 I forgot a letter, Drew. The Bell Tolls! Hank Tilt! Hey, it's KK, Metal Voice, Man on the Street. Today on It's South Salem, New York, at St. Paul's Chapel with the Bouchard Brothers. We're going to discuss 1975's Double Live album on your feet or on your knees today. Hey guys, 1975. You're a pretty new band. You're like a cult act at that point. What made you guys put out a Double Live album? It was sort of a tribute to our fans so they could have something to take home that reminded them of our crazy, high energy, loud show that we did. Now, as I remember it, people were saying you guys sound better live than you do on your records. We sounded much more like bands that couldn't even match your records. They couldn't reproduce it. We didn't even try to reproduce it. We tried to go better than the record. I think that was one of the things, the other thing, and correct me if I'm wrong, but wasn't that right when Peter Frampton's, Frampton Comes Alive came out at that time? That was a huge seller for Columbia and so they were like, you guys got to do a live album. That was the other thing and we're like okay, if we could sell like Peter Frampton. A little souvenir of the talk. Yeah, it was a souvenir of the tour. It was a good price, double album. It was definitely the party album of the year. I heard it because I just moved into Mass, but at the time Queens and they had alleyways and there was a full tent of purpose, a motorcycle club called the Moon Pub Boys who all had this funny insignia painted on their back of their jacket. And I would hear it every night. I would hear hot rails to hell, cities on flame, and my favorite astronomy which constantly until the new album came out and changed everything because the next album would move you up to the next bracket. It was our first goal record, okay, so it was our first really successful. You know, I think that Columbia probably lost money. You know, we were unrecouped until I didn't feed her on these. Oh, when that came out? Yeah, when that came out, it was the first time we, maybe there's something here. Yeah, we could. And, you know, I mean, it was just done luck that Donald wrote Reaper right after that. Right after that. Yeah, it was like, okay. It's a nice collection of your first three albums. It's a nice, like, a silver year of it. Yeah. It wraps up everything very tight and then you're on to the next phase of the band. I know, but you know what? Doing this, you know, I'm revisiting all those songs in my latest thing. We'll talk about it later. But one of the things that I thought was odd was that we did such a great live version of Quickline Girl and it wasn't on there. Yeah, there was a lot of good stuff that, you know. Yeah. Yeah, that we did. We did go for the energy. I think I can remember playing that, I don't remember playing things that fast and that loud and that continuously. Pretty much the only time you guys slow up on that album was last days of May. Yeah, that's true. Last days of May. That's the only time the breaks come on a little bit. Yeah. But other than that, it's full speed ahead. Full speed ahead. I got some questions from the guys at Morning Final. Okay, sure. Art Tanel says, why did Subhumans start it off? Instead of Harvester of Eyes, what has the great Scott Muti into, why was it flipped around? The second song has the intro of the band. Well, Subhumans, that's a tremendous version of the song Subhumans. Yeah, I think that we were so happy that we... It sounded rich and full of basses. We were very disappointed with the Secret Trees version. That was one of the things that, you know, we were like, you know... We can do better. We can do better. That was really, it was like, because we really spent a lot of time making that. We actually made that record in a church, Secret Trees. Secret Trees. Yeah. In the city. Yeah, Studio C, where they did all the symphonies. They did all the jazz recordings. Yeah, Miles Davis. Miles Davis, Dave Bubeck. All done in that beautiful room. Yeah, which was a church. Yeah, and so we... They mixed it while we were out on the road. You know, we heard the mixes. It's pretty, you know, Astronomy, Telepass. Those were great, but Subhuman, it was like, it sounds like you put a blanket over the whole thing. Yeah. So we were very disappointed. So I think the fact that we redeemed that song, you know, on the live record, we were so happy and proud of it. Made a deal with it. Yeah. Check this out. Yeah. You think you'd like this before? Now, Alan Wines asked if you guys were disappointed with the mix of the live album at the time. Well, that was mixed by Jack Douglas. Yeah. We were so not disappointed. We were delighted by the mix. It was great to have Jack on board. He, you know, responsible for all those great Aerosmith albums. Cheap track. Cheap track and Aerosmith. Yeah. Yeah, so he was great. And we actually, they wanted to mix it. We're like, after Sacred Treaties, we're like, no. You can produce it, but don't mix it. Don't mix it. Hire somebody else. And they're like, who? Jack Douglas. Oh, okay. Okay. Good job. Yeah. That was a lot of good people. Yeah. That was great. And last is Todd Ellenberg. He wants to know if there are still any tapes around for expanded verses of the whole show that would mirror like that sequencing of an attire concert that you could put out. That, all of those tapes, I believe were stored at, what's it called? The place in Blackwack. Oh, yeah. I don't know. In California, I think. Well, not the one I want to find, right? No, I don't think so. No, that was in a sound stage, I believe. Yeah. No, I think they still haven't. They probably do. I mean, I know that from Imaginos, I, all of those tapes were being held by Sandy Promen. Okay. And they're in our storage facility in San Francisco right now. But the earlier ones, I think, is Columbia still hasn't. Did you guys have anything to do with picking it or how did you go about? No, this was a surprise for us. The Columbia Art Department. Created it. Created it. Yeah. Got the limousine to park out in front of. I couldn't get one tonight. That's okay. They made up a little plan. They certainly had a great imagination. And I loved the way it was, you know, put together. Yeah. They put the dark sky. The dark sky. It doesn't look like that today. Yep. I have to say, I'm a former Alta Boy. I love this album cover as a kid. So were we. I got a little, some old time memories here for you. Okay. This is Rolling Stones. Oh, yeah. It says the live gospel. According to the BOC. Maybe we're a little too far away. Now this is where you guys told Sandy no more S&M stuff. Yeah, yeah. Because the next day is simply black. Oh, black. This is for your King Biscuit Flower Hour. This is another one that says, you know, it's a whole thing. It says, this is the fourth great live album. And Rock History. What? We got this. Yeah, these were some great ads back then. Rolling Stones loved you guys. And that's not a photo shot. No. Somebody had to carve that. Oh, yeah. Whose idea? Murray's or her or Sandy's? I would say Murray's. Murray's idea was having the book open. Like in the back cover. That was Murray Krugman's idea. Yeah, with the gloves. But the inside is nice too. The inside is the five guitars. Yeah, yeah. Anybody saw you guys live back then, you know what this is. A line of amplifiers, which is turned into a, you know, something you'll see in videos a lot. And this is the Brooklyn Paramount Theater. That's where it was? Yeah, that's the Brooklyn Paramount. This famous Crassini March stage. Of course, all the followers of the cult in the front row. And we did these individually in the Columbia Art Studio. Yeah. And then they composite it all together. But, you know, they really, they really worked hard on it. When they got a theme in mind and they were definitely working. I would say that the album cover was one of the factors. The album cover and the sound were the two big factors that made that goal for us. Yeah, this was definitely a highlight of the 70s. Yeah. It definitely was. Now, I have a little bit of a grab bag section here. Okay. Ready for anything? Yeah. I think. I'm going to go over this gentleman here. There's a bunch of different things. This man is Martin Popov. Yes. And he has written many books about journalists. And this is the book that I was reading when I found out that Joe had never been to the church. When I got the idea, let me get some phone calls in and see if I can get to the church. But this piece is really did a great job on this. This is a picture book. Yeah, it's a coffee table book. Yeah, a coffee table book. Picture history. That's a great book. But this book is the one I wanted to bring up. Yes. This is amazing. Yes. It's the works of Imaginos. Yeah. And Albert is solo albums and touch on all of these. Reimaginos and the next album. Right. But what? The work he pitted on these. That's pretty wild because when you read Martin's books. This is his first book. When you read his books, he doesn't actually write a whole lot. He takes an interview from here and he takes an article from Rolling Stone. He puts it all together into something that's readable. And it's a big catalog of what the stuff that you could be. That Imaginos book. He's actually, he has taken flights of fancy about this whole thing. And he's done also a lot of. Artwork. Historical research to like sort of back up that this story could have possibly happened. He did an amazing artwork for it too. Pencil drawings. Oh yeah. I got a few. Yeah. Yeah. I saw the book when I first started doing Reimaginos. He sent it to me. He said, I hear you're doing it. He wanted it to come out. Yeah. Maybe this could help you formulate your ideas about the stuff. And I think it was helpful. But I saw it before. I read it all before. And I was like, oh really? And all of this, all of these occult. And he was definitely in deep. Yeah. On the whole story concept. Yeah. And a lot of it, because the first act of Imaginos, it takes all place in the 19th century. So it doesn't make it to the 20th. And that'll be the second act. The second act is the 20th century. And then the last act is going to be the 21st century. Although, yeah, I'm not sure exactly how I'm going to do it yet. But I have an idea. And that's common. Yeah. Yeah. Next on the grab bag, I have. Oh my God. After Bluestar Cult, you guys went to your, Joe taught for a while. So did Albert. I mean, you guys did your own thing. The first thing I think Joe did was Dead Rare. Dead Rare. Now would you like to explain what that is? I couldn't find the album. I had it. I only had to get set. This was Neil Smith's idea. That's who it is. Who was the original drummer with Alice Cooper. Very flamboyant. And I rehearsed at his house for decades. No, we did a lot of rehearsals. And then we put together the super group with Charlie Hewn. Ted Nugent. Ted played with Ted Nugent. And he's now with Fockette. Stinger with Fockette. Very good. Very good. And then you played keyboards. Yeah. Keyboards and some guitar. And J Jesse Johnson on guitar. You know, I wasn't sure if I really wanted to do this, but Neil said, go ahead. Do it. And that stuff. Albert's got a song on here. Yeah. Oh, you were from the brass herds? Yeah. Before the brain series. Yeah. Early on. And a song I wrote for Blue Oyster Cult. I think it's on here. Double clock. Oh. Yeah. That was demoed by. Was it Helen Mills? Neil's. Actually, Neil's idea. Neil's idea. So that was fallen. No, you met Dennis and you knew. Yeah. Dennis and Neil. For my earliest tour, our earliest successful tour was with Alice Cooper. And I know it's been said a lot, but they encouraged us to, you know, be different. Yeah. Because they were certainly different. So different. And because before we toured with them, all the people around us, you know, all our girlfriends and, you know, managers and everybody was saying, you know, you've got to be more like, you know, what's popular now. That was the kind of prevailing thing. So we were kind of torn because when we were, before we even were signed, we were like, if it sounded like something you heard before, it's out. It had to be completely different. Totally new. Something very new. Yes. Totally. Re-inventing. Yeah. Re-inventing something to replace the wheel. So like 10 years later, Joe, you pop up with Dennis Dunaway and... And Neil Smith. Neil Smith again. Richard Dunaway Smith. Power trio. Power trio. Was this the precursor to what would come later on called Blue Coupe? 10 years after this? Yeah. I would say this is exactly because when I, I would go and see them play and I was jealous. I have a weird question. I was jealous. I was like, I want to play with Dennis Dunaway. When I saw them at BB Kings, which there was a ticket right here, in 2005, you were there at that show. And Joe was talking to me and I saw you walk in and I was like, is that it? Yeah. Was that the beginning of you starting to take Neil's place? No, no, no. It never, no. I think that group kind of, yeah, Neil decided he didn't really want to perform that much. He doesn't like going out. Unless it's a special event. The brain surgeons were like a group that played 50 shows and practiced once. Right. We shot at Dunaway and Smith, we have 50 practices in one show. Brain surgeons brings me to this. Yes. Here is a, oh my God. The complete work of your brain surgeons. What is your favorite work? Did you know that? So these, these are all good ones. This is a compilation. That's it. That's it. The best French label did it. That's pretty good. Actually, I like that a lot. This was the first one. This one, we weren't really a band. I had Hirschberg playing saxophone and a friend of mine played bass, but I played almost everything on there. And this was really, this was, this was the first one. And so it, it eponymous. And it, it was a lot of songs that I wrote for Bluestick cult that they didn't want to do. So. And I, and there was a guy who was a big fan of mine and we corresponded. And he said it, it's, it's jazzy. It's rap. It's, it sounds like jazz rap with horns and keyboards. And it sucks. I like the bracelet. And I'm like, huh? What? I'm trying to do something different here. Just like an early day. Yep. Yep. So this is our second record. And this was good. We had a real band. We didn't really do it in a real studio. We did it in Pete's garage. So it didn't have that great sound. And then, and this one was when after Billy Hill figure got it, you know, it's diagnosis of a brain tumor. So this was kind of a weird, you know, we had so many songs that we, we'd done. And I really wanted to use Billy and Pete's, you know, artistic vision, you know, more and that thing. So this was, this was the swan song for the band. For the band really. The band, the original band. So, so this one was the first one we did in a real studio. We had Paul special mixing it and recording it. And that, I really like this one. This one sounds good. Yeah. Yeah. That's one of my favorites. This one was one I made in my living room. And this is just a weird album, but I like it because it's weird. Anyway, so I would have to, and this one is the best album. The best album. I was going to go with that one myself. This is the best album. That has roast the boss on it. Yeah. Yeah. And that was it. All of a sudden we had, you know, some real far apart, you know, not just, you know, guitar wise, but also as a writer, you know, he helped a lot with the arrangements and the writing. So that's my favorite. They're much different than your latter day releases. They really are. Oh yeah. Yeah. So that. Okay. I'm talking about the solo album. This is my first solo record. This is a record where I played all the instruments. I mixed it. And the only thing I didn't do is master it. And I, and, and the art teacher in my school took the pictures. Well, except for that one I took. And so this was one, this was truly a solo record. Okay. So you do everything on it? Yeah. And I will never do it again. I thought I was losing my ever loving mind. Because, you know, I just couldn't, you know, I kept playing, you know, I'd send the mixes to Joe and come on, tell me what you think. I was so needy. Tell me Joe, what? But this one, this one, so this one is where I had a bunch of people helping me out. So this is, this is a, you know, my best solo record until it's only my second one. So the third one, third one is better than that one. So now to Joe solo. Oh my God. Joe has put out quite a few solo albums too. Joe, would you like to look through what is your favorite? Well, almost as many as the Brain Surgeons. Yeah, well this inspired me. He was doing Brain Surgeons albums and I said, well, heck, I gotta do mine. And they're all good. This was the first one. Jute box in my head. I got the drummer from Skinner to play drums on it. Mr. Michael Carloni. Michael Carloni. I mean, I did some acoustic stuff that doesn't have any drums on it, but that was a good, a lot of fun for my first effort. And I think the second one was this one. The Island. Tales from the Island. A lot of songs from my friend John Cook. The late John Cook. The late, you're very good. Amazing songwriter. Lots of songs on here. But I had a lot of fun doing this. Just a lot of variety. Do you miss working with him? Oh, John. Well, he was just, you know, he wasn't a collaborator. Yeah, he was a lonely, lonely songwriter sitting on his porch up on the islands. I mean, and we miss him terribly. But we didn't really work with him. More or less, he would give us, he would play stuff, actually. He didn't even want anybody. Joe had to trick him. I had to trick him into even getting one of his songs because I had known him for all my life. You know, since I was a little baby, since I was a little baby, a toddler. And he was our next-door neighbor. And then he played guitar and he was like the cool guy. The cool guy knew all the folk records. He turned to Santa Bob Dylan. Yeah. But he's got, he was also a graphic artist. Tremendous artist. So his songs sort of reflect that visual you know, you know, things that he wanted. Lots of good stuff. Perpetrator. Wildlands. Thousand Midnights. Oh, that was after that. Was it about three years after that? 2012. Then this was the third. This was done in a hurry. I wish I spent more time on this one. In fact, it started out as an EP. I put it out as an EP. Nobody knew what an EP was. You know, fans like you. You gotta have that little album. So then I expanded it. I got three more songs. And called it a regular. And more John Cook songs on here. Lots of good stuff. But not enough of it. We're a little thin. Solid black. And then after that Power Music. I started getting a little bit more consistent. There's a cover of Career of Evil. The song that Albert wrote with Patty Smith. That was a title of a book by J.K. Rowling. She, you know, she's got it out all the stuff. I have the book. I want to know what you guys thought about it. Mostly Blue Oyster Cult has been ignored by popular culture. But this is Robert Galbraith, which is the same as J.K. Rowling. And so she put this out. It's actually a murder mystery. And every chapter is a blue oyster called Tidal. Yeah, or sometimes there was one chapter that's this is how one chapter has it's not the title from Girl That Love Made Blind but it has some lines from really deep. That song had never been released. It was one of these songs that was left off of the Imaginos record because the record company So she really did her research in finding so much obscure blue oyster cult and they made it into a series in England. It's on the BBC. I like it myself. Anyway, so I put Career of Evil on this because I knew it was going to be a movie and lots of other good stuff. I wish I had a little bit more time to get that one together. Of course, this is another good one. I started writing more, getting deeper into my writing. I felt it was a little more balanced than some of the others. And then this one is probably the best yet. So hopefully the more I do, the better they get. This one is excellent. Some of this. So that's my sixth solo. Racing with the bells. So I know one time when I really wished that I didn't take so long doing a record. And that was the Imaginos record. The bonus. The first Imaginos record. The first Imaginos record. By the time I was ready to come out everybody who had signed me had gone on to other companies or other jobs or positions. So the people that wanted it weren't there anymore. And I had this contract. Is this this one? Yes, that one. I really wish I didn't take so long. This compared to this. I like your new version better. I'm sorry, this to me is the version. So that one took... This is the blue oyster cult version. Seven years. To make. And that took three months. Three months. You did a lot of this yourself with two other... I know there are musicians on it. But I did do most of it myself. Yeah. Now, what do you feel was... Oh, reimagines. That's why I did it because I was so frustrated with this other thing. It was like... I was frustrated about it. Also, I had made a promise to Sandy Proman. Right before he passed away, I visited him at the hospital and I told him I was going to do it. I mean, when somebody is sick and it looks like they're going to die, you say all kinds of stuff. I was like, you got to get better. I sang it. You got to get more songs to write. The song, we never finished it. Actually, in that song that I sang to him, Joe and I finished it. Yeah. That'll be on the new... Reimaginos II. Now, what's the new... Reimaginos II? It's going to be called Reimaginos II Bombs Over Germany. So that's... A historical centerpiece of it is World War II. It's kind of a rough thing. It has a lot of dark themes, but, you know... Talking of the first. The Reimaginos I? Oh, no. Reimaginos I is like a flow track. This is like horror. The horror of war. The worst? There's a lot of funny stuff. Oh, but there's funny stuff. I actually have a comic relief. I put David Roder's on there. About Mussolini. It's fun. If anybody has seen Hamilton, you know how King George is always the comic relief in the middle. Because a lot of it is the serious stuff. You need to break it up a little bit. Yeah, you do. It's too overbearing. I remember telling Metallica, I said, that Master Puppet's record, it's pretty rough. You're alone in this tape to have Master Puppet's. We'll see if you have a problem. And I saw them play it live and I'm like, you need a slow song in the middle, man. Just so people can breathe. I was working in Roseland when they did that, the Raj Deyre. You guys were that? I was working security. I was outside the sidewalk. I could only peek in. You guys were in the balconies. What did you think of their version of Iron Man? I wish they had played it that night. But they did. Well, I'll take you on my little trip with that, which is that Kurt Hammett called me up and said, we're going to do your song. I might know that. Kurt called me up and said, we're going to do it on our new record and it's going to be all covers. I said, oh great! So he said, but I hope you don't mind. I was taking Liberties. I said, Liberties, I want to hear what Metallica sounds like doing my thing. So when I heard it, I thought, I don't know. This isn't that different. It's like it was too respectful. James sounds just like Eric. I know! The first line is too respectful. Is that Eric or is that James? You guys wrote a lot of that one. We co-wrote that. It's Sandy. The timeline for how it was written. I had a timeline in my head. He has a different one. We had it for a couple of years. I thought it happened really fast. Was that originally part of the Imaginos? Yeah. Oh, absolutely. That's definitely part of the Imaginos saga. I had lyrics that were just kind of messing around with the lyrics and went for a walk on the beach, came back and I had this melody. The melody that James had field sings. Well, he changed a couple notes actually. He adds a few little sides. How lucky are we? We're just a bunch of guys that started out playing in the barn up on the farm. Here we are. You guys were playing together since you were kids. Yeah. We started the band in 1959. Summer of 1959. Joe was 10. He wasn't... He hadn't turned 11 yet. And I was 12. So I just turned 12. We had a nice little band all the way through junior high school, high school. And we stayed together. I wasn't in the band at first. It was you and Eddie and Teddy. Teddy played the drums. Was it a family type of thing? Yeah, cousin. Second cousin. Yeah. Eventually, by the time we got to high school then a couple years later we added Steve Lone on saxophone. Because a lot of songs we played had sax leads. So, you know, that was... you know, that was 60. So when you... 1960. Just think about that. All the things that have come down the pike. And the things that you're asking us about. Well, I got another pop culture. What is this? The 1970s Marvel Comics put you guys into the Defenders comic. It was three issue stands. I have it in color. Yeah. I had the comic somewhere. I had 3,000 of them I couldn't dig it out. I took this one instead. You didn't know about this? More of a comic guy. I was always into comics. Did you know they were doing it? I heard from somebody, but I didn't hear directly from Marvel. Is that DC or Marvel? That's Marvel. The Hulk, the Defenders. When are they going to make our movie? Well, first of all, you guys have been ripped up. You guys should have been in any Godzilla movies. You never know. Released after 1975. Your soul should have been in any of those Godzilla movies. And very rarely does it show up. Well, you know, I love, though, the one that Bear McCready and Serge Thomas... Yeah, that's fantastic. I mean, people are sacrilege. I'm like, you kidding me? It's great. You guys are great singers. And Bear McCready did the music for Outlander. So it has that kind of bourron, you know, Irish, you know, drumming in it, you know. So it's perfect for Godzilla. Yeah. We got a couple of things left. I don't know if you ever get tired of this, but do you guys ever get tired of the cowbell? The cowbell? Hey, listen, I, you know, I'm playing with the Defenders now. And... And we played a song and we were playing this song that actually Andy and Joe and I wrote. And it's supposed to have a cowbell. And they go, did you bring a cowbell? I said no. Well, maybe, you know, it was at a rehearsal place, you know, Smash Studios in Manhattan. So I'm like, maybe we could run it. You know, like, next time, just bring a cowbell next time. We hired you for the cowbell and you didn't even bring it. Although I was talking to Corky a couple of weeks ago, Corky lengthened. I think he's the cowbell guy. Oh, well, Corky's the cowbell guy. I mean, we had... You know... Mountain? You were Jimmy Fallon, right? Yeah, yeah, yeah, yeah. Yeah, although the guy that looks like me is the lead guitar player. He's messed it up. It was funny enough. He was just going to bring it up. It was just we... This is the guy who actually played the real cowbell. In the studio, there's been a lot of rumors over the years that maybe it wasn't Albert, maybe it was Eric, maybe it was David Lucas. Well, I got to the bottom of that with David Lucas. He played cowbell tenderloin. And he came in after when nobody was there and I came in the next day and he said, listen, this is what I did. And I'm like, Dave, that's great. Great, perfect. This is before we put the cowbell on Reaper. I'm not the list of that. Because he's like... I know I played it. I came in after nobody was there. I said, no, that's the wrong song. That's tenderloin. That's the cowbell. So... The overdubs. You know, I think he might have done that the same time that he recorded Randy Brecker. Because we weren't there, right? I was there when Randy Brecker. I said, David, that's the worst thing I've ever heard. I said, David, no. I never contradicted him because I think it's a genius. Yeah. But sometimes you just get a little... Right. A little crazy. Get off base. When you're working on his pressure, you got to get the song. His song's got to be right. You can make mistakes. You're creating things. You create things out of nothing. But yet, it's going to be what people would judge you of. When we're gone, what do we judge by? But the things that we do, really, whether it's writing a book, or writing a song, or giving your money to a charity, or whatever, anything. So, you can get a little bit too wrapped up with your ego, with writing a song. But this isn't what I want to say, especially when you're collaborating. Are you sure you want to say that? No. It's quite a bit of humility to actually be successful at doing that. The first time I saw you guys was 1980. I guess black and blue tour. Big tour. Obviously, a friend here from the church, from St. Paul's, sorry, Steve, you saw him there on that trip. Oh, wow. A little after that, Albert, you ceremoniously get fired from the band. Did you have any problems that you brought now? This is going from, it wasn't like a kink situation, like, you know, Greg and Dave. You guys still talk that? We never gotten a fist fight. Yeah. Not since we were little kids, when our hands were big enough to hurt anybody. But it was smooth, you left under your own... I didn't think it was smooth. I was hurt. Personally, I was really hurt. Situation. I mean, I was more hurt than mad because I already recognized that I had done something wrong. Coming from a fan of the band, after that there was something missing on these subsequent albums that were released after that. Oh, yeah. There was a three-quarters of it, if you ask me. There was something missing in your drive, your determination, your vision. There was a lot of things that I felt like, you know, I would keep... I was good at keeping focused on what we were trying to accomplish. I think that, you know, I mean, you kind of have to be a free spirit and let your mind wander and all of this other stuff, and slightly ADD or whatever to create, you know, that part of the process. But then the other part is to, you know, keep the party happening. And as a drummer, that's what you have to do. So I had to have that both things, whereas the other guys didn't. And you also were creating a lot of it, though. You were? I don't know, but I was so much creating. I think I was guiding it a lot. I think I was a little bossy. Would you agree? Yeah, I was bossy. I know that Joe felt like that I was maybe quelling some of what he wanted to do. Because what I liked about you guys as a kid, you were like the hard rock eagles. Every one of you sang. You all had your songs on the album. So you each took a turn. Joe did like Hot Rails, right from the big opening. Well, we've been writing songs, separately and together when we were in high school. To me, that always just worked. You know, when I met Don Rosa, he'd never written a song. Eric hadn't really written any songs until I met him. Alan did, and I had songs. After he leaves the band, did you have a tough time getting your voice across on stuff? Maybe that was true. Because I feel like they didn't use you like they should have. Because it looked like two I used to call him. It was hard to get my songs. Right. There was a power grab and Joe and Alan were the losers. What do you think of the new thing that they just put out last year? The symbol remains. The title alone comes from Shadow of California, which Joe had in writing. They dipped it back in. That's a long way to go. That's Sandy from Lyric. Now, was that the one you wrote with Neil as well? Yeah, Neil helped me on the Shadow of California. The song wasn't going anywhere. Then Neil came over to the house and I said, let me try this thing. He played this thing and I said, I'll give you a half grab for the music. It's nice that you guys, I've saw you on the 40th at Best Fight Theater in Times Square. It was nice to have you guys back. That was a crazy show because my wife's didn't play and I thought, okay, well it sounds like these days, you know, I mean, they've got some great musicians, you know, really top-notch guys. Richie Castellano. He's as good as anybody. Yeah. Well, Danny wasn't there. It was Kazem. Kazem, who is just a monster bass player, singer. He does it all. And then you've got Jules, who is a school drummer. He, you know, went on tour with them. This blew my mind. He had transcribed all my drum parts and he's reading them. You went to England with them, correct? Yeah, yeah, yeah. So Jules is great. So, you know, I think that it's the best band, you know, since the original five. But that night, okay, so they play and then the five of us get up and play and it sounded exactly like nothing had happened. It was exactly like we used to sound. That was some night. It sounded exactly like we used to sound. Just to see you guys all together, everybody was happy. So, and that just shows you that, you know, when you have a band that's been together for a while, it really is a combination of all the people that makes it work. I've had a whole bunch of different bands since Louis DeColton. None of them sound like Louis DeColton at all. People used to push you guys into the American Black Sabbath. I never really heard you guys Black Sabbath. Like I said, I thought more of you was on the Eagles. We were much, we were way closer to Alice Cooper than Black Sabbath. I see that. Now, the 50th is barreling down the Louis DeColton 50th. Are you guys in talks or is there any kind of nothing yet? Nothing has been said. Nothing. There's two of them. Some of the songs in that new album really. When I was on tour with them in 2016, I said, you guys should make a record with this band. This band is so good. They deserve to put their stamp on that blue horse to call Brent. And I said, and if you want me to do anything, just don't hesitate to ask. Yeah, well, so then I did and Joe was sending them songs and I'm like, no, no, I'm not good. Maybe I shouldn't say. If they ask me, if they ask me, I will do it. If they don't ask me, then, you know, first of all, it was my idea for those guys to put their stamp on the brand. So I wanted that to happen. That was more important than me participating, but if I could help them out. But you still believe in boys to call. Well, I do. Yeah. That's good. Yeah. We did something great and and I'm glad to see, you know, that other musicians are helping out too. So what are the plans for you guys coming up these next couple of next year? You guys have a lot of time to work on this. We started our own record label. Yeah. Rock Heart Records. Yeah, which put out a reimagino and strange legends. Now, last year we got very, I said it before to you guys, we got very lucky. We got a blue horse to cult album. We got Joe solo album and an Albert solo album. It was like the trifecta. It was perfect. All three. It was like a triple blue horse to cult album coming out. If you put them all together, it was a fan's day dream. Well, there'll be more. That's what I hope. That was good. So what's going to be more? Reimagine those two is going to have it all in one because I've got all, you know, well, everybody but Jules. I didn't have Jules. I had to work out that he could play but I had Richie. I had Richie, Eric and Don. And Joe. And Joe and Don both do songs that are mostly them. Joe played almost all the instruments on his song and Don played almost all the instruments on his besides singing the lead and playing the guitar. Both of them did that. So it's going to be almost like another thing. It's only a double. So what's for Joe? I'm working on another solo album. I love the where it's at. You know, I'm just working on the logistics of it right now. It'll be out early in 22. Your fans will be there waiting like they did with every other one. One last question, guys. Out of the grand bag. This is a friend of all of ours. This book that I use when I'm very down and depressed, by a friend who passed away in January, John York. It has a nice little dedication in here. This book is dedicated to the brothers, Albert and Joe Bouchard. Musicians, composers. They awaken my artistic aspirations. As friends, they taught me by example that every single day in life is a blessing. Thank you, gentlemen. John really helped me out a lot. And there's some great guy you guys think of this book. Oh, fantastic. He was writing another one. I'd like to see his brother. I would like to see how far he got with it. Yeah. His brother is now in charge of his estate. So I would hope that people keep buying this book. And they put out the second one. He put it out on his own. That's a great book. I'm a third time through it now. He was helping me. I was going to do a book with me and my son about rock and roll. But what you guys, he helped me. You guys wrote, my son wrote your letters and he talked to your blue poop shows and you did interviews with him. They were very off the wall. They would be about what's your favorite instrument, what's your favorite color, what's your favorite food. He was ten years old when he was doing it. But you guys are very good. He passed. That was a shock. As a matter of fact, his brother called me. I was supposed to meet him at nine o'clock that morning. That Monday morning on 8th Avenue. That's when I got the call. I guess his brother was looking for his phone. It was on his agenda. He put it on his calendar. Yeah. He's solemnist. Thank you guys. Thank you. We want to thank the Father Mike. Father Mike. Good morning here. Thanks for coming. Now we're going to go on a little tour of the church. Beautiful place. Thanks everybody. I appreciate your time. I loved you guys since I was ten years old.