 to the metal voice today on the show. Alan, who do we gots? Dennis Stratton himself, gonna talk about the new Lionheart album. Fantastic, fantastic, thank you. The Grace of a Dragonfly, which was released last week on March 15th on Metalville Records, correct Dennis? That's correct, yeah. Yeah, when it came out over here, we're supposed to on the 22nd February, but everyone that ordered it, they were still waiting for the album to be delivered because there was emails flying everywhere from Amazon, from everywhere saying it's been delayed, you can't get it here. So it's been coming out gradually throughout the last three or four weeks. So it's been a bit of a nightmare for us. So the good news is we're promoting it as it's being released. Time is impeccable. Tell us about the themes. I see a lot of war themes happening on this album, and the big vocals and grandose vocals and a lot of war themes, V is for Victory, and tell us about the themes on the album, if you don't mind. Well, after we did the reality of Miracles, it's, we found during the reality of Miracles with lockdown that we were able to still record and work for Lionheart being stuck at home. So basically, Lee started writing these lyrics. And then when he came out with a couple of songs that Steve was sort of like putting some tunes down to, the lyrics sort of like tended to lean towards World War II. But Lee was, what Steve and Lee were saying was that basically they were, he was writing the lyrics as a thank you to all the men and women that sacrificed their lives in the Second World War. So, you know, we could live a sort of freer life. It wasn't to elaborate war. It wasn't to sort of try and, it's basically it's an anti-war thing. This was all before Ukraine and Gaza and all that. So well before that. So when we looked at some of the songs that the titles and the songs that Lee was coming up with. Yes, so we all started writing in that sort of way that when some, luckily for us, some of the guys and girls that have reviewed the album, some journalists and people like yourselves or whatever, they've actually listened to the, read the lyrics and listened to the lyrics and have been saying that it makes a lot of sense. So basically it was not to elaborate anything to do with the war, but it was a way in saying thank you to all them people that sacrificed their lives. It's like one of the songs I wrote on it were Little Ships. I didn't know Lee was gonna call that Little Ships until it was just a tune comes on my head with the harmony guitars and a melody that I was la la la-ing and then Lee, Lee, you know, you're something to call these Little Ships about all the fishing boats that went to Dunkirk to rescue all the soldiers that were stuck there. So that's how it all got rockin' and rollin', it was. And then the songs, Lee just come up with so many fantastic lyrics with the songs. And that's how we ended up put in like a concept how we're together. Didn't start off that way, but after about three or four songs, you went, it's not such a bad thing. So let's do it as a thank you to all them people. So, well, we're very, very proud of it. You know, as you listen to the lyrics and read the lyrics, you can see through the way he's written the words that it is a lot of love that's gone into them lyrics. That was quite nice. Yeah, and I mean, you know, it's a great sounding LP, very well produced. Let's get that out out front. Just to discuss maybe the thought process. I mean, this is pretty, you know, there are some songs that are a celebration like a V for victory, but some of the songs have a darker matter and you're kind of marrying them together with a kind of a positive, sometimes poppy sound. Can you want to just discuss a little bit about the fit between the lyrics and the sound? Well, no, basically we've said this to many people that some people in Japan's dying comparing us to some different bands. And me and Steve were doing the interview with Burnham. It's both of us said at the same time, we'd write for Lionheart. We don't write to try and sound like another band or we don't record them to sound like someone else. We just write it for Lionheart. And because we have, it's a knack of working behind big harmony choruses, big anthem choruses and the harmony guitars. And Lee just adds the icing on the cake by writing all these lyrics. He has a lot of memories, a lot of history where he collects a lot of things from that sort of time. So it means a lot to him. So he was able to sort of relate to them some's a lot more than us. Steve was working in the studio 10, 12, 15 hours a day putting some of the stuff that we were sending to him through like a home just messing about with different calls, different tunes, different ideas for choruses and verses and midlates. So it was quite nice to have Lee. It's like people misinterpret a lot of things, right? On reality miracles. One of the songs, Vine is the Kingdom. We had people saying, oh, you've gone religious. Well, no, because that song is about gangs in New York, different turf wars and border lines and things like that. So that was completely off judgment. The fact that we're writing a song that he's writing a song about the gangs in New York and people are saying it's about a religious sort of thing. So now you have to listen to the songs and read the lyrics to really understand the way Lee has written some as a gesture for these people that served him to the war. It's hard for me to explain the finer details because a lot of the work went on between Lee and Steve because Steve sits in the studio. Me and Rocky, we just sit at home working and putting little tunes together. So Steve then puts all the puzzles, all the pieces to the puzzle together. Jigsaw goes together in the studio. So it's hard for me to really find the fine matters of the songs that I need, intricate little things because I better put Steve or Lee on there could probably tell you a bit more. Dennis, do you get a lot of people going? The sound sounds great, by the way. Big sound, you get a lot of people saying, this is the former guitarist of Iron Maiden. Why is he doing music like this? Like why is it, you know, it's more like Queen than it is Maiden, right? Do you get a lot of resentment? I wouldn't call it, maybe the word resentment is the wrong word, but you get a little surprise. Maybe surprise is a better way to say it. Get a lot of surprise from let's say Iron Maiden fans who follow you and saying, wait a second, this is not like Iron Maiden. Yeah, yeah. Now I get totally, totally understand that. But also what so many fans need to understand, same as people with, you know, some of the old school would know. But the band I was in before Iron Maiden read us down Boulevard on RDB was a twin harmony guitar band that followed Wishbone National all over the world, all over the country. Capability Brown, with all the harmony guitars, all the harmony vocals of RDB, R-O-Band. We had that between me and Dave singing and harmony guitars. So basically when I went into Iron Maiden that Steven Dave used to come to the bridge and I seen canyons out in West Ham where I had a residency. We used to play there twice a week. And Dave and Steve used to come down and watch me play. That's why, when they signed the deal in 79 to EMI, they offered me the job. I didn't go down to an audition. They sent me a telegram and I met them in the ship in Wardlaw Street, well known for the marquee. And basically they said, the other sound house tapes, we want you to let us know what you can do. And I went, great. So they offered me the job straight away. But my impression, my idea was to go home, listen to the sound house tapes and listen to the songs that they had recorded or demoed already, which were very punky, very single guitar rhythm, single guitar solo, very punky as I say, and very raw. And so basically I said to Steve, listen, I've come from a harmony guitar band. I sat down with Dave and I said, Dave, would you be into this? And he went on to any suggestions and Dave was so easy to get on with. Steve loved it. The first lot of songs we laid into, I started putting the harmony guitar parts into some of the riffs, which they liked. Started doing some harmony vocal rapport in the rehearsal studio. And that's how the harmony guitar style got introduced to your own maiden. But remembering that all them songs from metal from others tour in the 79 and 80s, the first two albums where people have to remember that apart from killers, all them songs were written. So all I had to do was get the raw songs with the very punky, raw sound and make them bigger and make the production bigger by adding these harmony guitars and adding the harmony vocal, not to change the sound of the violin, but to make the songs more interesting. And that's what I did with songs like Running Free, Phantom of the Opera, all the harmony little riffs that you hear were just little bits to polish the sound a bit more. So it wasn't to change the sound of the violin, but I've always been a lover of A.O.R. Before with R.D.B., I was listening to Toto, Foreigner, Journey, Kansas, so many different American bands, also White Snake, Wishbone Ash, they were loads of bands that had more harmony guitars and harmony vocals. So basically that's what I loved. And so after Maiden, me and Steve Mann and Rocky Newton and their favorite bands were the same bands that I loved. So it was natural to write the songs in that vein of a lead vocal and a part free part harmony with the big anthem choruses. I'm gonna add something here, Dennis. It's fascinating because when there were nominations for the Rock and Roll Hall of Fame, you were included because I think they understood that you were the sound of Maiden. Like somehow you helped create that sound of Maiden, that dual guitar sound, those harmonies. Yeah, well I'm very proud of that, Jimmy, because they kept that when the other guys went in with Adrian and Yannick, when they carried on with that with the harmony guitars, I was world pleased because it was something that I stood for and something that I introduced to the band. But if you follow my love of that AOR kind of music, you can notice it by when Lionheart had a break around about 87, 88 in 1990, I joined Paramantis. So me, Tina and Chris went to Japan, signed a deal in Japan for 15 years. If you listen to the Paramantis songs and the albums, you'll see the similar sort of bill to the AOR, lead vocalist, good production, but anthem choruses with free part harmony. So it's been part of my life, not just Maiden, but it's been part of my life before Maiden and also after for 40 odd years. And I still love listening to all the big choruses and all the big anthems of the free part harmony, which a lot of bands are coming back to now and using them in the choruses. So I'm happy, I know a lot of people Maiden fares, as you say, would criticize it because it's not heavy metal. I don't know, was White Snake ever heavy metal? Was Band Company heavy metal? Was you ever heavy metal? They're hard rock, and with UFO, some of their songs sounded like, not songs, some of them in the early days. So we hadn't class that as heavy metal, but we do what we love with the vocals and the harmony guitars and the great vocal. That's why you need a good lead vocal to get above them free part harmony choruses. But it's a lot easier to write songs for line heart or parameters when you're in that vein of style of music, if it makes any sense. Yeah, we see a lot of bands like Kick-Ax or even Rocky with Grand Slam now, Praying Mantis has a new album out. What's the plan, Lionheart's been around since the late 80s. What's your next step? What's the plan for this album and touring and your future in Lionheart? What's the overall plan? Yeah, that's been the biggest problem for Lionheart ever since we started in 1980, not late 80s, but let's look at the lineup in the band. Everyone in the band has separate projects. The problem that Lionheart had in the early days when we came over to Los Angeles in 1984 with CBS Records, we recorded Hot Tonight in South City Studios, it was been very nice and fantastic experience. But when we come home, we were due to go on to R. E. O. Speedwagon because we had Kevin Bemis producing it from R. E. O. Speedwagon. We were supposed to go on tour with KS, it's got let down everywhere across the board. The tours didn't happen, we were gonna support, the tours never happened, so we came home and we had to start working from scratch again, getting, we got supports on Def Leppard, all in the UK, Def Leppard, we went on support for White Snake, we were doing gigs for ourselves. But then as Lionheart carried on, never ever has it made any kind of income. And so when we got back together to do Second Nature, which I think was around 2016 or 17, it still doesn't create an income, but what we have done is by working on it for ourselves and representing ourselves, as you know, Steve Mann's in Michael Shanker, Rocky does a bit of work with Grantslam, Clive is working with certain people, Lee is flat out with Sweep, I'm working all over Europe and going with Maiden United and all the Iron Maiden conventions that I do, all over Europe, Scandinavia, as far as South Africa, everywhere, New Zealand. So that's where our income comes from. So when it comes to Lionheart, that's always been a big problem because it doesn't create an income. So the problem we have getting to your story, I know it's taken a long while, very sorry. I think it's, you know, where do we earn any money for Lionheart? People download it, they stream it. You know, we're not a money-working band. So we can't afford air flights, we can't afford a tour, where are we gonna hire a truck and tell us a bit, whatever. So what we have to do with Lionheart is work in between the projects that everyone else has. And as I said earlier, the magic of COVID, if there was anything good coming out of COVID, was the reality of miracles because that album would never have been finished while Steve is still on tour with Michael and while I'm all over the place and Lee's on tour with Sweep, you could never get the five of us in the same, what, at home at the same time. Or you could never get Steve, God bless him, in the studio, in Hanover, in Germany. You couldn't get him sitting down because he never had the time. If he didn't do one thing, he'd done something else and then he'd do something else. And then he was helping produce an album or he was producing an album himself. So to get him in that studio was priceless. And we found by COVID that he couldn't move. He had to stay out. So he would place it. Shut him down. He was nailed. They nailed it to the studio. So he was all out. Dennis, have you had any, like I see online, have you had any offers, Paul Diano is touring everywhere. Have you had any offers to sort of join him or maybe tour with him? That's the deal. I'm Stephen Juris. Last year, Stephen Juris who's sort of like, basically looking after his affairs, he contacted me about 20 times. I even met him in Milan and the maiden gig for Breach Lines and made a long chapter. But he contacted me last year. And in 2020, I was due to go to Brazil to work with a band there called Club Brothers and do the whole first album and some of the songs from the second album because basically I did a lot of, mostly the work on Killers, but I never got to record it. So all the pre-production was done while we were doing the Kiss Tour and Judas Priest Tour. So that was already in the set, some of them songs from Killers. So yeah, so he contacted me in 2020. I'm due to go to Brazil to do a month tour and it got called off because of COVID. March, April, 2020. So when he contacted me in 23 when COVID had gone and everyone was going back to work, he contacted me. But unfortunately, he asked me, then he's outright, would you play, would you ever join Paul Deano on the stage? And I said, I'm never gonna say never. I said, but at the moment it's just the wrong time. I said, because I'm committed to the tour that I was booked in in 2020, I'm now going in 2023. So I'm going in November and the tour goes from November, December, and I come back to the UK in January. And he said, but I can offer you this, I can offer you that. I said, yes, I understand, but I am not a person that would turn my back on someone, I'm an honest person and I will, I've committed to this tour and these people have worked very hard. So I said, so it's impossible for me to turn my back on them and I will honor their arrangements. So yes, I couldn't do any work with Stephen Harris or Paul. And off I went and we did the tour. It was fantastic. I came back in the beginning of January and now I hear that he's starting the role with the gigs, but in this new year, in 24, I've yet to speak with Stephen Harris about anything in the future. But I did say to him, I'll never say never because, you know, many years have passed now. So don't carry things on silly little arguments and move on. There's more things to worry about in this world than petty arguments. So we move on. We've all grown up. So you're open to the, you're open to it. That's what you're saying. Anything could happen this year or even next year. I've made a tour in over in Brazil this year. So I don't think there'll be many sort of like a bus going over there because they will be touring extensively. But as I say, I haven't heard from him this year whether or not he'll come back with another offer. I don't know. But with Lionheart, we're hoping that if Stephen and Lee can get a break and there's a festival they want us to do in October. And it's over here at the Firefest and we're up for doing the festival. But as always with Lionheart, there's always a spanner chatting the works which is, there's always an obstacle which is now the couple of weeks that we were going to rehearse from the last three or four albums and also some of them from the new album that we've not played live. We've not played anything from reality and miracles or the grace of a dragonfly. We've not played them together yet because we just recorded them. But as usual, there's always a problem and sweet now. And he's got as booked a tour which Lee will be on and it's quite a long tour that takes him right up to just before we're supposed to do this festival. So where Lee is going to find a time to rehearse as I say, it's your family come first. So he needs to live and earn money. That's where his income is. You can't stop him working, but where's he going to find a time to actually rehearse with the band? And there's always a problem like that with Lionheart. You know, we'd love to be on the tour, you know. I mean, you got a fantastic sounding album. You got a great lyrics, every musicianship. And it's just sad that it might just sit on the shelves with nothing backing it up. Exactly. You know, we did that with, as I said, so we did that with the reality of miracles. It was a great album. We never got the chance to progress anymore. And at that time, Michael was doing an extensive tour. He went up everywhere. So Steve was never at home. So it made it even harder. And, you know, with Metalville helping us, but they do, you know, we're not being paid anything. You're still doing it for nothing. You know, and I have to, I have to work with my own. I need an income. So it's one of them things that, you know, you do the work where they're going to get some money to come in to live. And it's a shame because you don't get the backing now. I remember doing interviews before the album came out. Bruce Dickinson said, and his own words, if you don't buy a band's albums, don't expect to see them play live. Because if you're going to download it or you're going to stream it for one pound or 50 beats, how do you expect the bands to get from London to Manchester and play live with no money? So it was his words that I repeat it on many an interview. It goes without saying. Where do we find the cash to help us, you know? It's impossible. Let me pick your brain on Bruce, okay? What do you think about his new album, like Magic Project? That's probably more down your lane, right? Yeah, I've not actually heard it, you know? Oh, okay. I was hoping he would come. We were over in, where were we? We were somewhere in Brazil and he was there promoting it. I sent him a message saying, hop in, you know, come and have a beer or something, you know? But he's been very busy. But no, I mean, now it's all calmed down a bit. Back here now, I'm off onto a song we've made in United, but I keep meaning to have a listen to the album. But I've heard, yes, a lot of Maiden fans are saying the same thing. It's not actually that heaven. So being honest with you, give it a listen, you know? What about Blaze, Blaze Bailey? Have you ever jammed with him on stage? No, I've never met Blaze. Why? I saw him on TV. No, I've never met him. Wow. I saw him on TV. He was on a TV program over here. And I've never met him and I've never spoke to him. But I thought, what a light guy. He was charming. He went on his TV show. And I don't know, I can't remember what the TV show was. And I thought, what a lovely man. And yes, I would love to meet him. I would love to get on the stage and play with him. But never had the opportunity. I've never crossed. So yeah, that's another thing probably we should look at. Yeah. I think we need to write that down and take note and then send a message to Blaze. We needed a Stratton Blaze Bailey song, a collaboration of some sort. Yeah. Have you been listening to his music over the years? Have you been listening to Blaze's music? Yeah, we've been listening to the Rock and Roll mode and I think they have some strange rules. I don't know. I don't know much about it. I was very, very honored to be a nominee because it goes a long way being nominated for the Rock and Roll Hall of Fame. And when I found out that the band weren't really interested, yeah, a lot of people contacted me, magazines and interviews and Zoom and radio and everything. What's your feelings? I said, well, at the end of the day, the band had their reasons. I know Bruce made it quite public by saying that whatever they were, the people had run it. He doesn't really like them. And it was quite blatant that Bruce didn't want have anything to do with the Rock and Roll Hall of Fame after what he said. And I said to everyone, listen, I have to honour what the band's feelings are and if they're not interested, I have to go along with that decision. You know, I had a chat with Steve, he's on the farm and I told him that I would love to have gone and it's a big honour. But when I looked into the rules, there's something to do with being in the band so many years or something. That's why myself, Clive and Paul's name come up. But I felt a bit sad for Blaze because it was two albums he was working on, isn't it, with Maiden? And, you know, he contributed with a writing and he wasn't included. And I felt a little bit sad for him because he contributed quite a lot into Maiden while Bruce was on his travels. So why wasn't he included? But I think through the rules, it was because he hadn't been in the band this year and he wasn't included. I don't know the real... Five years, he was in the band five years. It's shocking. It's shocking. Five years. Two albums plus, yeah, plus a few songs. I didn't know it was five. But as I say, they're rules. So it's their fat and bald, they're their game. And if Blaze didn't come in with that category of how many years ago or whatever the rule is, he missed out. And I know Steve, as well, he was a bit sad about it, but if the band decide we're not interested, I have to honor that and say, okay, I grant, you know, I'm agreeing with your wishes and we'll leave it, you know. Well, I'm happy you were included. I'm very happy that, you know, there must have been, that's, you know... Yeah, I've got a little thing normally, you know, I mean, it's not on a wall, and it's not, I'm not being, I'm not being like, but it was a nominee, which used to come in after me, you know. It's like the harmony guitar. It's good to have somebody that I had put in that's still going home. So it's a nice feeling for me, you know. Yeah, yeah, I'm happy you're still working with the maiden thing, people, fans. I guess the longer they just keep getting bigger, right? Our main just keeps, and they get bigger, you get bigger. It's just, it's just incredible. How did that, right? Yeah, and I must admit, I do enjoy it. I go to see Steve quite a lot, not only with music, but with West Ham, and, you know, we talk about football, on the farm and whatever. But the nice thing about it now is when he comes over with British Lions, it's easy to meet up with him easier because it's small venues. And he knows I do a lot of work for charity. And Steve's helped me with some charity stuff. I drove up to Manchester to see him with the British Lions gig, and we took a West Ham guitar up there, a red strat and a West Ham guitar, PRS, and he signed it all. He gave me some of his wristbands for the charity. And, you know, it helps, because if you can use them very famous people when the music business has their signatures, it increases the price of the tickets for the guitar order. The auction goes up a couple of grand because it's got his name on it, as well as mine, and a couple of other signatures. So it does help me in that kind of way. It's great to go and see him at the old tour in London. Last couple of years, I've been all over the same, Vegas, Boston. Yeah, it's been fantastic. So, yeah, a long way to carry on. You know, now that you carry it on with the other tour following up, it'll be fantastic. I got one more question for you. I don't know if Alan has one more. Do you want to cut him off? Go ahead, Alan. Yeah, go ahead. I was going to ask, what song on Killers do you find you should have gotten more credit for that you really gave your, you know, you really helped with your arrangements? Well, a very important question because most of the songs on Killers were already written, all of them, except Killers were already written before the first album. So basically, if you remember going back to 79 and 90, early 1980, when we were doing the metal for Mothers Tour, well, a lot of people don't realise that they own it. It's, if you're headlining a show, which you know, if you're headlining, you need an hour and a half. If you're supporting, 45 minutes. So when we first got the band together with me taking Clive into the studio to introduce him to the lead and him getting the gig, the idea was we were rehearsing both albums because we needed a one and a half hour set from metal for Mothers. So all of them songs were already written and put down as demos. I just added my harmony guitar bits and everything else. And then it was a case of Steve choosing what songs are going on in the first album. And then when we got halfway through the metal for Mothers Tour, doing an hour and a half, they went, right, you're coming off that tour, you're now going on the Judas Priest tour, where you're gonna do a 45 minute slot. So then we reverted back to the first album and maybe Rothschild, one or two songs from the Killers. But there was no chance to, you couldn't change anything on them songs. All I could do was add bits to them to make them. So that was what we were doing. We get the first album done, then we played the same set, 45 minute set, you kiss. Then once we went back to finished off the metal for Mothers Tour, it was an hour and a half. So we brought Killers album back in. But as I say, we worked on Killers, Steve wasn't a lover of that riff that we didn't really like that much, but I think everything was so rushed that everything had to be done yesterday for the record company, whatever. And I didn't like women in uniform, I must admit, I've told a lot of people I've done cover, they had so many good songs on their own, but I think that was down to Zomber music for suggesting women in uniform. As I say, the one I did the most work on was Killers because we were working on that right up until I departed from the band. But as I say, the songs on the Killers album were already being played live when we had to extend the set for an hour and a half. The lyrics for Killers, Paul, I think he was at the Live at the Rainbow, right? Where he had a different set of lyrics. Actually, you weren't there, you weren't there, you were on that one, right? Oh, remember, when we come back from the Kiss Tour, we did Women in Uniform at the Rainbow Theatre and then that was it, I was gone. Okay, that's why, yeah. I'm not sure. We did do a gig at the Rainbow, but we headlined it, but I don't know if Killers was on there, but someone else told me that, someone else pointed it out. The lyrics were changed, they were alternate. Yeah, I think some of Steve may have done a rewrite somewhere in the... Dennis, we have an interview with Ace Freely tomorrow. You were on the Kiss Tour. What were your memories with Ace Freely that you've come? Absolutely fantastic. I know Rod won't mind me saying this, Rod Smallwood, but he didn't really want us mixing with the big guys. We were still young. We just basically just formed as a band. We'd only been together nine months a year. But I'm one of these people that I just go out and meet people. I have a lot of respect for support bands and I have a lot of respect for the main bands if I'm supporting because I never really, I always try and get on with everyone. And I must admit, Ace was very quiet, very quiet. I got on really well with Gene Simmons and Paul Stanley to the point where they took me and Dave Leitz out in Stockholm on the 9th of October, 1980, for my birthday. So they took us to a restaurant and Paul gave me a fire hat with all the signatures of the band on it and Eric was really good. But you never really saw Ace was very quiet. I only used to see him when he used to be walking on to the stage and I've got photos taken with him and I've got a lot of fun. But I have lots of photos taken with Ace and you know, Eric, I saw Ace was on tour of doing some stuff over a few weeks ago and I never got to see him. And I was away as well. But yeah, it's great to see him sort of like back and if he's playing. But he was very, very quiet. Shocking, shocking. You're saying he's very quiet. I thought he'd be a little more louder or, you know, more energetic. No, no, as I say, he was very quiet. And then it seems to I never really spoke to him that much. I really spoke to Paul and Jean more than anything. But yeah, I never really got to really see him that much. I used to see him as I was going on stage and I don't always why even do that. But it was always very quiet. So I've got to meet him again because he probably forgot about me. But, you know, it's nice to have their memories, you know, and also the photographs that I've got. It's brilliant. Well, well, well, as that you wrap up the interview. You wrap up the interview using the last song on the album, Remembrance, Praying for World Peace. Nice little song. Is that was that written before or after the album was completed and after Covid and everything we've seen in the world happening today? The last song. Yeah, Remembrance, Praying for World Peace. Everything on that album was written well before you write in Russia and I think that as Steve wrote on the sleeve notes, that people who said it's a big point of people that start the wars don't have to fight them. They just sit beyond a desk and that is the big worry about everything. So it was just a coincidence that when the Ukraine and Russia was died, that this this album was always nearly nearly finished. Or basically, you know, halfway through. And so it was the songs were already written before any of this happened. So, yeah, you know, it would be nice to be able to think about that. But yeah, that's a great choice. Thank you. I'm glad you like the album. Grace of a butterfly, a butterfly, the grace of a dragonfly. It's out now. Pick it up. Not butterfly, dragonfly. You know, you know why the dragonfly is because we found out that the dragonfly was a nickname of the Spitfire plane that went up and did all the dogfights. So that's why the album cover has the dragonfly. And you can see the spitfire through the transparent of the dragonfly. You can see the spitfire underneath. That's that was your example. It was a pleasure having you on, Dennis. Thank you so much for the. Congrats to you and all the lads. You've done a fantastic job on this album. That's for sure. Well, I'll tell the boys. I'll tell them tomorrow when I speak to them. But thank you so much. And thanks for your patience. But, um, no problem. Pick it up. And the funny thing is that Nathan's out of the office all day a day. So I couldn't do anything. So, but no, thank you both very much.