 And everybody should understand as Samson is sort of developing as a band and you're recording head on at the same time Aaron Maiden is in parallel with you guys, right? So the famous Thunderburst controversy, Thunderburst Gate, as I like to call it, Thunder, maybe you want to, I know you've explained it to me in the past, but maybe, you know, you could explain it again for those folks, that's the one. There it is, I stand corrected, there it is, it is very different, isn't it? I think I've read it before, but just for those that don't know, what was the story there? When I was with Maiden, Steve was the first person to introduce to me rehearsals of just the rhythm section. Up until then, every band I've been in used to rehearse as a band all the time. And yet when I got with Maiden, Steve started rehearsing just the two of us. To get everything, you know, tight. And Thunderburst was a drum rolling pattern that I came up with. He came to me with ideas for that song. And I would do this drum roll, drum pattern, as well as I threw in a couple of ideas. So when I was with Samson, we did the head on album, we were still looking for a couple of other tracks to use. I said, well, there's a track that's an instrumental and played it to him. And they said, yeah, yeah, let's do it. So we did it as an instrumental. And then Plypah who had also joined Maiden, because I mean, as you say, the connections between Samson and Maiden were like that. I mean, not only Plypah, ex-Samson drummer joins Iron Maiden, ex-Samson singer joins Iron Maiden. I was asked back as well after we finished the tour together. And so we did this instrumental and Paul's still friends with Plypah. And Clyde went over to Paul's house and Paul said, look, you know, we finished the album. Do you want to hear it? Yeah, great. So put the side one on, wonderful. Everything was great. Side two, Up Comes Thunderburst, hence, you know, because I took it to the band, that's why it was called Thunderburst. And Clyde fell off his chair and he went, oh my God, we're using that as an intro. And Paul went, what? What are you talking about? So he went in his bag and he pulled out a cassette and put a cassette on and there was I to March. So as soon as this got heard by the Iron Maiden camp, I was summoned to a meeting at EMI. And Ross Moore was there and Steve was there. A couple of the record company bots were there and a couple of the legal team from Iron Maiden. And I was told with no uncertainty, Steve is going to take 50% of the songwriting royalties on Thunderburst. And with Samson, we were a four piece songwriting team. We called ourselves Stab, which was Samson, Thunder, Slick, Aomer and Bruce stacked. So we only got 12.5% each from the Thunderburst track. And Steve took 50%. And then the legal bog said, if you insist on trying to claim songwriting credits on I to March, we'll see you in court. And that was the end of that. I mean, Paul, the band, you know, Samson didn't want to know anything about it because it was something that had happened prior to me joining Samson. The management didn't want to know anything about it. So I was totally unrepresented by anybody. And I went there to that meeting alone. And the rest, as they say, is history. And who would have thought it would have worked out the way it worked out, right? Who would have thought I would have been with the biggest man in the world, right? Yeah, I mean, yeah, we didn't know. So but at the time, I mean, had I got songwriting on the I to March, it probably would have changed my life. So was it? Do you mean you have 12% of it, don't you? 12 and a half percent? No, not if I to March. No. Thunderburst. A Thunderburst only. Right. Interesting. So you got so he took 50% of your song. Yep. But I was. But you didn't you didn't even get 1% of his song. Correct. Correct. And it's the same song. None of us did. None of us. But no, you know, that's why I was that's why I was called to the meeting and told that this is the case. And that's the way it's going to be. And do you consider that do you consider that song a co-write between you and Steve, like a 50 50 kind of thing? Or was it totally your thing? Or, you know, when you're putting never totally my thing. And Steve, if we broke it down, if we were to break the whole song down, Steve probably 75% very 25% of that song. But I mean, you know, it's many, many years and a lot of blood has passed under the bridge. So you know, it's just another one of those stories and the the fabled tales of Iron Maiden.