 Wait, no, not yet, wait. Not yet, we're not alive. Oops. Now we're alive. All right, we got an all Montreal show or greater Montreal show. Sean Drover, of course, X-Megadeth. New band, new album. I was always thinking, I think Reese Witherspoon for some reason, I don't know. Reese Witherspoon, I just, it keeps, you know, like that sort of pronunciation, right? Withering Scorn, the new outband. That's, we were going to call it Reese Witherspoon but she contacted us, said she's going to sue us if we called it that. So we said, oh, Witherspoon, unless you go country, unless you go country, I won't let you use my name. We're going to plug this. Prophets of Demise, Withering Scorn, the new album. My seventh, the frontier. Joe Debasi, who's like, geez, he played on what, the first seven or eight fates. Did I pronounce his name right? Debasi. That actually the correct pronunciation, I got it wrong forever too, is Joe DeBias. I thought it was D-B-I-S, it's DeBias. Right, Joe? Joe's probably watching. Joe DeBias. Just for future reference. He plays on the greatest fates warning albums, you know, like with the first, the first three with Arch, right, Alan? And then later on, all the way to parallels, correct? Even after parallels. Geez. And of course, Henning Basse, is it Basse? Sean, how do you pronounce it? Basse, who's of course, he's from Firewind, and he's got that sort of rough, gruffy tone, right? Great vocalist too, man. Should we talk about sword or should we talk about your new album? I'm not gonna talk about sword. There's so much to talk about, there's a friggin' guy. Also, Sean Drover's top five metal hard rock drummers. Yeah, we'll get to that, yeah. And then you give us, we'll count them down, five, four, three, two, one, as we're doing an interview here, and you and me and Alan will toss out RS at the end. Yeah. All right, so where should we begin, sword? That's true, I saw the sword. Have you ever seen in life? You know, let's just talk about growing up in Montreal, you know? You were all around the same age. What's your memories of the 80s and the metal scene and bumming around town? Well, I mean, the metal scene, certainly when I was growing up, again, in the early 80s stuff, when the new wave of British heavy metal that all started to kick in and all that stuff, it was thriving, you know, I would go downtown to rock on stock. I'm sure you guys know exactly what that is and where it is. Every Friday. You know, if you remember, they used to have a radio show on Shom FM called the Metal File, right? And come to find out they would get their records from rock on stock, they would provide the records. So I'm hearing, you know, trouble and I'm hearing kill them all for the first time, show no mercy and all this stuff. I'm like, you know, and this is just new, like 83, 84 when this is happening. I'm like, what is this music? So I would go to rock on stock and buy some of that, some of those records and stuff. And just going down there was such a great experience and such a great memory for me because, you know, you guys know me, that was like, just the metal section was just unparalleled. I've never seen another record store like that, certainly in Montreal when I was growing up. So it was go up the stairs, hang a raid and everything. Hang a raid, dude, yeah. Seven dollars and 79 cents plus tax. There were all the imports were there. Oz, I remember Oz, I remember hearing Warlord, brain fever on the metal files. Yeah, he had everything, he had everything. Bulldozer, they played all kinds of crazy stuff. Dude, I mean, dude. I mean, that played, you know, for me that was really exciting because that was, you know, cause you never really, you can't go downtown and unless you're rich and buy 50 records, you know what I mean? It's like, so you hear the stuff in the metal file and it was like, if you have something, you know, really like, like for me, of course it was kill them all and killing is by business, by Megadeth, all that stuff, I heard all that stuff. And I said, this stuff is amazing. So I would go down there and buy it or plus, you know, the other stuff, the maidens and the other stuff as well, of course. But that was really exciting time for me, you know, being exposed to all that new music and, you know, again, as the music progressed and got faster and faster in the advent of speed metal and thrash and all that stuff. It was a really exciting time. And we're talking, you know, 82 to 85, certainly in that timeline and beyond, you know, it was very exciting time for me. I gotta say, Sean, me too, man, kill them all, anthrax, fistful of metal, merciful fate, fate, Melissa, those are the albums that I just ran to rock on stock to pick them up and just be exposed. And it was because of the metal files and the connection with John Zazzoula in New Jersey to rock on stock, to the spectrum where these bands would perform. It was this whole sort of triangular metal scene that was going on from New York to Montreal to Jersey to that whole area. Yeah, with the whole Bridge Militia and Jersey and stuff. I mean, that was, again, almost kind of like a parallel to what was going on in Montreal. And I'm sure in Quebec City and the surrounding areas as well. But also, like you said, in Jersey, it was getting, you know, all kinds of stuff. Zazzoula was getting all kinds of imports as well. So, you know, and the anthrax guys and overkill guys, they'll tell you the same thing, if they would go down there and see all the new stuff. And so it was a really exciting time, you know? I mean, you know, I bought the first, I bought, that's how I discovered Ingve Malmsteen, getting the first Alcatraz record and no pro for rock and roll. And then I, you know, that he put on a solo record. And I mean, I became obsessed with him, you know, his guitar playing and just, oh, I got him. Just up top, I hit all these things which pop in my head, memories of it. But just, yeah, it was really, really exciting time. And I have great fond memories. It sucks that it closed down. Yeah. And you know, like we do the show, you know, we're sitting there having supper with Lips and Rob from Anvil one night. And we're like, who would have thought this back in the 80s? Did you ever thought you'd be playing with Joe from Faith's Warning? Yeah, well, yeah, if you would ask me that in 1985, I would have said, be crazy, you guys are frigging, you know. But, you know, thankfully for us, you know, you've established relationships over the years and stuff. And, you know, we obviously respected Joe as a player. You know, we'd love Faith's warning, love that, you know, way back from night in Brock. And so, you know, yeah, all these years later to get him to play on this record with us is, you know, it's been great. Same with Henning. You know, I've loved Henning ever since all the battalion records he's sang on, battalions he's been saying on what? I think he put out seven or eight records, whatever it was. I've loved his voice for more than 20 years now. So, you know, again, you're stabbing, you're going to and you're stabbing, you meet these people and you stab our relationships and stuff. And, you know, it's just kind of worked out for us getting the guys that Glenn and I really wanted, you know, that was, they were certainly at the top of our list when we formed this band. So, it worked out pretty good for us. And of course, having the clout that when you make those phone calls, they, oh, we know they're drover brothers. Yeah, we'd be happy to play with you guys, though. Yeah, for better or for worse. Yeah, yeah, depending on who you ask, I guess. Sean, I mean, what's, okay. So you've reunited in a sense with your brother, right? It's been a few years now. So now you're finally getting, are you guys going to go on the road? I know you do a night of metal and you do that sort of the Canadian sort of circuit with Tim Ripper Owens and your brother. Sure. I think that's the last place I saw you, but. Yeah. Are you going to take this band out on the road now? What's going on? Well, you know, since the short-winded answer is, we're kind of in a holding pattern, I would say. We're a new band with COVID. It's really messed things up going to Europe. I mean, Petrol is twice the price. You know, busing is twice the price. You see bands canceling left and right, you know, canceling the European tour. Sanctuary, we just canceled. Anthrax canceled the tour a month or two ago. And it's all because of finance or lack thereof, you know? So if the Valken Festival or some German festivals or whatever called next year and say, hey, do you want to come over and do a handful of festivals? Of course we would consider that option, but really it's a matter of finance. It's like if we can, you know, no one wants to go over and play, you know, four festivals and be 15 grand in debt. I mean, that's just not smart business at all. But, you know, it's something we definitely would consider if the right opportunity came about. That's the, I would say that's the most logical answer I can give you at this point. You know, we're a new band. I mean, a lot of people don't even know who we are. They're just like withering, squirming, the hell's that. They're just finding out now through me and Glenn and Joe and stuff doing these things is trying to get the word out and, you know. So I would say for now, no, because it's just so friggin' hard with COVID, man. It's just, it's really difficult out there as you won't know. So where are you guys all based? You all live close by or it would be possible to do a local tour or no. Sean's in LaValle, Alabama. Oh, okay. No, I'm over, I'm in Atlanta, Georgia. Glenn's in Windsor, Ontario. Joe is in Connecticut and Henning is over in Germany. So therein lies the, you know, part of the problem right there. It's like, it's not like we're all down the street and we get together and, you know, just for all of us to get into one spot and rehearse and all that, it's like, you know, it would take a lot of preparation, a lot of work to make it happen. But we're open, like I said, we're open to the idea of something presents itself that's viable to do. We'll consider it down the road, certainly. But look, we're staying busy. We're, you know, we're promoting that the record just came out three weeks ago. You know, we're promoting the crap out of it. It's getting great reviews and we're just going to continue to do that and, you know, make plans for the future and whatever comes our way. So in regards to the sound, the musical style of this album, is it, was it a conscious effort to say, you know what, I mean, the sound. I mean, to me, I'm hearing a little King Diamond there. I'm hearing a little Megadeth there. I mean, I could see there's a lot of you guys there and all the bands that you've been in as well, right? That sort of, is that conscious or that just came out the way it came out? No, it's, there's no conscious effort to sound like anybody. I mean, I tried not to sound like anybody, but like you suggest, you know, being in Megadeth and Glenn being in King Diamond, played a testament many times. We have so many different influences, like, you know, we can go right across the board. I mean, some of that's going to bleed in, you know, into what? It's, it's cause the rock on stock days. That's what's bleeding in there. It's the rock on stock. Sure. Yeah, our record is an amalgamation of everything that I bought at rock on stock in 1985. No, I don't constantly try to sound like anybody, but if it comes off and somebody goes, oh, that sounds like, you know, whatever, Judas Priest or that sounds like Merciful Fade or it sounds like Megadeth. Look, I take it as, I take it as a compliment because it's not something that I did intentionally, but if someone sounds that says some riff sounds like Judas Priest, I'm not going to get pissed about it, but I'm not trying to sound like anybody. That's, you know, that's honestly what I just tried. I just write another batch of metal songs. I mean, that's really, I've been doing that for almost 30 years now. It's like, here's the next batch of metal songs. That's, you know, get a singer, blah, blah, blah. You know, I really haven't changed anything in how I write. I just, I get inspired and I go up to my music room upstairs and record some guitar riffs and record it on my iPhone now and send it to my brother. And then we just, I just accumulate a bunch of guitar riffs and Glenn has riffs and stuff. And we just start putting the musical pieces of the puzzle together. It's always been like that though. It's really never changed, to be honest. So you guys formed in 2020, was there something called like tremendous scorn at that time and it's withered over the, over the years? How long have you been waiting to say that, Joe? What are you like, scorn? I've been watching your mouth. I was on the Reese Witherspoon still, Joe. Yeah, that one went over mine. Reese Witherspoon did not like that joke at all. He's gonna sue you. Shit, yeah, it's called the pandemic. How, how, how's that for some withering scorn? How about that? Yeah. It's aptly named, I would say. Right? Todd Latore says hi by the way. He's, he's watching and he says hi. Oh, Todd. Todd, you know, to flip back a little bit. Glenn did a, I guess kind of a solo record. We had a bunch of guest vocalists on there. I did a record called Walls of Blood. And Todd was on the record. Did an amazing song called Discordia. Todd did the vocals and the vocal melodies. And, you know, he had Chuck Billy on there and Henning sang and Joe played bass and a couple of songs. And that's how really Glenn got introduced to Joe and Henning was having them perform on his Walls of Blood record. Okay. And, but I mean, Todd, you know, Todd, I love Todd. I mean, he's an amazing singer. He's a good friend of mine. He's funny. He's a very funny guy. I mean, what he did with Queensrack, what he has done with Queensrack. I mean, that he, you know, I don't know many vocalists who could, who has the balls to replace Jeff Tate. And Todd will tell you that too, Todd. You know, it's not a secret, Jeff Tate's, you know, I think one of the best vocalists that's ever graced the planet. But I mean, Todd's right after too, man. Todd, Todd kills it, man. He was in Crimson Glory too. You gotta remember that. He was in Crimson Glory at any, I mean, that's even higher singing midnight stuff. I mean, you know, I have nothing but respect for Todd. He's a dear friend and a great guy. He's a great guy, yeah. He is, he is. But don't tell him any of that. No, he already heard it, so it's a secret. He already heard it. Tell him he said he sucks. Just kidding, Todd. Alan? I know, I was just wondering, like, when you were growing up in Montreal, whereabouts were you in the West End, where you were in the, where East Island boys, so. I was born and raised in a town called Two Mountains, Dumotang, so close to Laval, you know, really was a train, you know, there's a train going directly from Two Mountains straight to downtown Montreal. There's a 45-minute ride. I would get off the train, walk right up St. Catharines. Was that, I think, Brockton Stock was off Crescent Street or Bishop Street. That's right, exactly. Right, make a left and, you know, so I would, you know, I took that route many, many, many times, you know, and. What about the moustache? Do you remember the moustache? Of course, of course. Oh, there you go. That's, that's, that, that, that closed down and, whoa, maybe 83, I think. Alan, I don't remember. A&A records on the corner of Guy in St. Catharine as well. Yep, yep, yep. Sam, the record man. I mean St. Catharine Street has so many amazing, you know, but then, again, like, you know, Crescent Street had, you know, Crescent Bisse have amazing bars right up that street there. I mean, that's a, I was always a great area to hang. I still, to this day, whenever I'm in Montreal, I'll go up to Crescent Street and hit a couple of bars there and have a couple of drinks and stuff. And it's just a, just a cool area, but, you know, downtown Montreal has so many great areas, but really it's, you know, it's all, a lot of it's based off of St. Catharine Street, certainly. Yeah. So people are asking questions here. If you want to take some questions, feel free. Sure. I'd love to hear more about what he thinks about his time in Megadeth and all these former members doing Megadeth covers. I think it's cool and neat. And Glenn, I've never have gone that road. I think it's cool that he and Glenn never have gone that road. Like you've never sort of got together and done Megadeth covers. Like, what are your thoughts on Megadeth, I guess, and doing covers? What are my thoughts on David, David and Jeff Young doing it? Is that basically what he's, what he's, basically? I guess, I guess that's what he's saying in a secret. Yeah. I mean, code, I guess. Look, I mean, you know, David's a good friend of mine and look, there's a demand, certainly a demand for the older stuff. It's been proven because now, you know, David has done a bunch of shows in North America. He's in Australia right now doing shows. I mean, you know, there's a calling for it. And, you know, what better people to do it than a couple of the guys who played, you know, they're playing all of Killing Is My Business, which, you know, Jeff Young, Allison and Chris Pollan did several shows, the first run in America. And then they're playing So Far So Good So What, which Jeff Young was the guitar player in that record. So, you know, you essentially have half the band, you know, I have no problem with it whatsoever because you know what? At the end of the day, it's just music and they're great tunes, man. You know, why would I get pissed about that? I'm not, he's not implying that I'm getting pissed. He wants to know. No, no, no. He just wants your thoughts about it. No, I mean, look, I have no issue with it whatsoever. I mean, if Dave's not playing those tunes for the most part, he's not. I don't think, I mean, I haven't really paid attention to their set list since I left, but I don't think they're playing an incredible amount of tunes off Killing Is My Business. So, for David to do that entire record and So Far So Good So What, which is one of my favorite records. Great album, man. You know, kudos to them, man. You know, they're not doing any harm to anybody. They're making people happy. And you know, I don't care about the naysayers. There's always going to be some bitch in the internet who talks shit about everybody. So I find that shit. I actually find it kind of funny. So that stuff doesn't bug me in the least. So everybody's entitled to their opinion. You know, I don't like asparagus, but I don't go on asparagus.com and tell people how much I hate asparagus. I just don't eat it. That's it. I actually hate it. It always just turn off. Off? Yeah. Marcy Douglas says hi, by the way. Just say hi. Oh, hey Marcy. Yeah, we, Glenn and I do, she's been doing a bunch of tunes. She does a lot of original tunes and Glenn and I have been, Glenn does a lot of recording for different, you know, he owns a studio now for almost 30 years and he's recorded various people doing, you know, some tailings, but we'll do guest spots on it and she's one of the people. So, hey Marcy. Good, good. Number five, let's count them down. You're- Okay. If we're going to do top five. We are. Metal slash hard rock drummers just to keep a little more open. We're going to count them down from five to one and just give us number five and just give us a little bit about why this drummer is number five and me and Al will weigh in with our colorful commentary. Right. So, within the parameters of hard rock and metal. Yes. So, which, you know, I couldn't put in Gary McCracken from Max Webster or anything like that or, you know, so many great drummers, Terry Bozio, there's a not hard rock metal drummer. An illegal drummer. There was a lot of, you know, talking about that for an hour, but- For me- You're pulling an owl and just throwing in a few more, you know, just to get him in there. Wow. Look, again, that's why I asked you, what, you know, is it just all of all drummers or is it just rock and metal? So, you get those parameters. Yep, you bet. Five for me would be Tumos Haki from Meshuga. Oh, yeah. Oh, boy. Listen, I mean, those guys are, first of all, that band, they're from Planet Wack. I don't know, those guys are so amazing with their polyrhythmic insanity that they've been doing for well over 20 years now. I'm such a big fan of the band, but just based on the song Bleed, any drummer who can do something like that, where if you're musically inclined, there's variances throughout that song to get more and more intricate with the bass drums going with the guitar riff. And Todd's watching, he knows exactly what I'm talking about. Just the fact that he could do that. And he said, and I read, I saw on YouTube, he said it took him about two months to be able to do that. Anybody has that kind of dedication to putting the time, and I just went through and to tell us, and you get right into the song, guys, I'm like, I can't play that crap. But, I mean, to me, he's just, the fact that he can do all this crazy stuff would still maintain it. A lot of times, four-four, just, you know, hi-hat snare to me is astounding. And since then, tons of drummers, younger drummers have emulated what he's been doing. And, but to me, he's the OG of that stuff. I mean, he's, I can't say enough about that guy. He's got groove for miles too. I mean, you know, amidst all the crazy stuff that he does with the state and all this wacky, off-timing stuff, I just think he has great feel. And he's just a fantastic drummer, in my opinion, you know? So for me, he's number five, certainly. This took a lot of thought. There's so many guys. Good, I'm happy. I'm happy you did your homework and you took it seriously. Hey, as soon as we hang up, I'm gonna get pissed and I'll be texting you. You said, shit, I forgot this guy, and I forgot this guy. That is good. You know, you know, so many guys that, you know, I wanted to say, but I'm gonna just leave it at that because I'm gonna get pissed. It's okay. It's okay. Look, if we did a top 20 list, it would be her all night, right? I know. We're just short and sweet. Short and sweet, right? Yeah, yeah, yeah, okay. All right, so there you go. There's five. Tell me about, so, end game. What are your thoughts looking? To me, I put it on before this interview and I go, wow, what a great album. Like to me, it's firing off on all cylinders, you know? I mean, what are your thoughts on just basically when you look back at this album today and you put it on, you go, this is what I think about it. Yeah, that's, I would say we were definitely firing all cylinders in that record for the records that I played on. That would be my favorite. We had Andy Sneep producing that record and he worked with us at the end, towards the end of the previous record which was called United Abominations and we really established a great friendship, working friendship and just being friends to which I'm good friends with Andy for this day. And going into end game, you know, Dave had tons of riffs that he compiled over the years, just great riffs, great riffs, great riffs and plus new stuff he'd written. And he wanted to go through all these riffs and pick the best ones. So me and Andy would say, look, we would give each other the I say, that's a good one, let's work on that one tomorrow. Because he would say, Dave, what do you think about that one? And, you know, those were all like Dave's kids, they're all great riffs to him and really most of them were great riffs. So, but we would kind of give each other the I say, yeah, that one we're gonna work on tomorrow, you know? And it's kind of how in a large way we put that record together, you know? Just going over stuff and we could feel it early that there was some solid songs on this record and, you know, it was a good time, it was a good experience. We had a Vicks garage, our own studio down in Southern California. And it was a good time, you know? But we had a feeling that this record would be pretty well received, I think, by the fans and I think to the most part it was. But yeah, it's certainly, I would say the best record, the most solid record I've played on what I would say would be Endgame, for sure. It's a good record. Okay, go ahead, I'll go now. Well, just to get back to where they were scoring it, is there any songs on there that was a little bit more difficult for you for drumming, guys? No, no, I mean, you know, I'm not doing anything incredibly wacky. I'm never looking, anything that I can't play, I just don't play it. I mean, it's as simple as that. You could look, you could pull it off in the studio, do it, you know, take 30 times to do it and then put live, you can't do it. I just, I don't even put myself in that position because all that is is just, you're just setting yourself up to be a nervous wreck going on stage. That's not fun. I mean, you know, if I can't do something, I can't do it. I mean, it's, you know, I'm not the fastest or the best drummer and I never claimed to be and I do what I do and I play the best that I can play, you know? To me, it's not a contest, you know what I mean? You just, you play with within the parameters that you have, you always try to do your best and, you know, some people are better than others, but to me, music's not about that anyway. It's all about writing good songs. It doesn't matter how fast you are or how many sweeteners you can do. That doesn't mean anything to me. It's impressive. It's very impressive. But does it, you know, to me, the song is what comes first. It's good. It's good. All right, ready? Number four. Four. Mario Diplentie, certainly from Gojira. Oh, Gojira, yeah. Yeah, the guys. The guy's an animal. I mean, you know, we played a festival. I've been a fan for many years now. I just think their music is completely original again, just like Moshuga is. They have their own path. Every, you know, everything about that band I love, they're not trying to be something that they're not. You know what I mean? They just do their thing and now more and more people are jumping on the Gojira train. So which I think is a great thing, you know? They stuck to their guns and it paid off for them in the long run, you know? Which I think is a beautiful thing. So with that drummer dude, I mean, the guy's just a frigging animal. I mean, you know, I read somewhere, I can't read an interview he did. He would practice before and I don't know if he still does this or if this is entirely accurate, but he would go do double bass drum, play double bass drums for one hour straight practicing. Can you imagine doing that for, I know I don't know how fast or how slow he's doing it, but to do that for an hour? Oh, geez, man. So, you know, that's, again, you establish endurance and that, you know, doing a lot of things that Gojira does, you got to have some mad endurance to pull off the stuff that he does, you know? So he's just a great drummer. He just pounds the crap out of it, has great, just tasty fills and stuff. I just really respect him. I think he's one of the best newer, he's not really new, but, you know. Yeah, no, he's up and, they're not even up and coming anymore. Up and coming for the last 23 years. Yeah, yeah, just like my sugar. Yeah, he's number four for me, I would say. To overlook him, I think would be a mistake in any top five. It's amazing if you ask me and Alan, we'll get to ours later, but it'll be totally different from yours because you're looking at from a drummer's perspective versus the sort of fans and critiques perspective. Right. You call us that. Right, well, I mean, look, that's the beauty of doing these things. You know, everybody has a different views on, and that's a great thing, you know what I mean? Yeah. Everybody liking the same thing, I think it would be really boring, wouldn't it? Agreed. The profits of the mice, what are a couple of the standout tracks for you? I mean, I'm looking at the couple of ones that I really enjoy was internal screams and ancient desire. I thought those were really good tracks. The whole album was fantastic, by the way. Thank you. Yeah, those two songs are my favorite, hands down. They're a little more epic, do me kind of, you know, it has a lot of curve balls in it. It has a lot of dynamics in it, you know? I like all that stuff. So, you know, for me, I never try to write the same song, you know, all the time, because it gets, for me, for me personally, it gets really boring, so I try to mix it up a little bit, and the fact that I love Trouble and Candle Mass and all that slower, just brutal stuff, you know? That kind of feeds itself into some of the stuff that I do. But yeah, those two songs are certainly, and it's funny that you said that, because a lot of people that I've been talking to, almost all of them would say that those two are their favorite songs too, which it's a little surprising for me to hear that, because they are a little bit longer tunes, and they're a little more, you know, there's a whole middle section, eternal screams, it's a little more of a progressive, kind of musical saying or whatever, you know? But I'm glad you like it. Yeah, those two are my favorite as well. But I love them all. I love them all. Yeah, the Dune Dio kind of vibe. Yeah, I mean, we were joking before about Rockin' Stock in $7.79. I remember hearing the first Trouble album, and I thought it was unbelievable, but I just didn't have the point. The buy it back there. We only had enough to buy one. That was the dilemma, wasn't it? It was like, what am I gonna buy? Yeah, that is, it's a beautiful dilemma, right? You go to, yeah, you only have X amount of money, and like which, I would spend hours in there like, you know, which, unless I knew exactly what I was buying, you're like, which one do I buy, you know? Because maybe you didn't hear it, and you're just looking at the artwork. It's like, man, these guys look like they're pretty awesome, but are they? It's like, you know, you're spending your hard-earned money, right? You know what I mean? You know, we're just kids and stuff. We're just kids. We've even got full-time jobs. Yeah, mom, I gotta buy some school supplies. Yeah, it was paper-root money. You know, it's paper-root money for me, you know? So I took that crap seriously, man. I mean, that's, I did not wanna go in there and go home and put on a record and it sucked. In a half of the couple of times, I was pissed. Couple, only couple. All right, number three. Number three. Three, Tommy Aldridge. Oh yeah, he's popular. Just, you know, he's the human octopus, you know, the OG human octopus. I mean, just what he did with Pat Travers back in the 70s, you know, going back to before Ozzy and all that stuff. I was a huge, still I'm a huge Pat Travers fan. That live record, Go For What You Know, I still think is one of the best live albums ever reported for me. Of course, he went on to Ozzy. It was so amazing in Ozzy, you know? I saw Dive Mammon in Montreal. That was my third concert, 1982. I think it was in March, if I, yes, no, it was in May because Randy passed away in March. Then they rebook it. They read, they postponed it for whatever was six or seven weeks, whatever it was. And I saw them with Greg Gillis. Was that ever done auditorium? No. No, it was the forum. It was the forum, okay. Forum, yeah. I was in grade eight. Yeah, I was 14 or 15, I think I was, if I remember. I think I was 15 because Glenn went to that show and I think he was like 12. He must've been 12. I swear to God, I think he was 12. Yeah, he was 12, as a matter of fact. That's how hardcore we are, right? So, yeah, just seeing Tommy with Ozzy and lucky for me, all these years later, I did a drum clinic with him in Indiana. Wow. And that was, I had to keep myself in check a little bit. I wanted to kind of go fanboy on him a little bit and stop some basic question about Pat Travers and stuff. But I really didn't do that. But yeah, I did my clinic and then Tommy did his right after I did in, I can't remember the name of the city, Evansville, Indiana. And that was fun. Just watching him, just, you know, he played a bunch of old stuff and you know, it was, he's just an amazing drummer, you know? And he's still doing it. He's still kicking it, you know, with Whitesnake. I don't know what's going with the status of Whitesnake right now with Coverdale, but... It's on pause, yeah. He's still doing it, man. So, you know, and he still looks great. Yeah. So, you gotta, you know, you gotta give props to him, man. I mean, that's just, I do anyway. I mean, I think... I was just reading one of the internets on the station, the interviewer Tommy Lee asked him same kind of questions. Tommy Lee, Tommy Aldridge came out in his top three as well, so. Well, of course. I'm sure you could ask Tommy, but I'm sure he adapted, and Tommy's amazing stick twirlers as we all know. But I bet you he saw Aldridge doing that. You know, I don't know if he was already doing it at that point, but I'm sure after he saw Tommy doing it, he's probably like, wow, that's cool as crap, you know what I mean? I mean, you know, Tommy's got a fantastic stick twirler. I mean, that guy's frigging awesome and all that stuff. Great drummer too. Tommy's a great drummer. All right. Number two, we got till six o'clock and then I gotta have an appointment, but we got 11 minutes left. We're gonna go to number two. Number two, Sean Reiner, who played with death. He played on a death record called Death Human. Jesus. He played with a band called Stinnock. He, this is 1991, I believe. He revolutionized the way extreme metal fused with fusion drumming. I've never heard a drummer do that. And, you know, what he did back then, it was, to me, it was mind-boggling on that record. I never heard that in my life. I don't know, I've heard a record that good since then. Doing, executing the way he did with the finesse and the precision and all those chops, man. It just was, it blew my mind. And then he went to a band called Stinnock and with the guitar player, Paul from Death. And that first record focuses jaw dropping for me. Amazing record. I became friends with him later on and, you know. I agree with you, man. I put that death album on as like, oh my, I'm not a biggest fan of the band and the catalog, but that drumming, just on all their albums actually, is just insane. It's just insane. There's something about the drumming that's just great. Yep. So yeah, I couldn't do the list and not have them on it. That would have been. All right, let's go to number one. Let's just rip the band aid right off. Well, it should be fairly, it should be fairly obvious. And a drum roll. We're all Canadian, right? Yeah, yeah. I'm gonna guess Neil Pert, right? Or Pert? How do you want to pronounce his name? They're all Dwarf. There you go. He's a great drummer. He's a great drummer. He is a great drummer. I love that first record. Let's kill the Dwarf's record. Yeah, Neil. Neil Pert. I mean, what can you say? Yeah, yeah. He has to be. He has to be. They're not, they have some students, I would say, are born-aligned metal. I mean, 2011, 2012 has a born-aligned metal moment and stuff of crest steel. I mean, they're hard rock flat out. I mean, so many of their earlys, all the stuff from the 70s, flat out hard rock, flat out. Steel day is just like it's a metal tune. I can't get more metal than that. You put today's production on that song, it's a metal tune. So, you know, but the definition is hard rock slash heavy metal. They're hard rock, flat out. I mean, you know, Neil was the one who made the transition for me being a music fan to wanting to become a musician when I heard All the Wolves of Stage. So that was. Alan, give me your top five. Fast, fast. I like Brian Downey, Finn Lizzie, Rob Reiner from Manville. I always loved Jerry Mercer from April Wine. He's a great showman. Great. You know, it just marks on, basically, anybody who's ever played on a Fates Warning album, no matter what drummer they have, they've all been fantastic. And, you know, of course, the Nickelmore brains of the world as well, so. Yep. There's Charlie Bonante, I would put, I think he kind of, he's just probably one of the greatest thrash drummers out there. I just, there's just, he's always like improving himself. He's always battering himself. He's always trying to find a way to play. Just not gonna, it's just always, and that's what was Neil Peer too, right? He was always trying to evolve as a drummer, as a musician, and always trying to learn something new. And that's what the beauty of these guys were. Bill Ward, I think everybody always leaves out with those long fills and, you know, he never just, he's not sticking to that for four, he's just, or he is, but he's just always got those long fills in there, and just like fairies wear boots. It's just an incredible, you know, example. John Bonham, probably the most, I don't think there's any, if you take a survey, I would say, he's number one as an influence, we'll say. Sure. And of course, Neil, and who else was there? That's it. Grease Witherspoon. Oh, Keith Moon. Keith Moon, Keith Moon, who was the blueprint for Neil Pert, right? I mean, you know, he was really going off on all, he was aggressive. That's what it was. He was a lead instrument. Yeah, yeah. Yeah, that's for sure. And he throw like something out the window to at the same time, so. Todd Latour, he gives a thumb up, by the way. Yeah. All right, but also we got Alan, we got seven minutes to go. Oh, you know, just let's get back to the album. Let's talk about how this album came to you. Who did most of it? Was it yourself that did most of the writing or how did that come about? Yeah, I wrote most of the material. Glenn always helps with that. But Glenn's job is, Glenn's the engineer, the producer, he does all the Pro Tools stuff. He's got, that's a full-time job in itself to do a record. So we always had a pack of look, all right, most of the music, you do the studio stuff, and that way we kind of have an equal workload, you know what I mean? But Glenn contributed to several songs, Eternal Screams, Age and Desire, stuff all over the album where he has and he refines everything that I do and kind of makes it his own. But by and large, I wrote most material on the record and, but it's always all the old Island records, it's been like that too. I wrote, you know, 90% of those tunes and Glenn does all the studio stuff. So, you know, yeah, that's the relationship we've always had. And it works for us, you know? And if there's something he doesn't like though, he's flat, you know, it says, look, that's kind of stock, it's, you know, you can do better, you know what I mean? He doesn't accept anything that I, everything that I do, you know, it has to be to his level too, otherwise he'll say, got to, come on, you know? It's just, it sounds like that, or it sounds like that. Okay, well, that doesn't bug me because they're just notes that I'll write some more notes. I don't get offended if somebody said, that's why I find this so much of that funny, you know, people get buttered if somebody says they're band stocks. Who gives a shit? You know what I mean? I think it's funny. It wants to be liked by everybody anyway, that's, you know, I get that, you know, that's a bit of a punk rock attitude I got from Dave Bustain. It's like, you know, it gives a shit, you know? The people who like what I do or what we do, God bless you, that's great. I'm super happy about it. But if you don't like it, I don't care, dude, you know, it's just music, man. Yeah, yeah. I'm like, does Mustain get a bad rap because we interviewed him. I mean, he was pretty nice and he's funny and he's smart and he's got something always clever to say. Does he get a bad rap? I mean, everybody, because he's so popular and when someone's very popular, they always get a lot of shots by, you know, those keyboard warriors, right? Sure. There's always complainers. I mean, I don't know, he comes across to me as a pretty nice guy. I don't know, maybe I'm just... Absolutely. I mean, I think some of it maybe is from his political viewpoints at any given time. That rubs, you know, how that goes, you know, politics and religion can definitely rub people the wrong way. That's certainly, I would say, maybe part of it, to which I never had any comments of any sort in any of that stuff. So, you know, who knows, dude, it's like you said that the, you know, there's always the Monday morning quarterbacks that talk shit about something again and a lot of it gets thrown out of context, you know, something I'll say on here, I'm sure we'll be on a website saying, Sean said this, and you know. Yeah, yeah. You know, it's just to create a headline, it's clickbait, they call it, right, clickbait. So, you know, it's just music, man. You know? Yeah, just stuff, just stuff. Turn to space shit if you don't like it. You've been in Megadeth 2006 to 2013. Is that correct? Is that how long you were in the band? No, 2004 to 2000, almost 2015. Now, they're over 10 years. Wow. So you were really, yeah, you were in the band a long time, man. Yeah, it's been such a great experience though. Absolutely. Yeah. Yeah, I have nothing but good memories and good things to say about it. I mean, you know, if it wasn't for that band, we wouldn't be talking today, I guarantee it. So, you know. No, we would be talking. Of course we would be talking. No one would be talking to you. We wouldn't be talking about Reese Witherspoon if it wasn't. We'd be talking about Soar, that's what we'd be talking about. Yeah, we should have. No, I have nothing but good things to say about that. So, you know, I'm very thankful. Yeah, good, good, good. You got the Drover Brothers, you got the Hughes Brothers and Soar, I don't know what this, Yeah, we enjoy it. It's been a water and a Montreal area, but. Yeah, yeah. Yeah, I can't, yeah. Love Soar, and we all love Soar. Go buy the new Soar album. Buy my new album. Say you love it. Yeah, yeah. Reese Witherspoon. Reese Witherspoon produced it. And who did the album cover? Because that's, I love that album cover. Guy and Karen, I don't know, he's somewhere out there. I think he's out west. I don't know if he's in California or I can't remember where he's at, but he's, he reached out to Joe, his big face warning fan and said, you know, to Joe, hey, if you need some artwork done, let me know. And Guy does killer work. So, you know, I've already reached out to him and say, hey, dude, for the next one, because we're going to have more time. It's like, let's start bouncing ideas off when it's time to do that and really come up with some sick, you know, macabre artwork. So I'm excited about that as well. So, but he did a great job, great job. On that note, we have to shut it down. Sean, it's a pleasure. Thank you so much for jumping on. It was really fun. And yeah, good seeing you guys. Yeah, great to have you on and all the best on the record. We hope to have much success. There's a lot of hard work put into it and it's a great album. I've read nothing but positive feedback. So congratulations. Yeah, thanks to you both. Thanks for having me on the show. I really appreciate it. Yeah, we'll see you in Montreal next time when you guys do some a night of metal. Yeah, we're going to grab some of the floors. Let's go get a hot fog with flour. That's it. All right, man. Thanks a lot, Sean. See you guys.