris McCaddon is doing some guitar stuff now, and he helped write some of the new record. We all just kind of just split it up. I wrote pretty big chunks of that album. We pretty much split it pretty much evenly on this one. The first one was just me and Don. We split everything half and half.

RC: We were kind of brainstorming at the very beginning who might work and who might fit. We didn’t know if we wanted like a metal drummer just because we wanted to… Even though it has a pretty overbearing metal sound to it, we didn’t want to really focus on that. That’s why we didn’t go with a metal producer either. That’s kind of the connection: Aaron [Sprinkle], his brother, did the record. Jesse’s essentially a studio drummer in that he’s really super tight, and he’s really amazing. He’s pretty much flawless in that way. We wanted someone who was just more solid than anything else, and that would give it a pop edge as opposed to a metal edge. Through Aaron, that was basically our connection. We’d known Jesse from just hanging out. He lived here at the time, so…

RC: It was… Jesse drummed, and Don and Kris McCaddon were the guitarists, and a guy named Jon Dunn plays bass.

RC: Right.

RC: Kris moved to Seattle a few years back, and he was just a perfect fit for the part. We knew we were going to need someone other than Don to tackle some of the guitar duties live, and he actually wrote some of the newest record with us, as I said. Jon Dunn we met up here in Seattle, too. He’s part of the industry as well, and we work with him. He was into the band, so we gave it a shot, and it worked really well. Both guys add a really cool flavor to the band.

RC: Everything’s about 95 percent ready to go when we’re in the studio. The first record was a little different. We didn’t practice with a drummer at all before entering the studio.

RC: We just kind of would show him songs, and within two or three times of him hearing the song, he would just roll tape. It would just kind of come out how it came out. With the newer record, we had a little bit more foresight in playing with a drummer, and we were able to tackle a little bit of it as a band. Not always a full band because there was a lot of times I was just playing guitar or showing a song to our drummer. So I couldn’t sing at the same time. Other than the vocals, we kind of went through them a few times to have a better idea of how they would sound. When we entered the studio, they’d never really been played as a full band, other than "Not Ready To Die," which we wrote last year before tour and then we played it on tour. So that’s the first song we wrote for this album because we wrote it actually to play last year.

RC: I played quite a bit of the guitars on both albums, and all the bass on the first album, as well as 90% on the new one.

RC: Yeah, I can’t really sing most of the Demon Hunter songs and play guitar at the same time. The songs are too word heavy, and I like to focus on just the vocals.

RC: We’ve always just wanted to have the players listed as "Demon Hunter" regardless of who played on the record or whatever. Since the studio players don’t always coincide with the live players, it’s just easier that way.

RC: It’s basically like the funeral of evil or that whole thing. It’s definitely not… Not that we don’t believe in that, but it’s definitely not supposed to be taken altogether too seriously. It was just an idea we had floating around. It kind of built upon itself once we started talking about it. We had the hearse idea. The front is supposed to be like a wreath, like those funeral wreaths. One idea just kind of built on the last, and it built into this big scene where we were kind of out burying evil or the devil or something like that.

RC: Yeah, they both came up here. Brock’s actually from Portland, so he just took a train up and met us at the studio one day. We’d been working with him with 36 Crazyfists stuff, and designing for them. We designed their newest record and stuff like that, so we were in contact with him. We heard that he was a fan of our first record. We were really a fan of his voice and just how unique it was and stuff. And same with Howard, we did the Blood Has Been Shed record, which is his side band to Killswitch [Engage] or Killswitch is a side band, whatever. Same thing, we became friends with him through doing design stuff for his band. He was actually in town on the Headbangers Ball Tour with Shadows Fall and Lamb of God when he was on that with Killswitch. He came in the studio, and actually Brock was there that weekend, too. So both guys kind of just came in and did their parts, and it was really cool.

RC: Uh, yeah. What I’ve been telling people is the first record was definitely pointed in towards me, and just issues I have with being self-defeating or anything like that. Mostly just dealing with myself. This record I kind of, not necessarily intentionally, but it somehow kind of came out directing the lyrics towards other people and other things that I’ve seen around me. There’s still the inner, self-defeating kind of songs, but it’s kind of a wide spectrum of stuff. Pretty much every song has kind of an entirely different thing that I’m trying to deal with or talk about. Like in "Beauty Through the Eyes of a Predator," that was actually, other than "Not Ready To Die," the first one I wrote when we came back from tour last year. It was kind of after seeing some of the… At Christian festivals and things like that, you see people and vendors and companies kind of taking a really cheesy viewpoint on what Christianity is in their product. It’s just kind of lame to know that someone out there is giving this really lame interpretation of what Christianity is, and they’re kind of outwardly showing that to non-Christians. It’s what is especially giving anyone that thought Christianity was cheesy, or Christian music was cheesy, or the scene was lame, reason to think so. Whether it’s a t-shirt that turns a Wrigley’s Spearmint thing into a Jesus Spearmint thing, anything like that. Just anything that basically minimizes a faith and a relationship with Christ into some cheesy product. Things like that really get to bug me after awhile. I had a friend who worked in a Christian bookstore where the word was they were going to get these Testamints that were these mints that were somehow biblical, or…

RC: …I don’t know. He was like, "Yeah, if you get those, I’m outta here."

RC: And they got them, and he quit. Things like that. There’s so much of that in the scene. You can say that music can be like that, too. I guess anything can be like that if it’s not a good representation of Christianity. Who’s to say if it is or not? But just from my personal viewpoint, there’s certain things that make Christianity out to look like some really lame excuse for a religion or whatever. That’s what that song is about. Everything deals with a different thing. "Beheaded" kind of deals with gang life and gang warfare, and just the whole mentality behind the vicious cycle that that whole thing is. "Not Ready To Die," I kind of wrote it after the 9/11 thing, and all the people protesting in a big city. Like here, people were going nuts over it. So the song is kind of a mix between me irritated with the kind of people that I see around me for doing whatever, and kind of also putting things into perspective as far as life is concerned. Just not knowing what’s going to happen or whatever.

RC: "Not Ready To Die," we did the video probably about two months ago now. We have it back, and it looks great. We’re getting ready to… Should any day be able to post it on our site [www.demonhunter.net/media.php] and launch it, and hopefully service it to MTV2 and get that whole thing going, and all those other stations. Hopefully it will catch on again. M2 was really cool to us last year, so… It’s definitely more of a straight performance video. There’s little pieces of not necessarily treatment, but just not performance stuff, towards the beginning of the video. We didn’t have the time to really think of something elaborate enough for a treatment, and we didn’t want to throw some half thought up treatment in there just for the sake of having a treatment for fear that it might come off lame and pointless. So we just decided to try and make the performances cool and not boring as possible. Most people that have seen it say that it doesn’t get boring, which is cool, because sometimes performance videos tend to get a little boring after awhile. So that one should be up on the web pretty soon, and hopefully on TV eventually. Yeah, we do actually want to do another video for a second single down the road; it’ll probably be a few months out. I think we’re going to do one for "[My] Heartstrings [Come Undone]."

RC: Obviously it’s one of the token mellow songs on the record. We definitely wanted to release a heavy one first. We talked about doing "…Heartstrings…" as a first single, but we thought that would trip people out, and they would get all bummed out or whatever. But we do definitely want to release it because I think it’s worthy of being a single.

RC: That one will definitely be more treatment-oriented probably with small portions of performance

RC: They’re both really great at what they do. One of the things that make them unique as far as our records go is that neither of them really do metal records, which I think for a metal record, it sounds different. There’s definite cliché metal sounds that you hear on metal records that aren’t different from the pack. I think our records have a lot different a sound from those records. I think anything that’s mixed by Andy Sneap, I think sounds really great. Colin Richardson, those guys are awesome at what they do. But I think they’ve nailed down the metal sound, and I think we get a little bit of a different outcome going with some guys that deal more with pop rock stuff. J.R. mixed the Kevin Max [of dcTalk] record and stuff like that, just real polished stuff. They’re both just… J.R.’s a big fan, and they’re both just really cool guys. We’ve got to be really good friends with them doing stuff, so for the second record it was really just a no-brainer to go with them again. They’re just really good at what they do. They’ve been doing it for a long time. Aaron used to do those old MxPx records back in the day, and they’re just getting better. Every record they do sounds better and better. Aaron’s here in town. Aside from being our producer, we’re good friends. They’re super-talented. We didn’t even give it a second thought as to doing it with them again.

RC: Yeah, it’s supposed to be just kind of vague, and kind of make you think, "What is that?" It was just kind of moving around. Aaron did that one day after everything was tracked. We were like, "We ought to put a little something before that." It was just rolling around in the tracking room, and I think he like takes the back off a cell phone, or like a cordless phone, and snaps it back on. He kind of breathes into the microphone for a second. Yeah, it makes it sound like I’m getting ready to walk into the vocal booth or something, like getting ready to do it. I think he kind of just hit a key on a keyboard or something. It’s supposed to be to kind of make you think, where you don’t know what it is.

RC: I think the Christian market place serves a huge purpose just from what I see and hear from fans. Some people who might debate that it didn’t serve a purpose, I could show them fan letters that proves differently. That’s also what another song is about on the record. It’s about [people that say] that what we’re doing is not doing much for the kingdom of God, or that it’s blasphemous or whatever To real legalistic Christian minds, playing heavy metal Christian music doesn’t make sense. I talk about that a little bit in the song.

RC: Um, let me think. [Pause] I think it’s "Our Faces Fall Apart."

RC: Let me see. I think that’s what it is. I’m sorry, what’s the first part of that question?

RC: Yeah, that’s another thing I’ve actually talked about a lot recently. Just after being in Training and doing that whole thing, kind of being a band that was banned from Christian bookstores for this or that reason. You know, walking the line between Christian or non-Christian band, and constantly being on the fence about the issue. After we all kind of grew up, and kind of were able to look into that from the outside after not being in a band for awhile, and just maturing. It kind of starts to look really lame to walk the fence like that and kind of be wishy-washy about it. With this band, the approach we took was entirely different. If anyone asks if we’re a Christian band, "Yeah, sure we are. We’re all Christians, I write Christian lyrics. I mean if that’s what you want to call it, definitely." I’m not going to say, "No, we’re Christians in a band" or "A band can’t be Christian," or try to get all philosophical on it because it’s just not… That’s not the point of it. We’re technically a band, and Christian people have to be Christians. But you know, Christian bands are Christian bands, and if they put us in the Christian category, that doesn’t bother us anymore. Like, we definitely don’t try and dodge that in anyway anymore. For us, it was just a matter of kind of growing up and maturing from those days of being in Christian bands and seeing how the whole scene works. For us, we were just tired of walking the fence. When you do walk the fence, you have fans that don’t think you’re Christian enough, so they don’t buy your records. And then you have non-Christian fans who still know that you’re on a "Christian label" or whatever. So then you’re kind of shooing away fans in both directions. After the first record we just really realized there’s no point in doing that because if you come out and you’re honest about it but you’re still putting out like a good product that people can appreciate and respect. For me, their standpoint whether they’re Christian or non-Christian fans or listeners, they just aren’t really going to care at that point. It’s just all about like a respect thing. People are going to respect your views, I think. If you’re good at what you do, then people are going to respect it no matter what.

RC: Well, if it was someone like an aunt or something? [Laughter]

RC: Someone who knows, somebody who’s familiar with this type of music?

RC: I usually just say it’s like metal with melodies in the choruses; definitely heavy, but definitely more pop sensible than most metal stuff. If I have to compare it, I usually say like Machine Head or Pantera or Slipknot or something like that.

RC: Well, I think with the way it’s been going, we can kind of do it whenever we want. For us, it’s not a full-time thing. It’s not our main source of income or anything like that, so we aren’t freakin’ about it. We’re just kind of taking it as it comes. So in that respect, I think it could actually be around for quite awhile because we’re kind of free to do it when we feel like it. Living where the label is and working here, it just makes it a lot easier. We do plan to keep doing records. We are done with our initial contract, but we don’t have any desire to really be anywhere else just because of the freedom we have here. We’ve had offers from several labels, much bigger labels, but they all are really interested in having us tour full-time. Things like that, we just aren’t prepared to do.

RC: That is kind of hard because of how new the band is technically. Kind of an all-time favorite kind of seems to be "Through the Black." It was the first thing that we wrote, we put it on a compilation, kind of a rough version of it on there. Just as far as the fan reaction last tour, and just from reading message boards and hearing from fans and stuff like that, that song kind of marked for our fans the… The starting point was kind of like a big deal. As far as our fans go, I think they really like hearing that song live. I don’t think… It’s pretty difficult since we do go from really heavy songs, even on this new record there’s like songs that have no singing on them, to songs that have entirely singing on them. I think "Through the Black" has a pretty good mixture of both of those. I think it shows what Demon Hunter is best because it’s the first thing that we wrote, and it’s kind of at the height of when we were thinking, "Okay, this is where we have to show what we want to do in a song." It was kind of more planned than the other songs. After that song was done, we had a style, we had a sound, and we just kind of expanded on it. But for that song, it was kind of the defining moment of what our style would be

RC: [Pause] Yeah, that is kind of hard.

RC: Well, there definitely is a lot of personal stuff on it, whether it comes across vague or more upfront for the listener. There is a lot of personal stuff on it. "…Heartstrings…" is a song that I wrote about me and my wife’s relationship, and things like that. That was kind of a personal thing. As far as my faith goes, there’s a lot of personal stuff in that respect. I can’t think of anything extremely specific, but there is a lot of really personal stuff throughout both records.

RC: That I might have to separate into categories.

RC: If it was bands that have shaped me in a metal way, like kind of becoming a metalhead and doing that whole thing, I would reference bands like Pantera. Back in the day it would be Danzig and Metallica and bands like that. In the mid-90’s, it was Machine Head and Sepultura. A lot of the big Roadrunner [Records’] bands at the time [like] Fear Factory At The Gates. As far as some of my favorite other kinds of music that I think also does influence me in a roundabout way, I was a huge Radiohead fan up until they recorded Kid A. [Laughter] Yeah, I’m kind of a music addict, so I’m constantly buying albums. Every week I buy a few records. I kind of search out British rock bands, so I probably have a lot of records that no one’s ever heard.

RC: But some of my new favorites as of recent are a band called Snow Patrol; they’re kind of getting a little bit of play. But a band named Keen that just came out, I believe they’re from Scotland. Their record’s really good. The Cardigan’s, from Sweden, I just saw them a few weeks ago. They’re one of my favorites. A band called South. Embrace, their music is really good. Elbow, Supergrass, all those kinds of bands. That’s kind of like my forte, the whole British pop stuff. I do think that influences me in some way, but definitely the heavier stuff I used to be into probably shows through a little bit more on the records.

RC: Focal Point was my first signed band, and first band that went out and did it for real as far as going out of town and playing shows and touring and stuff like that. That was definitely my first "real band." Before that, though, I definitely had my share of garage bands, bands that would play little house shows and stuff like that. Focal Point, before we kind of added a few members and had gotten serious about it, was called Opposed, and we did play one show with The Blamed. It was the very initial stages of it. I was in a band called Forklift. There was another more popular band named Forklift, but of course, being young I didn’t really know about that. I was in so many bands that weren’t really bands, and they had so many names and stuff like that. But, yeah, I was definitely in a handful of garage bands that kind of led up to Focal Point. My brother was in a band called Offset for awhile; that was his first band. Actually, the other guitarist for Focal Point was in that band, and that’s kind of how we met and stuff.

RC: There’s definitely pros and cons just like in anything, but working in the music industry just aside from being a band member, working at a record label and working with record labels and managers and things like that everyday, you get a little bit more of an understanding about it. I think that’s also what helped us mature before starting Demon Hunter. We kind of started working more in the industry while not being in a band, and I think it helped. Definitely. In that way, I think there is… As long as you know the game and you know how it works, there’s things that you can do to better your band and better your career and things like that. Once you kind of have your foot in the door as far as that is concerned, I think you can make things work for your band. A lot of bands don’t really know the power they have, and they don’t know the rules or the ins and outs and stuff. There’s definitely things that ruin the industry, and there always will be. There’s some managers that are really difficult, and there are some labels that are really difficult. I think it comes down to the person and the people. There are some managers that are great and easy to work with, and they still get the job done. There’s labels that are the same way. But I think just knowing your stuff, whether it’s like reading a book, or just getting in with the label that you’re on and kind of beginning to understand how it works. You’re not the only band on the label, things like that. I think it’s all just really helped in giving us a better idea of how to do things.

RC: Yeah, so good that it’s hard to tour. [Laughter]

RC: Yeah, that’s definitely the reason why it’s difficult for us to go out. We’ve kind of vowed to make it work as often as we can. For right now, it’s about a month a year, and we take a month in the summer and just go out and do it. Right now we’re just wrapping up all that we can, and we’re denying jobs that we kind of wish we didn’t have to deny and stuff like that. It’s going really well. We’re doing merchandise for Usher and Jessica Simpson…

RC: …Slayer, HI.M, and Van Halen. Stuff like that.

RC: So, it’s going really well. It’s definitely kind of a tug of war. It’s the kind of thing where we’re all pretty satisfied in doing our day job because it isn’t… Playing in a band isn’t kind of our dream occupation. Sometimes it’s even more exciting than being in a band. Being in a band is actually, other than being in a studio, means sitting in a van all day long, getting somewhere, and having fun for an hour.

RC: In that respect it’s nice to have the day-to-day of this, and it’s fun. We’re really fortunate to have jobs like this. It’s not like a run-of-the-mill job. But, yeah, things are going really well.

RC: Yeah, it’s pretty much word of mouth.

RC: We’ve never advertised in anything. We’ve been in magazines and books and things like that. Design annuals like Communication Arts and Print. That’s helped a little bit, but most of it is you get one job and someone else hears about you…

RC: Yeah, yeah, exactly. Our site gets tossed around to people. We’re at the point where we’ve pretty much worked with every major label So, it definitely just snowballs. Word of mouth spreads pretty quickly.

RC: I think it’s going to be a lot of fun. We’re just kind of nearing getting it going. Our first show is a week from tomorrow, which is June 11. We play here, and then head down the West Coast, and slowly make it over to the East Coast. Yeah, we’re just getting ready. Actually, Jesse, our drummer, had to cancel a few months ago, but we have a replacement and things are going well. It was definitely different.

RC: But it’s shaping up to be really good.

RC: A friend named Yogi. He played in a band called Holland on Tooth & Nail [Records]. He, like Jesse, is not really known for playing metal stuff, but he’s as hard of a metalhead. He’s kind of been a buddy of ours for awhile. He always talked about, "If anything happens, give me a call." We were going through a few people that we had in mind, and we were like, "He really wants to do it, and he’s a really cool guy. We should do it. It’ll be a comfortable situation for all of us, so let’s give it a shot." We have about a week left of practice, and we’re out on the road.

RC: Yeah, they’re kind of phasing out Holland. They’re called The Lonely Hearts.

RC: He’s still doing that. He also does studio work. He drummed on the last Audio Adrenaline record, I think it was. He won a Grammy for it.

RC: He, like Jesse, is just super tight, and a really good backbone.

RC: As far as each night?

RC: I think the set’s a little over an hour, an hour and 10 minutes, about 14 songs.

RC: Um, real, real minimally. From time to time I’ll have an idea, but nothing written down or recorded or anything like that. But as soon as we’re back from tour, and we can kind of like take a breath, I’ll be right back on it and writing stuff.

RC: A lot of college radio play.

RC: I tend to doubt we’ve been on any major ones. But, for the first record we charted pretty well on the CMJ Loud Rock and stuff like that. I don’t know about this new record, but I’ve heard from… I think "…Heartstrings…" was #1 most requested song, Christian rock song, for like the week that the record came out or whatever. I don’t know if that was a national thing or a regional thing or something, but that’s just kind of what I heard.

RC: Okay.

RC: Yeah, just kind of names that we were joking around about, no real significance. It was just kind of a fun way to… None of us really had nicknames growing up or things like that that we could use…

RC: …so it was kind of a fun excuse to do that.

RC: Uh, let me think. [Pause] No, he wasn’t.

RC: No.

RC: No.

RC: Yeah.

RC: Yeah, that is true.

RC: He just, at the time, ZAO was still going on. And now he’s doing his side project and everything. We more or less wanted to be able to work with someone locally. Yeah, what we had kind of just fell into our laps up here, and we were pleased with it. For the demo, Jesse was kind of in town on tour, and it was real unplanned. We kind of just threw that together. It came out good, and it was a good starting point.

RC: Yeah, as things started to form a little more solidly, we had another guy that we had in mind. So, that’s really about it.

CO: Okay, last question. Kris took the cover photo for Summer of Darkness [http://images.amazon.com/images/P/B0001Z36P0.01.LZZZZZZZ.jpg], right?

RC: Um hm.

RC: It is not.

RC: It’s kind of a compilation of images. The skull is actually a cow skull.

RC: The horns don’t do that at all. They kind of just went straight out from the head at like a 90 degree angle. They were only about four inches long.

RC: So, yeah, it was just a lot of…

RC: …Photoshop mastering. All the flowers and the wreath, everything is separate photos.

RC: Yeah, it’s just kind of all pieced together. The eyes were a lot smaller than that, and they were more on the sides, like almost not visible at that angle. Yeah, he just kind of pieced it together and made it look as much like the original logo [http://images.amazon.com/images/P/B00006LI2P.01.LZZZZZZZ.jpg] as he could. I think he did a good, killer job on it.

RC: No, thanks for the interview, though. I appreciate it.