 Welcome to the Metal Voice, are they on the show? Let everybody guess. Lips from Anvil, always a pleasure. The one website, the Metal Voice that always promotes Anvil on every show. We try to always slip Anvil in no matter what we do. Lips, we do like a product placement. Like Alan will put a little Anvil you know in the corner somewhere. We interview somebody and all of a sudden like an album will pop by you. All right man, pretty exciting stuff. You know what, I don't want to call it a tour because you didn't call it a tour. It's a regional tour, we'll call it, right Lips? Yeah, that's it, it's regional. It's just like you're going back to the late 70s. It's Ontario and Quebec. Like what was in the late 70s, no different. Yeah, that's what it seems like. Not much has changed. Except the mustache is no longer there. The mustache is gone. Yeah, and so is the electric circle. So what the hell? The gas works is gone, right? Yeah. I'm sure you played there many times back in the day. Yeah, probably too many times. Did you, did you, I think once you said you saw Rush play there with John Retzi, the original drummer, is that true? No. It was someone else. Yeah, it wasn't me. I did never saw Rush at the gas works. I saw Rush at my high school. Oh, oh, maybe I did. I mean, it was John Retzi. I think in 74 maybe, 75, maybe, no, earlier. No, it has to be like 72 maybe. So I mean, John Retzi was a drummer, right? Yeah, yeah. The original drummer, right? Yeah, that's when they'd open their set with the thing from Superman. Look, up in the sky, it's a bird, it's a plane. And then, you know, that song. Yeah, oh yeah, that's finding my way, right? That's finding my way, yeah. Yeah, that must have been pretty cool. I mean, back then when you saw Rush, I'm just curious, like, did you think, man, this band is gonna be who they are today? I wouldn't have thought they were as gonna be as big as they got, but certainly it was the best that you might see in your high school, you know what I mean? Like, and you knew it, like it was really heavy. And at that day and age, you didn't see stuff like that. I mean, there were other bands in, you know, but not like that, not like that, man. You know, not really, really loud. It wasn't metal yet. It was still, it was still hard rock, you know? So it was, you know, what did you see in the bar in the schools at that time? Brutus, right? Carol Pope, Rough Trip. Oh, Carol Pope, yeah, yeah. I'm just thinking about other bands that you saw around here. No, that came later. That came way later than me, they came after Rush, at least in my view, it was probably didn't, yeah, they definitely came after Rush. How old were you? How old were you when you saw Rush, do you remember? It would have been grade 11 or 12. So I was already 16, 17, at least. Yeah, well, they were only 40 years older than me, so it's, they're young guys. They were young guys at that point in time. They played what was called the Victory Burlesque House. I went to see them there. And it was, that was a great show because they had Blood Rock open for them. I don't know Blood Rock. Yeah, I know, well, I wouldn't expect you to, you're not old enough. I don't know Blood Rock. Did they get any traction Blood Rock? Here in Canada, probably not. That doesn't mean that they weren't, they were a significant band. They were produced by the same, by Terry Knight, the same guy that produced Grand Funk. Okay, very good. They're a hard rock band. I really like them, like I do. I don't know about, you know what I mean? Like I'm a fan of Blood Rock. I enjoy them. Very old. That's one for people who start googling. Yeah, they make and look it up and it's an old 70s rock band. Were they a Canadian band? Oh no, they're American. Obviously, Terry Knight's managing them. Yeah, that's what I was figuring, yeah. That's pretty cool. So your high school, I mean, was there any inspiration? You see Rush playing and go, you know what, I wanna do what they're doing. I wanna do Rush. No, no, I already was doing it. Long, for a long time already. No, Rush has not been an inspiration to me. Sorry. Okay, all right. Frank Marino, much more. Yeah, yeah, that's Frank. But not Frank, you know what I mean? It's not that, I like English bands. You know, I like the stuff that they listen to. You know what I mean? Like listening to their versions of what I was listening to. I'd rather listen to what I was listening to, right? Right, right. And I don't mean to be offensive, I mean, it's not, it's not, it's just, they're okay. I mean, I thought they were pretty good. Yeah, I like April, I always liked April Wine more. Yep, think about April Wines. First concert I ever saw was April Wines. April Wine has been more of an influence to me and great up to today. You know what I mean? I look at April Wine more special. I know that the rest of the world doesn't, but I do. And Frank Marino, did he come by your high school back then? No, no, I never, I didn't, the only time I ever saw Frank Marino was when I opened for him. That was when, when was that? In Montreal in 1983. Wow, wow, that's pretty cool. That must have been the juggernaut era. That's exactly what it was. It was great. What have you got? Good guitars for sure. Yeah, I really, that was really, that was really cool to see that in its day. But that was pretty much it, you know? Didn't really go on, continue up much further than that, did it? So, yeah. No, that was, see, we've interviewed Frank, he said that was pretty much the end. He was sick with the corporate world and that was pretty much the end for him after the juggernaut, so. Yeah, yeah. Strange dreams was playing everywhere that summer. All the radio was playing. You couldn't have frustrated Frank more. You know what I mean? They pick out of all those albums and all those songs, they pick a song that's got no guitar solo. No guitar solo. That's what he mentioned, yeah. He said the same thing you said, but you know, they basically made these albums, I guess they front him the money for sure to make those albums, but there was no money after that. There was no money, just like the same way, you know, you guys kind of, when you're first three albums, maybe there wasn't. Oh, hey, hey, listen, there's money, there's lots of money, but none that goes to the band. Nobody's making the money. Come on, that's the nature of the music business, that's the way, it's like loan sharking, right? Hell, money for your album and you're gonna pay 10 to one back. That's what it works like, right? I don't think that most people really come to understand how the business actually works. When a record company gives you an advance, let's just use numbers, okay? That are not relevant to Anvil or necessarily anybody. Let's say they give you 10 grand, okay? Well, you're gonna pay that $10,000 off by selling 10,000 CDs because they give the band a dollar towards the red line for every CD. So that's what your cut is. One dollar, so while the band is paying off the red line at a dollar per sale, right? The record company's making $19, right? So where's all the money going? They give it to you, they gave you the 10 grand, there you go. And they always say they're magicians that math the accountants, right? They just kind of, well, you didn't really pay it off yet. Well, you know. Oh, you're very seldom do royalty advances actually get cleared. And they never want them to either because as soon as they do, then they start owing in money. Yeah, yeah, yeah. So they make the numbers dance on the page and all records and CDs going to mom and pops shops they're not tallied. So you're never going to get paid for them. And didn't you have an instance where Attic sent out all these promotional copies that they charged against you when they were giving them away as well? Well, that's another way, right? How about Attic Records doing a backdoor deal with a company in France who pressed a million copies? How about that? A picture disks, you know, the Anvil picture disks? Yeah. Well, there's about a million of metal on metal and hard and heavy that are out there that were sold at a fraction of the price of a regular release, right? Like everybody's getting black vinyl and they're paying 12 bucks for the album. But if you buy the picture disk by Anvil, they're $5. Well, that's what happened. I remember seeing that. That really happened. And the really, there's no point in talking about it. There's no point in talking about it. What's going to change by talking about it? Nothing. There's no more music in there. I never got paid. I still never going to get paid. And that's, you know, it's so typical of the music business for that kind of crap to go on, man. It's just, and I know I'm not the only one. There's lots of bands that never get paid. I set it in my movie. 90% of bands never get paid. So then you fast forward to today and everybody's saying, well, we're not getting paid. We're not getting paid for our albums, but no one ever really got paid. No. You've got to sell millions. A black Sabbath didn't get paid. Oz, he didn't make money until Sharon and him put together the Blizzard of Oz. That's the first time he saw money in all those years. Yeah, but is it talked about? Does anybody know? Did they realize these things? No, man, it cost money to make somebody a rock star. A lot of money. And to the rock star himself, to the point where they're living in a poor house. Even though they're fucking filthy, filthy famous. You know what I mean? They're not really making money. And then of course what that turned into and what it is now, it's all about the merchandise. It's all about t-shirts. I could give a rat's ass whether the record company's giving me money or not. I make all my money from merchandising and playing live. That's how you do it. It's the only way to do it. It's the way all the bands do it, including the biggest bands in the world. Why do you think Metallica have pop-up shops before they go play? And what's a pop-up shop? That's so that they can sell their merchandise before the show. Because at the show it's double the price because they have to split all the take to the promoter. Oh boy. Now when let's say they're hiring Metallica for the night, it costs the promoter a million bucks. Well, it cost Metallica a million dollars to put the show on because they've got like 180 fucking roadies and 18 wheeler trucks and it takes 24 hours to set up a fucking stage. So yeah, no kidding. It costs a lot of money, right? Live nation, right? They just announced that. That's the way it works. So what happens is like or with ACDC, they manufacture the horns, you know what I mean? And they sell them for 15, 20 bucks and they cost 50 cents. Yeah, yeah. And that's how ACDC, everybody pretty much who walks into that show buys a pair of those horns and they make all the money from the merchandise. That's their own pocket money. So they'll walk out with a few hundred thousand dollars each. Insurance policies that these guys have to pay just to put a show on. Yeah, no cancellations. I mean, it's not about cancellations, but about if something happens to anybody in that crowd for any reason, the band can become responsible. So the band has to pay a fortune in insurance to just go play the show. So that's why I'm saying, you know, they get a million bucks, but it just costs them $40,000 to ensure the show, right? So it's like, you know, people are wondering why it's, you know, $200, $300 for a ticket. Well, there's, there you go. Yeah. Everybody's got their fingers in the pie. What the hell? Meanwhile, Venom used to, you know, use explosives in 82 and 83 that there was. So did we. Come on, man. But that's, you know, like think about all the clubs we played and that we were using pyrotechniques that were completely illegal through the whole thing. Had anything ever happened to anybody, we would have been fucking clucked. Wow, you know, nevermind setting the place on fire, but somebody getting blown up or injured from the explosion or anything like that, man. You know, our roadie got blown up, but he didn't sue us. He blew himself up. It was his own fault. Did easier travel like this tour, you know, you're starting October 2nd, 12th, going to the November 18th, you're doing, like you said, Quebec, Ontario, and we almost call it the station wagon tour. Is that easier than the old days or? I don't know, the thing is we're in between because this is, we just, I just got back from Germany. I just finished recording the 20th album and that went really well. And I can tell you this, that I can honestly say that it's bookended our career in a certain sense. The way we started up out is the way we're ending up. It's actually quite interesting. A complete circle. So heavy and hard. What do I mean by that? What I just recorded is probably going to be as accessible, if not more accessible than metal on metal. And saying this is the end of Anvil, right? That's not what you're saying. Pardon me? When you say bookended, you're not saying it's the end. Well, I don't know, maybe there's another album or two, but what I generally mean, the way we were, I mean, metal on metal was my second album, right? I'm just generally saying the beginning of my career and I'm fucking 67, dude. I got heart, I got heart problems. I don't know how much longer I got. You know what I mean? Life has a beginning, middle and end. That's the way it works for everybody. No one gets out alive. No exception. You know, speaking back then, Fortune Fire released in 83. You didn't do any of these 50th anniversary or 40th anniversary tours. I should say like a lot of bands, would they just play a lot of songs off of that album? No, because Anvil stayed relevant and we put out albums every couple of years for 45 years. Why am I celebrating something that happened in 83 when I've got to promote what I'm doing now? Doesn't make sense. It makes no sense to me. Can we expect new songs at this time? The audience that we are drawing in this day and age don't even barely know that shit. That's true. I've seen that at the last concert here in Montreal and that's what it was, a lot of younger people. All young people, man. What do they know? They know what we've done recently in recent years. Since the movie, it's actually, it's remarkable. It's unique to Anvil. It's not like that for everybody because not everybody had a documentary that did that well. It's just the way that it played itself out. I think it speaks to your work ethic too. You guys are like clocks, right? Every two years, you've got interesting lyrics that tell the story. But this is the thing, Anvil is not a pop band. You know what I mean? We're not cold play. You know what I mean? For sure. You know, and what do I mean by that? We don't, we're not radio friendly. Never really have been, okay? So if you're not radio friendly, that means you've got to put out albums every year, okay? If you've got songs on the radio, you can take four years and not bother doing shit for four fucking years. Not if you don't. How do you stay relevant, man? You've got to keep pumping your name out there. And the only way to do that is to put an album out and then you've got promotion, right? Now you're out there. No promotion, no album. You sit in your dormant. No one knows you're even there. You've got to be on the metal voice. Park, man. So Light Motorhead, which is with a very, very similar, similar history. Saxon? Yeah, Saxon. Yeah. How many albums? Saxon also, 20 albums or whatever and put out albums and they're not gonna sit, you know, I just don't see, and I don't think really Motorhead ever did it. Did they go ever go back out and do an Aces Fades tour? Years ago. No, they didn't, no, they're right. No, no, no. Why would they do that? They're gonna be promoting their newest album that they just put out, right? So speaking of that lips. They're putting out albums every year and a half. Yeah, yeah. Which is no different than what I've been doing. It's what you do if you're a, you know, an artist musician. I guess a non-commercial, non-commercial or non-radial play metal band, that's what you do. You have to prove yourself worthy every year or two with a new album. That's the way you do it. So saying that on this tour that's coming up, can we expect any of the new songs being played? Of course. Great. Well, not from the newest album. No. That's what he meant. You can't do that. No, you can't do that. I would, and in the old days you could but that's before social media and people fucking filming every night. You know what I mean? I really don't wanna release new songs by somebody videotaping me with their phone at a gig. I'd rather put the real recording out there. You know what I mean? So how was the recording now? How long did it take? Actually, I was so well prepared this time. I finished everything within probably two weeks. Wow. Yeah. I think the third week was the final. I pretty much finished. And I sat around for two weeks in Europe doing fuck all. Because I finished way earlier. We booked five weeks and I was done in three. So I don't know. Just the way it goes, right? But I'm not complaining. I'm just saying that that's just the way it went. I went in really prepared. You know, it only took about two or three days to put all the bed tracks down. 14 songs. Okay, that's a 14. And then for seven days straight, I did all the singing. And lead guitar playing. So half the day I played, well, the way it worked is I went in, sing on the first, at the first I sang two songs. And then the next day I go in in the morning, play my two, the two solos on the songs that have the singing on, then go and sing in the afternoon to make the two next songs so that I can play the solos in the morning. So I got the 14 songs done in seven days. Normally, I never did things like that. I just never did things like that. And never that prepared. But honestly, this time I completely pre-wrote the album and had it completely sorted out so that all I had to do was just perform it. That was it. There was no creativity. It's actually, it's completely mechanical. You just got to do the job, right? Get it done. You're hearing about, you know, Stephen Tyler blowing his voice out. And you know, he's 67, he took you seven days to do all the vocals. How'd you do it? Well, I don't have a problem doing that. I'm not hurting. I quit smoking years ago. I don't know. My fingers hurt more than my throat. I'm serious, man. Your fingers hurt more than I suffered more from playing lead guitar than I did from singing because it's much more intense because you're attacking to play lead guitar, you're really attacking the neck. It's not the same as, it's really hard to explain. You're physically pushing your fingers to get those what you want to get done, right? And you're doing like my approach, I don't pre-plan my solos. I create them in the studio. So what the engineer does is he runs the section where the lead guitar is and I just keep playing the solo over and over again. And eventually I get a completed written piece from doing it over and over again and then it's captured. That's it. So it's just that you're not playing it once, you're playing it 30 times, right? So think about what that's doing to your fingers if you're playing the same fucking solo 30 times. 14 days. Yeah, for 14 days, yeah. I mean, the calluses are fucking really thick right now because it was the last thing I just did which made it really, really good to go into rehearsal for the shows that we have because I didn't have to work my fingers and get into shape. They were already there. So it's been, the only thing I had to do was listen to the set again and sort of clear my head of the newest work because all your faculties are zeroed in on what you just did not on what you used to do. You know what I mean? So you have to re, I don't know, re- Re-program. Yeah, reprogram your brain. Reset. Yeah, you gotta start playing metal on metal again. You remember the words? Let me hear it once. I remember when I was, you were a bunch of last time you were promoting, of course the impact is imminent, right? Yeah. You already told me, Jimmy, we got the next album, or maybe it was Rob, we got the next album written already and it's even better than this one. Yeah. That's how prepared you were. Well, that's right because of the COVID thing we started, we really buckled down. I did the writing of three albums in the time that I would do one. It's fucking nuts, man. Like, it's nuts. It just, to me, it's fucking, yeah. I've never, in my career, I've never written salt been in the writing mode for such a long period of time. It's ridiculous. You think about it, over 30 songs got written, you know? You know. It's a lot of work, man. A lot of homework. So what can we expect on this tour? Okay, what? Well, it's not really... Like I said, you can expect virtually, if you missed us last time, now you're gonna see us again doing virtually the same thing. Man, I don't know, maybe there would be a couple, I don't know whether I'm, what I played in Montreal the last time, someone will have to remind me. Then maybe I can change up a couple of things, but generally nothing's changed because we haven't had a lot of time and haven't put out the new album yet. Although I think we, I don't know if we played Forge and Fire. Did we play Forge and Fire in Montreal last time? I can't remember, I'd have to look it up. I don't, I'm like you, I don't remember. Yeah. You played the time before, if I remember correctly, I think you played for us. I think we did, this is 13, I don't know. And the other question, did we do Ooh Baby or did we do School of? I don't know, I don't remember. So yeah, there's always little, small little nuances, usually with the old stuff that you've got to swap it out if you've been there too many times, right? Is this tour like a preparation for something maybe bigger down the road or is it? I don't know what you mean, what was it? It's like, you know, this is a smaller run just like you said, Ontario, Quebec, but is this like kind of working your way up to maybe something happening in the future, a larger tour? Oh no, no, no, no, no, no, no. We're not doing anything until the new album comes out and that could be not until next summer. Next summer, okay. Yeah, and between November and I guess May or June, I'm gonna be getting a procedure done to my heart, which is, I've got this, I've got atrial fibrillation, which is not a good thing. It's, they gotta put a wire into a vein and then up into my heart and burn some nerve endings that are making my heart beat irregularly. And that's how they fix it. It's not open surgery or anything, it's like a, two hours out, you're out. But the thing is, it's a huge backlog in patients for, because this is really, really common. And of course, I'm a baby boomer and the hospital is packed with us. Yeah, that's a whole other discussion. So, yeah, so in any case, that's what I'm gonna be doing and probably in November and December and I'm gonna be getting a procedure done that I'm doing and probably in November and December. And then after that's done, I'm gonna probably begin writing for the next album. Well, the next album, the next album. The next album, yeah, for 21, yeah, for the album 21. And by the time that we go out on tour for the newest album that I just finished, I will have the new, like the last time, I'll have another new album already written. Amazing bottle. It's a cycle. Yeah, yeah. You know, I was watching yesterday as just, I always try to watch some other interviews or older interviews. And I watched it all with you and Sasha and Rob. You know what? I don't think people understand the depth of the sort of the beginnings of how you guys met Sasha at 13 or 14 or 15 years old. I don't know if there's a question here, but I don't think people understand the depth of- Well, the thing is everybody goes, oh, man, you know, the typical attitude of jealous. And I'm gonna use the word jealous musicians. That could have happened to any band. No, no, that's not the way it works. That's like saying every band can make it. Any band can make it and they all will. No, no, one in a million. And that's what it is. That's exactly what it was. And that's why no one has surpassed the anvil, the story is anvil in documentaries and they won't. It's just not gonna be possible. That movie took over 35 years to cultivate. And I use the word cultivate. You need a history. You need 12 albums that didn't go big. Not two albums, not 10 albums, 12. The misconception, you guys, you've never gone anywhere. Well, I would have to disagree. When we did the movie, we had 12 albums out. We were recording our 13th record. But lips, there's even more to it. That's not a failure. I hate there's even failure. That's not fucking failure. But there's more to this. And this is what I realized yesterday was Sacha was on the verge of going bankrupt. And you guys gave it all. It was basically a do or die situation for everyone if this movie flopped. Yeah, but in my view, not possible. No, no, no, I get that. I get that. I still insist that I, well, I did. I knew, I fucking knew. When I met up with Sasha after not seeing him for 25 or more years. And he said, after he sat me down at his uncle's place and he goes, I'm gonna make a movie about you. I broke into tears. Because I knew my ship just came in. I knew what it was. I recognized it immediately. Because let's face it, Sasha was worked for Steven Spielberg. We're not talking about some jerk off with a fucking video camera, okay? Like me. We're talking, we're talking about somebody who's working in Hollywood. Somebody who's got their degrees in fucking film school. We're talking about a real fucking situation. A Hollywood guy made a movie about Anvil. Not a fucking local guy with a video camera. It's completely different. So from my perspective, I could see that. And then to me, I'm going, well, wait a minute. I've got 12 albums and a hard luck story that who's gonna fucking surpass that? Yeah, yeah. Underdog story. Everybody loves the underdog. Like you're not gonna surpass it. Then the other, a very important aspect, who's got, who's articulate enough? Who's got the balls, right? Who's got the balls to admit to the world, hey, I haven't made it. Everybody who makes a fucking documentary, all they do is hype themselves and make themselves look like they've been rock stars since the first day they came out. They don't never tell the truth. They show gigs that are all packed. And if they make a video or whatever, everybody's paid to be there. So it's a whole crock of shit, never works. If it's real and it's true. The other thing is, another important aspect about the Anvil movie, it was written in real time. It was done in real time, okay? But it wasn't like it was planned and it wasn't like it's, and it was about what's happening now, this moment. Not what happened 30 years ago. The first 10 minutes of the Anvil movie talk about the band's past. The rest is all about what we were doing at the moment. And that is way more intriguing and way more captivating than watching somebody talk about something in retrospect. How many years did they follow you? Three years. Wow, I just love the part. I just love the part I was listening to Sasha talk about his whole experience. It was just mind blowing. Here's a Hollywood, like you said, this Hollywood big wake where we just say a massive guy in Hollywood, he risks it all for you. And then you go, I think, was it the Keynes Film Festival? I can't remember, it was the Sundance, or I don't remember, he told you, I'm gonna submit this to Sundance. And you go, okay, but you didn't realize it was like 20,000 other submissions. Yeah, it wasn't just that, I thought it was a shoe in. I didn't know it had to be submitted. And then they had to sit on a fucking, on a board of directors, what? Yeah. I thought it was a shoe in, I thought you would do the movie, hand it in, and away you go, oh no. They have to like the movie. And then they schedule it into the festival. But they liked the movie so much, it became, it was the year's favorite movie at the festival. So all the workers throughout the whole festival, they had an Anvil Knight. We were the only movie to do that. I mean, there were a lot of things that, listen, man, it's magical, it's a one-time deal, that it's not gonna happen again. So when you said you do that your ship had come in, while you're filming, all the things that happened that you mentioned, you about the painting that's falling, and it's the same painting that you see when you go over to record the CDs, plays, all the things with your father and stuff, did that reinforce that guys, you don't understand what we're dealing with. This is, none of my ship come in, but this is gonna happen, it's gonna happen big. Did it reinforce you, all these little things you were noticing along the way? Well, the thing is there's a lot of weird, weird things that happen that you're going, something's guiding this. I was, and I'm not religious, and I wouldn't, I don't know that it's a God. I mean, I could never answer that question, but I could honestly tell you that it really, really felt like it was being guided somehow, like somebody else was watching over and making shit happen, you know? Like you're going, why, how, what the fuck? During the recording, there were of course times where the cameras weren't around and stuff, right? So, we go do a gig here in Toronto, and it's got, we load in and it's got this huge fucking staircase that goes up a mile into the fucking, up to the fucking club, and we're killing ourselves, taking the gear up and down it. Anyway, I got this, we got this friend, Mike, who's just a, just a regular headbanger friend that we've known for quite some time, and he offers to take my amp down the stairs. So, he gets up on the stage, he picks up one of my fender twins and drops it. Well, not a good thing, right? At least not at that moment, that's for sure. And I fucking, I lost it. I fucking lost it, man. Anyway, as it turns out, he paid for all the damage and everything, but as it turns out, he went to Japan because he's friends with the loudness, with loudness and stuff like that. So, he went and go and visit Japan and he went to see loudness and the promoters that put it on, he's Creative Man Promotion Company in Japan, and he makes friends with the guy from the promotion company, and he goes, why don't you get Anvil here? And the guy goes, Anvil? He goes, yeah, man. He says, they're available. And he goes, okay, meanwhile, meanwhile, Osh was going, we need a show to have at the end of the movie of you guys playing in Japan. And we need that show to happen in some time in the middle of October. And I'm thinking, how the fuck, what are you thinking, man? Yeah, right, let me conjure it up. Yeah, right. How the fuck am I gonna get a gig in fucking Japan? And why would they just put it on in the middle of October? What happens is after Mike visited Japan, I get a fucking call. And the guy goes, hi, I'm from Japan. I've worked for Creative Man Promotion Company. We'd like to bring you to Japan for October 15th. Pretty amazing, yeah. Like, how do you explain that? How do you fucking explain shit like that, man? That's the thing. And, okay, then we finally get there and we discover we're on at 11.30 in the fucking morning. Not going, oh, great, all this, but how many people are gonna be here? We're like a second band on or something like that? Fuck, I'm flipping out, right? Well, as it turns out, and we'll hadn't been there in 25 or plus years, everybody wanted to see it. Because all these thousands of kids who never got to see it in its day in the 80s are going, fuck, the original Anvil is coming to fucking Japan. So the hall is packed at 11.30 in the fucking morning. Which you need that scene for the film. What we needed for the film and what all the other support bands who had paid to be on the bill were praying that Anvil drew so that at least there's a fucking crowd. Wow. And that's why we were put on the first thing in the morning. So there was that respect, there was that honoring your history that also played into that first slot? That's right, but they don't tell you we were putting you on early so that we can get an audience in here. They're not gonna tell you that. And I don't know whether I would have agreed to it or not, it's hard to say. Ha, ha, ha, ha. These kind of things, you can't, there's no, it's beyond explanation. Really? And it's their magical aspects of how the movie got made. We're gonna leave you with this lips and to everyone out there, it's Ajax, October the 12th, Peterborough, Kingston, Pembroke, Quebec City, Tuarevier, Montréal, all the way back in Tuantere, all the way to Toronto, November 18th. So the tour dates are up. You guys are coming through. It's nice to see you guys come back again to Quebec, Ontario, which is basically where you started from. That's right. Like I said, we've been completing the cycle. Ha, ha, ha. What's the website? Where do you want people to go and check? It's always been a bit of a- Oh, Jesus. Ah, fuck. I don't know. Check Facebook, check Instagram. I'm not running a website, no point. Facebook comes to work. So does Instagram. So do all the social medias. You know, even the YouTube gets sponsored when they put out an album. So there's almost no point in having a website. So find the Anvil Facebook page, find Lips Anvil on Instagram or Rob Reiner or, ha, ha. Yeah, so it's all there. It's all there. Just taping Lips and- Yeah, just to take a look. See all the, and stuff's always being posted by the clubs as well, so. Yeah, it's good stuff. Lips, we're looking forward to see you guys again. On the 22nd, yeah. Yeah, I'm looking forward to it too. I love Montreal. It's one of, of course, it's one of my favorites and man, have I got memories. Well, hopefully we'll see you there. Hopefully we can hook up and then, you know, wish you a great tour in advance. Yeah, only this time if we're gonna go have dinner, maybe ought to make reservations. Yes. All it was in there last time and we didn't have reservations. We were just standing outside of St. Hubert Restaurant. Didn't we end up going to McDonald's? Well, maybe that was the time of, I don't know. The time before we were able to have a meal. Yeah, yeah, yeah, yeah, yeah. All right, man, thanks. Thanks for everything. All the best. Thanks for your time. I know Robin Chris for us. Okay, man. Have a good afternoon.