 hadn't done a, I've done StreamYard but not Zoom and I didn't, and I was like, I didn't, I was like, oh, I don't have the app installed. Well, you know what the good news about Zoom is? If you're using your phone, yes, you need the app, but if you don't use your phone, you don't need to actually have the app on your computer to do Zoom. Maybe download it. So yeah, I don't know. So we're live. We're live talking about Zoom. All right. Here we are. Yes. Once again, Aaron, a pleasure that you made the show once again. And of course, Sean Kelly, who actually I've interviewed before with Coney Hatch. So that's right. Yeah, that's right. That's right. We spoke, it's strange enough, but Elmo Campbell, when Coney Hatch was playing there and doing their live performance, that's when we spoke with Sean and the rest of the guys. So there you go. There's a connection. Cool. There's a connection. All right. So what's going on? Everybody, how you doing? Good. Good. Well, I think probably the thing I'm most excited about doing on my birthday is having a rehearsal. It's a rare treat, right? I know it's like so goofy, but I had all these friends in Toronto, they planned a dinner and they wanted to take me out and I'm like, you know what, we're recording live. I think I'd rather rehearse. So how long has it been since everybody's gotten together? Is this, is this, you haven't really gotten together? Like, I'm sure you have. You've been playing some shows, right? Rehearsing. Is that what you mean? Well, we were together in Sweden just recently. We were over there doing a show, but because we're a bicoastal band, we just don't get a lot of opportunities to actually get together and really effectively work out parts. I mean, once in a while we'll do like a, you know, like a FaceTime call or whatever, or even a phone call where we, Sean will play me something on the phone and I'll bounce something back. But to actually get an actual, you know, real bonafide in-person rehearsal doesn't happen too often. So I'm just, I'm excited. You don't get to jam. That's what you're saying. You don't get to jam. Yeah. What do you think, Sean? Yeah, you know, well, I love it. I think they only other, I think we rehearsed three times as a band. The first time before the first run of dates I did when I joined. And then I think we did it once in Vancouver, but we actually ended up shooting a video that day. That's right. And I think this is a third time. So I love it because it's just another chance to hang out. Well, the last time we, we, we got together in a room and just rehearsed for a couple of days, we wrote Radio On, basically. That's right. Like we wrote an album. Well, that's a really cool idea. I'm going to record that, you know, on my phone. And then at the end of it, I'm like, we got an album, guys. Well, we're going to go do an album. So it was just, yeah. So, you know, it's just exciting because it's a great bunch of people. I love, I love everybody in my band, a great creative bunch of people that have so much to bring to the table and so much to offer into this musical unit. So yeah, what would I rather be doing on my birthday? Nothing but rehearsing, really, hanging out with my favorite people. That's, that's it. That's what we, that's what jamming and rehearsing is all about, right? Just hanging out and playing music and the stuff that you love to do, right? That, that's kind of what it comes down to, right? The core of it all. All right. So you're playing on Friday, I guess it's a 22nd. You're playing a live show. It's 30, I don't know what is it, 38 years? Are we allowed to say 38 years? Or should we just say 25 years plus 10? What do you say here? You can say whatever you like. So all right. So you showcased the metal queen so long ago, a few three decades ago, and now you're kind of going back to where it all started from, right? So maybe both of you want to tell a little bit about that. Yeah, like I, it's funny for me to go back and like see the pictures and the images and the some of the footage from that because I'm like, I was just like, I was 21 years old. I was like a kid, a puppy, right? So yeah, it's kind of nice. I think the coolest thing about it is that you know, our set is going to embrace a lot of the nostalgic material that people love, our fans, we're going to give the fans what they want. But a large percentage of our set is material from the albums that we've written and recorded in the last six years since 2016. And there's just sort of a fresh injection of creative energy in this band. And we're doing lots of making lots of new music right now. And so you're going to see it's kind of like nostalgia mixed with, you know, Nouveau as well. So you're going to it's going to be a really neat show. I'm excited. Yeah. And I should say, Sean, you know, I should have prefaced this with Sean Kelly, the Rudy Sarzo of Canada, the guy who plays in all the great bands in Canada, Coney Hatch, Helix, and of course, Lee Aaron. And that was a compliment to Sean. He's just played in all the greats with all the great people. You know, Sean, tell me a little bit about the history of Alamo Campbell Club for those people who don't know this iconic club that's been around for so long. Well, I mean, I can't really speak too much to the history other than, you know, I know what everybody else knows. I know the Rolling Stones record an iconic record there. And it was certainly a place when I moved to Toronto that I was a real hallmark to have the opportunity to play there. And I knew about its history. But to see this rejuvenated Alamo Combo is really something they put so much so many resources and and they've turned it into a place that's both intimate and yet feels like a world-class arena spectacle. It's really something to behold. And it's an honor to play there was an honor to play there back when I moved here to Toronto in 91. And especially an honor to be playing there. I mean, you know, and getting to play the Alamo Combo with Lear, how good does it get? I've been there. It's a great place. Is this going to be a showcase of like all of Metal Queen plus your other material? Is that what you're planning on doing in terms of a set list? You mean going back and playing the entire Metal Queen album? Yeah, you know, a lot of bands are doing that, right? A lot of bands are doing that today. So yeah, that would be a no. We're not doing all the material from that album. You will hear Metal Queen, definitely. And you will hear, you know, what happens is it gets kind of hard when you've got so many albums under your belt that, you know, it's hard enough just as a band figuring out what we're going to play. Never mind every fan that's emailing you go, are you going to do this song? This song is my favorite song. And what about this song from this album? We're like, I'm like, ah, you know, so we did revamp our set list somewhat for this show to include some sort of classic picks from some of the older albums, right, Sean? Absolutely. Yeah, so it isn't going to be the same set fans have heard for the last couple of years. It's going to be slightly different. And so super excited about that. And yeah, and then we've cherry picked a few from Radio One and a couple of the newer albums as well. So it's going to be a nice blend. You know, we were thinking live recording as well at the same time when we were putting together the set list and we're like, you know, what can we effectively, I mean, obviously stuff that's super lush and super dense and has tons of layers of guitars isn't going to translate as well live as something that is down and dirty. We can pull it off as a three piece, right. And so we were thinking about that when we were going to do the live recording as well. What can we effectively pull off and make just make it sound great as a power, I mean, we're a power quartet kind of, right. Yeah. And Sean, just tell us a little bit about the recording facility at Elma Combo. Like you've done Comey Hatch there last year, a year and a half ago, I believe. Yes, that's right. It's sort of like it's now it's designed sort of to capture that live, that live recording, right. That's right. I believe they brought Eddie Kramer in to help sound design the room, you know, the famous producer. And it's really sensational. They've got a world class broadcast facility within the walls of that venue now. And yeah, I was very proud of the results that came about from the Comey Hatch record. And, and you know, I this band, when we go out, you know, what you see is what you get no tracks all live, we deliver, you know, it's as honest as it gets. And what a great place to capture that authentically. Yeah, no, no, I've seen you guys play live at Heavy Montreal. I think that was the last time. And wow, you guys sound great. You know, it's you guys always sound great live. And Lee, your voice, it just doesn't age. It just, you know, it's always good, right? It's always great. Thanks. Yeah. Yeah. Is it the new brand of your coffee? I'm just trying to plug your coffee or is that helping with the vocal chords? Is that it? I think that's that's the secret, right? We'll go with that. Tell us about the coffee venture. Well, Sean and I sort of both. Yeah, well, no, I got approached by writers and rockers. I don't know if you want to go and they were like, Hey, you know, we're partnering with some Canadian artists that we we love. And we want to know if you'd like to partner with us on a coffee brand. And I thought, you know, it's funny because I discussed with my manager guy over the last year, the idea of doing some type of branding partnership. But nothing seemed quite right for me. I mean, you know, a sass has her wine, alcohol didn't seem right for me. And, and then when that the idea of the coffee came up, I went like, Okay, who, who who is my age that's, you know, had family and lived through, you know, you know, raising children that doesn't love coffee, you know, it's becomes a life survival. Basically, it just seemed like the perfect thing. So yeah, it was cool. They sent me a few, a few blends. And I told them what I liked and what I didn't like. And then that's how they designed the Lear and Body Rock blend. And then, and then we just worked on a name. They were talking about doing metal queen coffee. But you know, it's, it's just been co-opted a few too many times, I just thought Body Rock spoke to my heart, get your body going in the morning. So, and the other thing we've done, I've done with them is, we, they support a cancer foundation called Never Alone Cancer Foundation. And so all the artists proceeds from the Lear and Body Rock coffee goes to that foundation when you buy a bag of that coffee. So yeah, it's just a cause it was near and dear to my heart. Very cool. Very cool indeed. I'll put the link, yeah, I'll put the link in the video right after. My hands, people want to check. Does that, do you ship to the United States? Because I know there's food restrictions globally, right, with alcohol and coffee. Do you know if it ships only to Canada or the globally or because there's a lot of people who watch from all around the world, you know, they might want to have a cup of coffee. So that's a good question. Do you know, Sean? I don't know. I wish I did. I was hoping you'd know. I do know the answer. I know. I do know the answer. Oh, do you? Well, typically, typically, but maybe there is another. What is this, like, stump the rock star? Yeah, geez. What is, what is, what are duties? If it's made in Canada, then you could only basically ship it within Canada. But if it's sort of made in the US and distributed there, then you could distribute it. Alcohol, you can't cross border coffee, you can't cross border. So I don't know if they're making this in Canada or they're making this in the US. That's why I asked the question. You know, I know that it is packaged up here. Yeah. But in terms of where they're sourcing their beans. Yeah, I know. It's a packaging. It's a packaging, yeah. Yeah. So probably just Canada, unfortunately. Yeah. You know, but again, they could be packaging in the US as well, right? And then I'm going to ask that question. I'm going to email Robert right after I get off the line with you and ask him. Okay. These are good questions. These are really sourced. Okay, Sean. Very edifying. Yes. Stump the rock star. I like that. Sean. No fair. Sean, tell me, are you bouncing off ideas for a new album? Now it's been gas, oh my God. Fire and gasoline? Yes, yes. It's been like what, a year and a half now? How long has it been this last studio album? Sorry. Oh, well, Fire and Gasly was actually 2016 and then it was Diamond Baby Blues. Diamond Baby Blues. And then the 2018, then we had the Christmas album, then Radio On. Radio On, that's what we're asking. Yeah, Radio On is the most recent. It was 2020 or 2021. 2021. It came out in July, 2021. That's right. It was our COVID baby. What about new material? Exactly. Well, actually, no, that elevates the COVID baby, really. Yeah, right. That's true. So Sean's welcome to pipe in, but yes, Radio On came out in July, 2021. And we currently have just finished another studio album. So there you go. All right, so there you go. Because we've had a lot of time with COVID, right? There was a lot of time and a lot of bands have written a lot of music. Yeah, you know, when the initial question you were asking about bouncing ideas, I'm constantly pestering Lee with ideas because I think it's the buzz that we're chasing at this point in our lives. The creation, just the process of creation that comes out of friendship and sharing our influences and getting in the room. It's really exciting. And this Radio On was like that. Like Lee said, we got together and she had this idea. She goes, guys, let's just write something like we're 16 years old. We're in the basement and we're just going to have fun, write stuff that excites us. Not worry about getting on the radio, which is ironic for an album called Radio On. Don't you think? Okay. But you know what, it's that joy of sharing ideas. And I think we're all just searching for that thing. And then that happened again with the new album, Elevate, and getting together in the room working with Mike Fraser and with Lee Producing. And we're all kind of just viving off each other and creating that together. It's a special chemistry. And it's one that I appreciate more and more, especially after COVID where we had to be separated. It's really special to me. And I'm so grateful for it. And yeah, and you know what? You're going to see it if you come down to the Elma Combo too. You'll see it live on stage. It's in our concert interactions or recording interactions. And even when we're sending, when I'm phoning her up, we're sending her a voice message with a guitar riff for my basement. Is that what you mean? You just get like, as you play it, it's just a guitar riff out of nowhere. Yeah. And Dave too, Dave Riber, and John, we're all in there. We're all in the mix, right? Throwing all this stuff around. It's just wonderful. People are commenting as we speak. So Rob Johnson says Radio On is a brilliant album. So he's giving you guys a lot of props there. Thank you. Yeah. And thanks, Rob. In terms of, okay. So you're, where is this organically going to go in terms of a style for the next album? Like, is it part two of Radio On? And excuse me for messing up all the albums before, but Radio On, is this like a continuation of that? Where are you going now? Are you waiting for me? I'm asking for you, yes. I would say it's springboards from where Radio On left off. Unfortunately, because of the COVID restrictions, because Radio On was written literally just before COVID hit. And then we recorded the bed tracks during COVID, finished the album during COVID, but we were still able to get into a room to write the songs together. Elevate, the new album was created during COVID. So unfortunately it was a process of sending files back and forth. So the vibe is a little more different, maybe even a little more structured, would you say, Sean? But well thought out. Well thought out in structured songs, if that makes any sense. And yeah, and I mean, I think it just takes Radio On to a whole other level. I think we delved into even a little bit more I pseudo political territory with some of the lyrics and some of our feelings. I mean, we're all growing up in this bizarre age, right? There's so many weird things going on in the world right now. And I think that was reflected on the material from the new album that hasn't been released yet. It will, we're hoping pre-Christmas, but if it doesn't work out because of the timeline for vinyl right now, it'll probably be the spring of next year. Yeah. So the album's called Elevate. That's what I want to clarify. This is a big reveal because we haven't told anybody. It's Elevate. Here we go. So everybody out there and there's this guy, Chris P, who's writing like a hundred messages. He loves you. Okay. And he will be excited by knowing this is Elevate. Oh, I know Chris P. Mr. Chris P. Mr. Chris P. Mr. Chris P. I went to Chris P. Mr. Chris P. So wait a second. So okay, what else? Okay. So it's called Elevate. It's done. It's in the can. It's finished. The artwork is done. No. I just did a photo session a couple of days ago. So I'm just picking pictures for the cover. And then we're going to be shooting some more stuff. Hopefully as a band and yeah. Okay. So the album's done. The pictures are in progress. Is the marketing team, are they ready to go? Is this, because this is going to be Christmas. This is coming up. They will be ready to go. Yes. Okay. All right. Is there anything else that I'm trying to think? What else on New York? How many songs? 10. 10. Okay. So here's the thing. We recorded 14 tunes and we even wrote, we wrote a couple rated like that was the cool one. Sean was talking about this whole exciting creative process. We just get together and magical things started happening. We wrote two songs pretty much in the studio, didn't we? Yeah, the tie-on trap, right? Elevate came out at that time. I know. This is like Dave had this idea and we're like, okay, let's sit down. Let's hash this out 15 minutes later. We're like, okay, Mike, roll tape. Roll tape. Roll tape. We're going to record right now. And we, yeah. But some of the songs are long. A couple of them are long. I was speaking with my husband. We'll define longer. Are we talking about like a 20 minute rush song here? What are we talking about a lot? I think there's like, no, no, no, no, no. We're not talking 2112. We're talking like, no, five plus minutes, right? Gotcha. My hubby, who is a vinyl aficionado of all sorts, says, you want it to be 45 minutes long. You can't have more than 45 minutes. It'll wreck your vinyl that's on your vinyl. I'm like, okay. So I had to come up with the, had the very difficult task of coming up with a running order that was 45 minutes long. For the album. And so we ended up shaving it down to about 10 tracks. I mean, the great and beautiful thing is now we have extra tracks in the bag. And I'm not sure what we're going to do with them, but they will come out on something in the future. You know, we have a few future projects percolating as we speak. And they will probably end up on that. So, but it's a 10 song album. You know, some of my favorite albums of all time are like the, the nine in the 10 song albums from the late 70s and the early 80s that are just like short masterpieces. Right. And so my theory is this, my theory is this, if you have an album with 10 songs, right, you can have a masterpiece. But once you throw in three fillers, then the masterpiece diminishes. Right. So, well, that's the thing. There's no fat. There's no fat on this record. Trim it all out. Yeah. Yeah. Sean, let me ask you this. So you guys both went to a Sweden recently, Canadians in Sweden. I'm sure it's not your first time, but what was that experience like for Canadians watching? You know, what's Sweden, what's different about, what's the shock, culture shock about Sweden versus Canada? Well, you know what? I don't think there's too much culture shock. I will say I marvel at their, their structural efficiency. I guess that's why we got idea. Like everything runs very well. Everything, we were in, we stayed in a beautiful little village. The name actually escapes me, which is embarrassing, but it was, it was absolutely incredible to see how much they care communally about the space that they inhabit. Okay. That's what I love about Sweden. And, you know, Dave and I went over a walk and we ended up just kind of wandering into this old church, you know, open the door, you know, it's like the Hardy Boys. Hey, what's in here? And we open up, open up the door, and this gorgeous church reveals itself with beautiful acoustics. And sure enough, the caretaker comes out and gives us a full tour. Let's me play the piano and like, you know, you know, it was, it was just wonderful and how proud they were of their heritage. So that strikes me. And also, I mean, I'm a big fan of Swedish rock too, right? So I mean, there's a real, similar to Germany too, and a lot of Europe. They appreciate classic rock, hard rock, in all of its iterations. And that's why you can have these festivals where you have bands like Megadeth and Learron on the same bill. Yeah. It makes sense because they appreciate everything, right? So, yeah, it was a wonderful experience. I'm going to ask Lee the same question right now. Lee, what did you enjoy about Sweden or not? You know, or what was the culture shock of it all? Or not? Yeah. Well, I've been there before. Not only have I played there before, but I've done promotional tours there. But yeah, I mean, exactly what Sean is saying is there's a real sense of community. They're very, you know, they're like the Germans and they're very technologically advanced. Everything is like, you know, state of the art when you arrive there. So state of the art that our board froze. Too clever by half. We had a little issue with our state of the art digital console up front during the show. But, you know, they were running around like a very efficient team. They got so in a great way, you know. You know, we chose to not backline any guitars, or not backline. We chose to not fly with any guitars this time because we had a very tight connection in Paris. And my travel guru-ness tells me that those guitars would not make that connection. And, you know, we arrived. They had the guitars we needed. Sean wanted an extra guitar. He just had to, you know, have a conversation or two. Little sweet talk. No pun intended. Little sweet talk. Yeah, you know, and there we go. And they just, you know, from the moment we arrived, you know, that we had a personal assistant just assigned to us that was, you know, this totally amazing, funky lady from, you remember? On her. Emily. Emily. Emily. Yeah. I thought it was Amelia. It could be. It could be. It depends where you're from. I think you're right. She was just so amazing, you know, anything we required or needed or it was just there. And so, yeah, I mean, they just, it just seemed like every aspect of that felt, I mean, sometimes you do a festival and you're going, everything is great, but the food is terrible, you know? Or everything is great. The food is fantastic, but boy, they sure cheaped out on monitors or, you know? You just don't feel like every single. Chocolate everywhere in Sweden. You just chocolate everywhere. Yeah. Like every single aspect of everything was first class. So it's just a real treasure to play there. And I really appreciate it. Yeah. Parents asking, ask Lee if she'd do the Montreal Jazz Fest again. How many artists can say they've done heavy Montreal and Montreal International Jazz Fest? It's pretty cool. Well, I would say, you know, and that's, it's funny because that's what my husband says as well. He said, how many artists can play both the Jazz and Blues Festival and the Heavy Rock Festival? I would love to do Montreal Jazz again, but I think all of these festivals sort of have like a certain so many year turnaround without having the same artists on the bill. So I know that I got pitched for Montreal Jazz this year, but I think they came back with the answer that, you know, she just closed that festival three years ago. So I think we need to wait another year or two. But yeah, absolutely. It's in my intentions to come back. So I hope we see you soon on Montreal Jazz. You know, Voivod played the Montreal Jazz Festival just so you know, Voivod played the Montreal Jazz Festival. I think that's authentic. They're pretty jazzy. There's a lot of jazz. They take it to the, yeah. Sean, how did you hook up originally with Lee Aaron? Do you prefer people call you Karen or Lee? Well, professionally, Lee. Yes. My good friends call me Aaron. Yeah. All right, all right. All right. It's okay. Sometimes people don't, you never know, right? I don't know. Sean, how did you originally hook up with Lee or Karen? Well, Miss Aaron, you know what? I had, I had, I was working on a book about Canadian hard rock and heavy metal called Metal on Ice. And I wanted to interview iconic artists, Canadian artists, and obviously Lee Aaron's names up top that list. So I just reached out for an interview and she was gracious enough to grant me one. We had, I think we had a pretty good instant rapport and her answers were so informed and so insightful. And you know, at the time, I was writing the book, I was working for a company, a music company called Coalition Music. The founders there said, hey, it would be cool to make a record. You know, we had to deal with Warner at the time. Hey, why don't we do an album to go along with your book? And you can maybe talk about re-recording some classic Canadian songs. And I reached out to Lee and fortunately enough, she was open to it, which prompted me. I flew to Vancouver and we went into a studio to work on a vocal and we just, I think we just hit it off on a different level. Like, I mean, first of all, I was intimidated. You know, like, I mean, who am I to be in the studio and actually trying to comment on some stuff, you know? But she was so amazing and so effortless. She's such an effortlessly incredible singer. I was just kind of blown. No, that's the truth. That's the truth. I won't say that to you in person, but I'll say it. I'll say it on my phone. Say it to everybody else, okay. Yeah, yeah, because it is the truth. And it was such a great experience. And then we just started talking and I don't know. Lee, maybe you could even. So you said, hey, if you ever need a sub, you know, if you're coming to Toronto and you want someone to sub to your guitar player and Lee saying, I don't remember it happened that way. Go ahead. Don't you remember that? And then I do. I do remember that to play a show. And my, the guitar player from Vancouver, he had become increasingly more unavailable because he started another side project that was taking a lot of his time. You know, I have nothing negative. Like Rob Hamilton was a great guitar player. I have nothing negative to say about him at all. But he would just got super busy. And so I was asking him to do shows and he was like, ah, you know, I can't do that weekend. And I'm like, I'm going to have to find a sub, another sub. And so come to Toronto. I said, Sean, you know, if you want to, you want a sub on this show, I'd love it. So and that was our first rehearsal. That's right. Rehearsal number one. Rehearsal number one came to Toronto. And honestly, like I think about, you know, half of a verse into the first song, Sean has a playing style that I particularly grabbed. Like this sort of, just sort of swaggery behind the beat kind of vibe do is playing that I love. And I've been looking for someone to emulate that ever since John Albany left the band in like the 90s. And it was about halfway through the first song. I'm looking at my husband and he's looking at me. I'm like, this guy's got to join our band. And then pretty much by the end of that show and that rehearsal weekend, I'm like, so you're joining the band, right? And he's like, he's like right on. And that's how he joined the band. And then we were at like a couple of shows later. He's like, hey, I got a couple of ideas. I was wondering if you want to play. And I said, I really like that one. I said, send me that. And just like, and so it just sort of snowballed from there, you know, when we first started writing together, it was a little bit, a little bit nervous because it is, you know, when you're exposing your most intimate ideas to someone for the first time, it is a bit like, you know, trying on swimsuits in front of a stranger, right? I know the feeling. But I think the beautiful thing about this band now, you know, eight, nine years in is that we're also comfortable with each other. Nobody's feelings are hurt if I go, yeah, you know, not really digging that one. And that's important. That's an important point. You got to be comfortable enough to tell people, not to bruise their ego, but you're looking for the best. Go ahead. Sorry. And sometimes, you know, there are some magical things happen where like someone hears something somebody else doesn't in this band. Like Sean, it sent me this idea. I don't know. A few months ago, and he goes, I don't know if you'll like it. It's kind of weird. And I'm like, when I've heard it the first time, it totally like spoke to my heart. I was just like, what do you mean it's weird? It sounds like they're rolling stones. I love this idea. And like within a couple of days, I'd written some vocals for it. And it just instantly connected for both of us. And yeah, so yeah, it's just, it's really great when magically. Well, yeah, you know what? I think Sean, I've seen him on other occasions, other with your band. And he just seems like he's that reliable, great artist, musician that just gels with everyone. Sean, just congratulations on that. Thanks. I'm the Derek Smalls of the group. I'm the Luke Warm Water. No, thank you very much. I appreciate it. And you know what? It's a joy to do because I'm coming, especially with Lear. And I'm coming not only as someone who appreciates her as an artist. I'm a fan, right? I grew up not much different age difference, but I did grow up listening to Lear, right? And you know, like Body Rock was like a formative record for me in the work that John Albany did and that Lee did. So I mean, I feel very, very fortunate. So yeah, it's an honor to be able to contribute on an artistic level with somebody of that caliber, right? So I'm just trying to make it easy to do it possible. I promised Art, Art, he said, Jimmy, can you please tell Lear? And you know, he loves your music. Body Rock is one of his favorite albums. Aw, thank you. And I just, I do a shout out for him just for you, okay? Let's go into, this is the metal voice. I'm going to ask some metal questions here from your past. And Sean, I'm going to start with you. You were part of the Randy Rhodes documentary. Yes. So you want to tell us a little bit about that? Well, I will. I actually started, I scored, originally the movie was called Randy Rhodes, The Quiet Riot Years, and it came out with a coffee table book that Ron Sobel had done. And I got that gig because I was working as an MD on a show called Cover Me Canada on CBC. And one of the producers was working on this documentary. He was my goalist and we got talking. He was a student of Randy Rhodes. They were working on this and they needed somebody to come up with some score quickly. So at the time I said, hey, I'm your guy. And unfortunately got that gig and did that. And then that movie got curtailed for a number of years. But very recently it resurfaced in a big way. And fortunately my score remained intact. So we negotiated. And yeah, that's why actually D Snyder just wrote me and said, hey dude, I just saw the documentary you scored. So that was a thrill. You know, that's amazing. I've been like I've interviewed the Rhodes family, Kelly and Kathy. And I've been to Musoni. I don't know if you've ever been there or not. But I haven't. But that's welcome. Huge follower of Randy Rhodes. That's why I'm asking you. Now, Lee, somebody asked me to ask you, Bruce Dickinson jumps on stage with you at LaMoure's back in, I don't know, I'm guessing 84-85. You want to tell us a little bit about your sort of your duet singing with Bruce Dickinson on stage at LaMoure's in New York? Well, yeah. Again, that was just, I think it was just pre-Metal Queen release. Was it 84? Yeah, 84. I know I was about 21 and he was about 24, 25. And we had created somewhat of a buzz on the Eastern Seaboard with our album only being available as an import at the time. And we'd gone down there to do a few shows. And Iron Maiden was in New York recording, I believe, the Power Slave album. And there was a bit of a buzz about us. And they came out after they finished recording. And I know we, you know, someone came up and said, you know, the guys in Iron Maiden are here. And I'm like, holy crap, really? Like, what in there? And Bruce would like to get up and Steve, I think Steve Harris got up and played. And Bruce wanted to get up and sing. And we're like, whoa, what can we do? So we don't laugh. We played Tush by ZZ Top. And it's a blues song, right? And so we duetted on that. I wish there was a recording floating around. So there is no recording, no nothing? Well, it was totally spontaneous. And nobody had these back then, right? So it wasn't like, you know, someone spontaneously had a video recorder in the audience. But yeah. And yeah. And then we ended up hanging out, like for a few hours after the show, just befriending those guys. And like just great guys. Like super, like not, like they were just in a league by themselves, if I can say that. Professionals. They were pro. They were classy. They were intelligent. They weren't, you know, this sort of down and dirty, you know, your typical rock and roll boys at that time. And so we just, if that makes any sense, you know, then yeah, we get along with them. And yeah, just great guys. Did you ever reconnect with them over the years? Um, yeah. On a, it escapes me now where, but it's been years now since I've ever talked to Bruce. But yeah, a couple of times over the years, we reconnected at various, you know, festival events and things like that. But yeah, great band. Now I don't know if this is accurate or not. These are the set list you played. You played whole lot of love by Led Zeppelin that night. Was that right? Yeah. Well, back in my early days, just like coverage. I did quite a few Zeppelin covers. Lewis, ACDC, Sin City. Judas Priest, you got another thing coming. Were those the songs? That would have been great to hear. I think it would have been very cool. You got the voice for that. That's what I'm trying to say. So what else can you guys tell me about, you know, the upcoming show after the show? What's the tour date looking like, Sean? Like, where are you guys going? Well, we have Kitchener the next night. We're playing a festival in Kitchener with Trooper and Helix. And then I believe the next one after that we're in Calgary for a casino date on the 30th. And then there's dates in Saskatchewan and Vancouver and ultimately off to Germany. But you know what? I'll let Lee field out. I don't know if my calendar could play the info, but we're doing a fair amount of Canadian dates this summer. We're doing Calgary. These are festivals. Calgary, Edmonton. Rock the River Saskatoon. We are heading over to Germany. We're headlining a festival in Hamburg. At the beginning of September, we're doing a festival here in Vancouver in the middle of August as well. And so, yeah, you know, so... Do you find like the demand has increased globally? Like since, you know, there's file sharing now and there's YouTube. But Lee Aaron, you know, has just become more popular than ever globally. Do you find that's the case? No, I think that since I started... I came back after motherhood in 2016 and started recording again. I think that that... And, you know, trying to... At that point in time, like I was a bit of a social media ninja. I was like, I got to figure out how to use all this stuff, you know, because this is the new reality of, you know, being up on Spotify and on these social media platforms to be able to promote yourself and sort of getting a handle on that. I think just figuring out how to use this sort of modern marketing, these modern marketing tools and just writing and continuing to record new music, I think has brought about a bit of a renewed interest in Lee Aaron and the band. Yeah, well, can you get a festival around the world right now? Can I offer some perspective on this? Before I was playing with Lee Aaron and Juring for a time, I was playing with Nelly Pertado and we were doing lots of dates in Europe, big festival, big arena shows. I can tell you this, when we went over to Europe and I think the first festival we played was Bang Your Head Festival, the response was rapturous. And I was like, okay, this is, you know, you could tell that she's considered to be a major, major artist, not obviously in Canada, but in Europe as well. And so from my perspective, sitting back and just getting to play guitar and then watch out, it's amazing to see the response. And equally thrilling, selfishly, I have to admit with the new material too, to see how well it's received. And I do think that that's a part of, you know, Lee's acumen with social media and connecting with the fans in a genuine way. You know, I see that. Guys, I'll tell you both, like looking at it from the outside, it seems that there is this wave, you know, this renewed, I don't know if we'll call it renewed interest, but an awareness and a lot more people are gravitating towards the music and globally, not just Canada here, you know, parts of the U.S., I'm talking about globally, you know. At least it's alive in the charts. Yeah, it's reflected in the charts. I mean, the last three records, I think that were commercially released in Europe were top 40 records, which is amazing, you know. Yeah, yeah, yeah. And what about books? I saw someone type in, you know, you're working on a book or you're not working on a book or you're thinking about working on a book and this is questions for Lee. Oh, for me, I am working on a book. I've had to take a little bit of a hiatus from the writing for two reasons. We were, we just launched into writing and recording a new album, which kind of took me away from the book, but my husband and I lived in the same location for over 20 years. My husband, I don't know if you're aware, he was recently featured in Record Collector. He has a record collection to rival the biggest collector's record. Like he's probably one of the biggest collectors of vinyl and media in North America. It's crazy. Like we literally had a small gymnasium built at our old place to house it all. And I'm not joking, right, Sean? Oh no, it's something to behold. It is a marvel. And we were inched out by development. You know, we were, he dug in his heels. He did not want to move because of that beautiful space we lived in. But we got inched out by development and we just recently had to move. And we, rather than paying movers about 60 or $70,000 to move it, we chose to rent our old space back and gradually move it ourselves. So I literally at this point in time have two garage shelves full and two shipping containers sitting on my property full of media owned by my husband. We are waiting for the development permit to go through. That has been nothing short of a mammoth undertaking. But it's done. So yeah, once these summer dates are done, I'm going to get back to writing that book. My wife always tells me, what are you doing with all these albums? What are you doing? Just listen to them on YouTube. What are you doing? What are you hoarding? Why are you hoarding? It's just, you collect. You collect. You collect until you have no space to live in anymore. But tell me about your book. Sorry. Go ahead. No, it's, you know, it is, it's my story. It's mostly autobiographical, obviously. I read something that Patty Smith said a couple of days ago. I was, she was recently featured in Mojo Magazine. And I think she's called it autobiographical fiction. I love that. Is it sort of like, it obviously it's a little bit, because everyone's memories are a little bit different, right? So it's a lot about my childhood and growing up and stumbling into rock and roll. And how I got started. And that's kind of where I'm at right now. You know, I don't think it's just going to be a complete chronological trajectory. I think I'm, you know, I'm trying to interject a lot of my feelings around certain circumstances that happened in my life. And so, you know, I'll probably be able to give you a better overview when it's finished. But that's where we're at right now. Are you halfway mark writing it? Are you at the halfway mark? I'm at about, I don't know, 30,000 words right now. So is that halfway? I don't know. Chapter seven, Sean Kelly. Okay, Sean, what about your book? Are you working on a second book? I am, yeah. And it's exciting. We're kind of getting that exciting time when we're looking at, you know, book cover artwork and setting off excerpts. And that book is going to be called, don't call it hair metal. The art in the excess of 80s rock. And it's a long title. Yeah, you know, great title. We're going to go around. That's okay. I'm assuming people can read if they're picking up a book. So anyway, yeah, what I'm looking at is the music that I grew up listening to and loving, which is sometimes, how should I say it, critically maligned. So my initial intention was to kind of write some kind of defense, defensive thesis on the value of this. But I kind of abandoned that early on in the book. And really what it is, it's just about the people who make the music I love and the perspective of growing up with that music and how I changed as that music changed and finding out, you know, about the impetus for artistic intention. Why do people do the things they do and how does it feel when commerciality is thrown into the mix? And yeah, but basically it's a love letter to the music I grew up listening to, which is the hard rock of the 80s. Yeah, yeah. And I have to tell you, I just finished adding some amazing quotes from one Learron. Oh, there we go, there we go. Very gracious once again to add some insight in my books. That's right. Thank you. I'm writing a book too. Life as a YouTuber. Behind the scenes. There you go. No joke. Very good. Let's see. I think that's pretty much it. I think we covered everything. Is there anything you- One more thing before we go. Go ahead, yes. One more thing. I'm Bob Ross. How's your album? Right back. All right. One-time shot. Radio on. Originally released on White Vinyl, and if you have White Vinyl, it's now a collector's item because I think they only pressed about five or 700 and they fooled out immediately. But this just re-released, if you go to amazon.ca, amazon.com. Wow, look at that. On beautiful. Isn't that crazy? And it's, I bet you it's like sort of like really thick too. It's not like that flimsy vinyl back in the day. So this is also a limited edition. So I just wanted to share that. This has just come out. So yeah, if you, you know, pretty much on all the amazon platforms worldwide, if you go searching for it, you can find it. And I just wanted to share that. It's re-released. So if you didn't get your vinyl the first time, because they pulled out. How long does it take to order vinyl? Let's say you put an order today. How long would it take to like fulfill that shipment? It used to be two, three months when during COVID, everybody started doing vinyl. There were plastic shortages and stuff. And now it's like six plus months. Right now for vinyl, out for vinyl. So that's, it's a bit of an issue. Sean, what's your preferred medium to like listen to music? Right now it's vinyl. I am back into vinyl and I am currently buying all the albums that I gave away. That's what I'm doing. I'm just, you know, when I know, I, I, I thought for sure that that was a format that was gone. I mean, can you think of a more inconvenient thing to do, you know, than, you know, find a piece of plastic and drop a needle on it. But I am back in, I absolutely love it. And, and you know what? I think I'm going for cassettes next. I don't go there. Don't go there. Don't go there. Oh yeah, baby. I thought we were going to those. I remember having cassettes and I put them in my car and it was really cold and they never used to work well in the cold. They used to always break and not work. I remember like enjoying listening to different, now I'm like showed at the devil, I put it on in different systems because sometimes I'd want to hear what it sounded like a little faster or a little slower. These are insane things that a digitized youth are going to know about, but these are things that we did. And, yeah. Yeah, I just remember the old, sorry, go ahead. No, the old tape unraveling. Get the pencil out. The CD, I'm still like ripping through the CD cover. Okay, but go ahead. Yes. But I have to say, I have a 60 year old son and he loves vinyl. My, you know, so now of course, John is really, really hoping that he will want to bequeath his collection too. Or it's like, no, don't tell me I have to keep this forever. The next generation. What's your preferred medium to listen to music? Is it the phone? Is it Spotify? Is it vinyl? Is it cassettes? Is it CDs? To be honest, I don't even, yeah, I have to be honest. I'm kind of lazy and to get a good set, I had phones and just listened to Spotify lately. It's just so convenient. I'm a terrible person. You're a terrible person, but we'll let it go. But I live with a mountain of vinyl. You're rebelling. You're rebelling. I listen to Spotify too though. I mean, really, to have the world's music at your fingertips is pretty compelling, right? It's pretty great. But you know, I just like the ritual of throwing on a record. What do you guys think about, and I'm not going to get too deep into this, but you know, you have Spotify and then you have your albums and it's kind of like they're sort of profiting off of your work and they're not really actually doing anything other than redistributing your artistic intellectual property. I mean, doesn't that, and I'll ask you both this and feel free to weigh in. I mean, does it hurt in a way or is it, or you're okay with it because it just spreads the message across the world? I don't know. Well, I don't know if that's a question, but there's a question in there somewhere, yes. I don't want to sound like somebody's grandma, you know, like getting upset about technology, you know, it's, if you don't, you can't, you can't fight technology. You can't fight it. You can't, you know, and the only thing, I've just learned to really embrace it and try to use it to my advantage. Has it hurt my paychecks? Oh my, don't even talk to me. I'm sure Sean can speak to that as well. You know, I used to get royalty statements, you know, and checks in the thousands, tens of thousands and that's dwindled down honestly to hundreds and it's just is what it is. However, my fan base still loves, my fan, but let's be honest, my fans are between 40 and 60. They love to still have tangible product in their hands, but you know, they love buying vinyl, they love buying CDs still. And because of that, I still have a career because no matter who signs me, they know I'm going to sell a certain amount of physical product, right? Now to quantify my statement about Spotify and listening on Spotify, I agree with you, nothing sounds quite as nice as it does when you drop a needle on vinyl. Nothing has that warmth. And when I have, I still have turntables and I've got vinyl upon vinyl upon vinyl here at my home. My thing though is I go, I listen to my own stuff and I go, if it sounds good on, even on Spotify with my Apple headset, I know I've done a good record. My modus operandi is I like to play something on the crappiest system I can, my mixes. And then I go, if it sounds good on this, coming out of this crappy little iPhone speaker, I know it sounds good. Yeah. You know? Sean, did you want to say something? I think you want to do a... Well, like is your question about like the I don't know, I don't like Spotify. I'm going to be honest with you, like to me, I just find it, it's, I know it's convenient and that's cool. I get that. I just find that it's, and I think what Lee said, if you don't embrace it, you're just going to end up suffering at the end of the day anyways, right? You're just not going to have your music out there. You know what? I forget it's a biblical quote, but you can live in the world, but not of the world, right? So you can listen, we can accept that this is happening. You can, I don't think it's right. I wish that the royalty payments were more fair. I wish that artists weren't tied to prohibitive contracts that they signed years ago. I think that there needs to be a review of those contracts and I think that there needs to be an increase in the royalty payments. Having said that, I think it's coming upon all artists to find a way to move forward. This is a way that people can hear your music easily, but take a look at Learon. I mean, it's really essentially a highly developed cottage industry where by super serving the fans with high quality music and with a genuine, authentic contact via social media. And understanding, like Lee said, that the audience wants physical tangible product that you can actually build and keep growing as an artist throughout your career. You're not tied to a major label. So there's actually a democratization of music that I find very appealing with the digital realm. You can remove the gatekeepers, but then you've got to become your own gatekeeper to ensure the quality. You've got to become the man, basically. That's what it comes down to. When Sean sort of talks about it on a cottage industry level, what we've done is try to take back control of all of the creative pieces. So I self-finance all of the recording. We go and go big studio. We come home. We do all of our overdubbing in our own facilities. We go back into a big studio with a guy like Mike Fraser. We mix it. We do all of our own, you know, we keep our photography and the artwork in house. And I subcontract out to certain key partners that I have throughout Canada that I... And so when I get an album and it's finished, I have had, and we've bounced it off as a band, we've had control over every single aspect, the writing, the recording, the mixing, the mastering, the artwork. And when we give it to a company to license, all of that is done. So what we're putting out into the world, we have 100% control of creatively. You've become the woman, the woman. Instead of the man, you've become the woman, right? Need a man. Well, I mean, that's what you've got to do. You know, you've got to become the industry, right? You've got to become the man or the woman, right? Let me ask you this. You don't have to answer this. I've asked a lot of bands, you know, their most successful albums, and your most successful albums are like, I would think it's like the first four or five, right? Did you have issues? I was in Canada. I'm sorry? It would be Body Rock in Canada. Yeah. Did you have issues with the label, you know, legal issues, not paying you? I mean, and this is the story from every single band from the 80s, right? Always in litigation or trying to get paid. There's still bands today that are still trying to get paid from the 80s, you know, that they felt they were shortchanged or everything kind of went smooth for you. And I know you can answer as much of that as you want. I'm not going to get you in trouble or anything like that. Keep it very high level. Well, I will start this conversation by saying that- Was the commitments fulfilled? That's what the question is. Were the commitments fulfilled? I left Attic Records in 1992. There were various reasons for that. With that said, I want to start this conversation by saying I have a lovely relationship with Almer, who's the former label head of Attic. He's a lovely guy. Everybody was just doing what they thought was right. The kind of contract that I signed in the 80s was a kind of contract. Everyone signed in the 80s. Sean knows this, you know, so I don't own my first six masters. I still don't. When I left Attic, you know, they owned those masters, and then Attic became merged with Polygram, became Oasis, which became Songcore, then Songcore went bankrupt, then the whole Attic catalog got bought by a company called Unidisc. And so my first few albums have been bought and sold a few times, you know? So am I making royalties off them? No. Yeah, yeah, yeah. And that's why it's become, you know, from basically the mid-90s onward, my feeling about everything was that I'm never going to sign a contract like that again. I'm going to be my own record label. I've had three different labels that's related to incarnation, being big sister records, and again, we just try to keep everything in house. Like, I'm trying to answer this in a way where like, I don't have any bitterness about that. It just, you know, my situation is not unique, you know? But, you know, I got the big house eventually. It was through real estate, though. Because we sell real estate, not because of music, but yeah, that's not... Well, what they lost in the 80s were financial compensation, but what they gained was brand recognition, right? And that name has lasted, and, you know, the reason why they play festivals today is because of brand recognition, right? And that is a... That's an extremely important point that you're making there, because new bands trying to... Up-and-coming bands on an independent level, it's nearly impossible. It's really hard. Yeah, and sharp, yeah. You do have name, brand recognition. You're not making any money because everything, the kind of contracts that artists are... A lot of them are doing the 360s where, you know, the label... And I was offered a couple of deals like that on Radio 1. They want a piece... They want your publishing. They want a piece of your merchandising or the greater share of your merchandising. And it's impossible. Again, once again, it's the contract that has the artists at the bottom of the totem pole for being able to make any money. Yeah, no, I'm happy that you've taken control of everything. Sean, what did you want? I know you want it the way in there a little bit. I was just going to say, you know, when you look at music industry contracts, in any other business, they would seem so lopsided, so obscene. Nobody in the world of mine would sign it. But you're dealing with supply and demand. There are so few slots back then that, you know, if you wanted to play, you had to pay. And you paid with the relinquishing of your rights. And I've done that, too, you know, the opportunity. But as you guys touched upon, the value of the millions of dollars of marketing that went in has allowed artists from that era to go on and have a chance to make money that newer artists just don't have anymore. And I can say that from experience. I worked with, as a music director, for a number of young artists. And seeing some of the budgets that I had to put a band together, I was like, I said, I gave my invoice. I said, well, I'm an adult. I have to pay for a house. This is what I charge and get kicked back. But, you know, once again, you know, there's more and more people wanting to do it. And the powers that beat, that's capitalism. They're going to, they're going to take advantage of that situation. But I think that those execs don't have jobs anymore. So that's the good news, right? They all got like, yeah. But you know, I will say this in doing the book and talking with people like Alan Niven, you know, there was people power back then. And you did have the benefit of the talent of whole marketing departments, A&R departments. And while certainly you could make an argument that sometimes they infringed upon creativity, they also helped bring that message out in a big way. And I think the classic rock artists do benefit from that today. You know, Chris Stangiridis, before he died, he told me, you know what, the album sounded so great back then is because you had the best of the best of the best studios, the best engineers, the best producers. That's why they sounded so great. Now everyone's trying to do it in their home. Actually, I want to pick your brain with one more question here, if you guys still have time. And it sort of pertains to what we're saying. Anita Strauss, she was a guitarist for Alice Cooper. We were talking about this earlier this week on the show. And I thought maybe I'd just ask you because it kind of pertains to what we're saying here. So here's this artist who's sort of like in the hard rock world of Alice Cooper. She's a great guitarist, one of the best female guitarist or guitarist today. And then she switches to Demi Lovato. No, no, but I mean, is this survival? Is this going like, this is the music she grew up with, this is the music she was popular with, like the hard rock-ish Alice Cooper style. And then she flips gears and she goes into a genre that, it's a little more different than what her fan base is like. I mean, is that survival, Lee? Is that, is that, what do you draw in mind? I mean, she hasn't really gone into any detail on her social media. I do follow Anita about her personal reasons for the change. But honestly, I think it's like playing with Michael Jackson. I mean, I think respect to Anita, if she wants to shift gears and try on something different for size. I mean, Sean, you played with Nellie. Nellie was a pop act, you know, but you love your rock and roll. And I think that, and kudos to Demi Lovato, like that new picture of her out floating around. There's pretty edgy. I think that, you know, if she's wanting to do something a little more edgy to reflect a direction she's going and she brings Anita on board, I think it's a, it's a, it's a great combination. I don't really have, you know, I don't subscribe to that. You know, once in the rock world, you know, it's sort of like, you know, you're, you're. Well, you're, you're kind of like, you've changed too, right? From jazz to rock and roll, right? I don't think she's any kind of a trail to her fan base or anything like that. I mean, I've sang jazz, you know, it's, it's a chance to expand and grow creatively. And I, I, you know, kudos to her for, for, for taking that opportunity. But is that just, I guess my question before Sean, you answer is my question is, is that, is this just a sign of the times where you can't make a living? So you have to flip back and forth between genres to make a living, right? So Sean, go ahead. Well, to answer that question, no, I don't think so because I think she was making probably a pretty good living as somebody tour with Alice Cooper. And you know, like Alice is constantly working. I can't speak to the financial situation, but I will tell you this. I, I don't, I think it's about growth and Lee touched on it. There's a chance here to grow. And, and from my experience, I can draw a parallel. I had just gotten a gig with Helix. That was a dream gig for me to be in Helix. That was the first band I ever saw in concert. I was so happy. But then the opportunity came to tour the world with Nelly Furtado. Well, I mean, it's, it was very difficult, but you know, Brian Vollmer said, you know, go, this is a chance for you to grow and a chance for you to experience things, grow as a musician. And he gave me his blessing to do that. And, and I absolutely, absolutely loved it. And the one thing that I learned from that is you will bring your authentic self to the situation anyway. So I'm still the rock and roll guitar player if I'm playing with Nelly Furtado. That's what I am at my heart. I'm a rock and roll guitar player. I'll bring that to the table. And I think that Nita is going to bring that energy to Demi. And I think that's why she gets a call. When you get a call with an artist like this, it's because they want you, any real artist is going to want you to bring the best of what you have. They want you for what you already are good at. Exactly. Yeah. As you touched upon Lee, which I'm very grateful for. And, and, and absolutely, that's a, that's a treat. So I think it's great. And when I see people, you know, denigrating Nita for making that choice. To me, it's massive of ignorance, to be honest with you. And, and someone who doesn't truly understand the impetus to grow as a musician. Well, and one of the things that I so love about Sean is your class, a class trained guitarist, you know. And so when we're doing, say, or if I, you know, we've, we've tried to streamline our, uh, backline production as we've gone, because it's just such a mess with airlines, flying things and getting things. And if I say, okay, this is, this song was originally recorded on keyboard, but I know I can hand it over to Sean and go figure it out on guitar, because we're going to do this ballad. And I know you can do it. And he does. I, that is why I love having Sean in the band is because he has those skills. Do you know what you mean? Yes. Yeah, so. Thank you. And, and to that point, can I say one thing that you might appreciate? Yeah. I did, I did a classical guitar record for Universal. And I insisted we put D by Randy Rhodes on that record. Hey. I said, listen, if anybody got kids playing classical guitar, it was Randy Rhodes. I didn't even say more than Bach. You know what I mean? It was, uh, you know, like, and, and so you bring yourself to those situations. Yeah. Okay. I think we've, we've covered a lot today. I think we've learned a lot. Thank you very much. So let me recap here. We got a new album. You got a new album coming out before, uh, New Year's, right? Elevate with 10 tracks. It'll either be just before Christmas or just in early 2023. I can't make you a promise at this point. No promises. We've confirmed there's no promises, but we're, we're aiming. Sometime in the next nine months, you're going to see a new album, a new studio album from there. You are playing El Mocambo. El, I can't pronounce it now. El Mocambo Club in Toronto. Um, a live set will feature a lot of classic songs and some new stuff. Correct. And we'll be recorded live. And when will this live album be released? We don't know. Sometime. Yeah, at some point. Some point of time. Books are being made as we speak. The autobiography of Learren is still 30,000 words, right? I've been. It's coming along. Sean Kelly, however, has finished. He's managed to beat you in that. And he's got a book about. I got a good news. Start. Let's be honest. Yeah. I'm trying to think what else we talked about today. I think that's it. They always say after a meeting to summarize the meeting. So we could, you know, summer dates, summer dates coming up. So coming up. Yeah. Yeah. Yeah. So that's all Learren.com virtual dates. And two thumbs up for Nita Strauss. That's what I'm hearing. Two thumbs. Yeah. I'm holding my phone with one. So I'll give you two here. And where are those masters on the first five albums? Where are those masters? We need those. Guys, it's been a pleasure. Always fun. Thank you so much for joining me. Well, it was awesome, Jimmy. I've got to go drive. Get my son to his part 10 job. So I got to run here. You bet. No. Sorry to keep you. Thanks, Jimmy. Have a great day. Have a great day. I'm going to be tall.