 Jimmy K. here, Metal Voice. Look at this. The Metal Voice shirts are now on sale. Just go to the video description to find out on how you can purchase one. Metal! Welcome to the Metal Voice. Today on the show, Alan, who do we have? Aldo Nova. Hi there. Hey, incredible. The Life and Times of Annie Gage, the exciting new rock opera by Aldo Nova. Alan, since 2008, can you believe that? Oh. 12 years, I wasn't... And now I'm writing the sort of libretto and stuff like that. And last night, I was working on it, and I added a new character, and that put everything together. So last night, it was finished finally, you know what I mean? So it was really an emotional moment after 12 years. And it wasn't just the music. It's because I'm writing the whole story. So it's just like when I finally hit that last character that I added in, just put everything together. And it was it, and everything fit. It was like actually a real rock opera, so it was great. And again, like, I haven't tased yet to buy a Samus. He has all these different singers he writes for. You're doing all the voices for all the parts. Exactly. Have you heard any of it? Yeah, for sure, yeah. We heard a little bit, yeah. We heard a little bit. I mean, to me, it's like Prague. It's like a Prague album. I'm a huge, like, Rush fan, Yes Fan, you know, you're right, he, Kansas, you know, those Prague bands. And that's what kind of, to me, that's the direction you're heading in, or it's you're in. I mean, it's got super rock songs. It's got like techno songs. It's got a 40-piece orchestra with a voice. It's got a heavy duty rock song, you know? I mean, there's a Haility Diary, which is heavy. There's Krawl, which is almost synth pop. There's a King of the Sea. It's like 40-piece orchestra with just my voice. It's got, when I was saying that, there's the five-song demo that I sent you. It's got, when I was saying, done with super heavy riff. Yeah. There's a, you know, say a little prayer, which has got gospel and rock and rap, so it's a mix of everything. So every song is different, you know? But you know what? Saying that, everything sounds like you. Like, you know, you have a distinct style, goes back right from, right from the very beginning. Oh, there we go. It's like a vinyl, eh? Oh, there we go. A vinyl. There we go. Look at that hats and guy. You know what's amazing? Aldo, I'm just gonna just change here. Look how young you are here. I can't even believe how young you are. Oh, I mean, yeah. Look at this. Yeah, actually haven't changed that much. Look at that. Who's that young guy? Yeah, yeah, you have the reissue because they don't have that in a re-album. I do have the reissue. You're right, I do. Because, and that record sounds like crappy or remastered one. I mean, I don't know who remastered it, but it must have been Helen Keller because it sounds like crap. I mean, the sleeve credits are bad. It's just the Rock Kennedy issue is like, do not buy. Try to get like something on eBay or whatever because something that was original mastering by Bob Lundey who masters all my stuff. I mean, the Bob album, like the first album actually sounded like a ton of bricks, but this Rock Kennedy issue is like, stay away from it. It's like really not good. But I mean, this album, when it came out, it was huge. This was on the radio every day. You couldn't go anywhere without hitting Fantasy or Ball and Chain or, and you know, and I call it, it was Bon Jovi before Bon Jovi. You know what I mean? Actually, Ball and Chain. Ball and Chain during my divorce I called it Balls and Pain and then it's over. Ha ha ha ha ha ha. Fooling yourself. I mean, there's just one hit after another. This was your debut album. Fooling yourself. Ha ha ha ha. I mean, you know, that album is like not considered like with the Boston albums and all the, like the high fidelity from REOs. It's like, you know, considered like a classic. So I mean, Fantasy is a classic. No, I mean, you can't go into a club without seeing the cover band playing that song. So then, you know, that's something that lasted. And you know, I got back into, I did, I did all the reboot album on 2.0 Wait a second. Here we are. Here we are. Oh, there it is. There it is. So 2.0, when it was, it was like a reboot. And that was creativity in another sense. It may not have been like original writing, but that to arrange those songs and make them sound new. Again, that was a lot of work. But I knew that 2.0 was just a stepping stone to putting out my engage album. And when I was, when I was just 2.0, I got excited about music again. I got excited about playing guitar. I got excited about composing and doing arranging, mixing and stuff like that. And I hadn't, for a long time, I hadn't picked up a guitar. And I hadn't, you know, I just thought it's complete interest in music. You know, I was learning how to program, learning how to mix, doing all the technical side of it. But I mean, as far as like playing. So when I did 2.0, that actually gave me a heart out playing music again. I mean, to put it in other ways. So that was it. Now, you know, some people always come to me and I'm at the in-laws or something like that. And if I'm on fantasy, like the first album, and I realized from hearing it that that was really revolutionary. And it sounds amazing even today. I mean, it's bombastic. I mean, the sound is incredible. You know what I loved about that song? And I think what, and I'm sure you all know this, it took New Wave and it took Hard Rock and it just came together. And that's why it sounds so great because it's got those, the keyboards of the New Wave era at the time and Hard Rock. It's like April Wine meets, I don't know, men without hats. You know, it's just, it's just, it does sound, you were like the first to, you know how they used to hide the keyboard player in the back and just have a little bit of keyboards? Well, you brought it upfront, Hard Rock with upfront keyboards. It's a funny story though, you know what? That record that, when I did Fantasy before Fantasy, I was doing New Wave, my Gary New Wave because this guy hired me to be like his ghost writer. He was like, had a record deal and didn't know how to sing, didn't know how to play. So he came to me in my club days and he said, do you know how to sing them right? And I said, yeah. So he like gave me studio time and I started to write New Wave, like really New Wave stuff that was popular. And then I had done a demo of that and so people got excited about that. And then I had half a record of New Wave and half the record that had Fantasy ball chain and stuff like that. So I went into a Canadian record label called Solid Gold. I don't know if you're aware of it. And they said, well, you've got, you know, you've got half an album here. One was great and the other half was just like, so they don't mix. So I went back into the studio and then I started writing the other half of it. And then I had an actual complete album with a complete style and style and stuff like that. But it's funny that you say New Wave because that's what I was doing for Fantasy. Yeah. You know, also, I just, you know, I don't want to get away from the new album. Okay. The Life and Times of Eddie Gage. So the story, when I'm reading this story, it's like the typical rock and roll story in a way, right? I mean, right? Maybe can you talk about the story without giving away too much? The story is pretty much, well, it's not a biography. You might as well be caught in the Life and Times of Aldo. That's what I thought. I don't want to say it. The story is of this young kid who plays clubs and gets noticed by a big record company exact. But it's also light and dark. I mean, to me and my eyes, the big record company exact is like a demon. He's not like, you know, so... And then he gets famous and he goes and plays big stages and eventually meets, you know, there's The King of the Seat, which is like the big exact, like a CEO who's like, you know, Greek type of tycoon. That's powerful and introduces him to a woman and woman, you know, leads him down the path of drugs. He has like, you know, stuff like psychotic breakdown and, you know, I guess it's just like, it's my life story pretty much. And it ends with like a sale, which is a song of redemption where he's actually happy and he's like spreading his message of faith, hope and love, which is originally what he wanted to do in the beginning. So it's sort of like, you know, such great for him, but everything that the characters that are in it all have different names like... Andy Christos. Andy Christos, yeah. That's a Greek guy, right? That's a Greek guy? Yeah. There's another one on the side. Andy Christos, if you look at the name, Andy is Andy and Christos is actually Christ in Greek. Yeah. It's like Andy Christ. I'm actually Greek, by the way. I'm actually Greek. So I kind of appreciated that. No, but I mean, it's good. All the guys are Greek. You know, the exact, the record tycoon, record tycoon, the big CEO of the company is also Greek, you know, but it had nothing to do with that. It's just that the name, I had to find an original name and Christos, which seemed like a name was actually Greek for Christ. So it's not to do the characters. You got an idea, right? Rady, I'm assuming that's like a pie zone there. Idea, idea, Rady, is that it? Idea, Rady is actually, it's sooner than for Rady, which is the goddess, an Indian goddess in sex and drugs and sexual pleasure and stuff like that. So they all have their name, you know what I mean? So every character has a name, but it has also a hidden meaning in, you know, in either the Bible or an Indian folklore or stuff like that. So I mean, she's the temptress. She's the seductress. She's the said God of the lust, God of the goddess of the synapse, in the Indian goddesses. So I mean, everything has a conversation that you can, if I show you all the names and what they did, you'd go, oh my God, this is like, so if you listen, read the lyrics and it's like, the lyrics are really important because that's what, you know, I'm a strong lyricist, but they really do tell a story. So, you know, so, but it'll have a booklet that goes along with it that'll really detail the story. The characters will be very, very well-defined, you know, so. How many characters are we talking about here that you're actually portraying? Actually, there's not many characters that come back. So there's actually a new, there's almost a new character to be shot. Some of them do return, but like in other words, in the story, I'll introduce the character of the Anna Foster, which is a child of the sweetheart, and she'll return later in the play, but it's sung by me, but it's as if in the character of Anna Foster. So you have the history of that, and then you'll realize after that why she's singing that song to him. So it's like that, but there's different characters. You know, there's like a, it's 23 songs on the album and you might have maybe 19 characters. And again, this was like, you said it's autobiographical, I mean, we saw the preview. I got cassette here of Blood on the Bricks, you know. So it's like, and then of course, you end up producing. I mean, it's not like you disappeared. You were still in the music business, right? I see it in the background right there. Aldo's a Grammy for a producer right there. Pick it up Aldo, bring it. Let's take a look here. Let's take a, let's see. I want to see a real Grammy. There's a real Grammy. You know what I'm proud of you Aldo? I'm proud of you, because you're a Munchie dollar and you've got a Grammy. Look at that. Look at that. Producer of the Year for an album of the year, a producer for the album of the year for song down in 1994. That's right. That's right. Look at that. Two Munchie dollars. Yeah, but also, you know, here, look, I'm going through the age, Billy Falcon, Pretty Blue World. You're on that too, you know? I mean, you kept busy. Yeah, that was, that was awesome. He was audience. It was only two guys on Johnny's label. Yeah. Jam Corps Records. And it was me and this guy called Billy Falcon. Billy Falcon was an amazing songwriter. And so I played on that, you know, if there's a producer couldn't play the part, because one time Billy Falcon is a certain style of playing, but he wasn't good enough to play all the records. But I'm capable of maybe leading everything. Somebody, it's phrasing, the picking, the style, everything. So they'd call me in and say, well, I mean, you got to play like him. So I played the part and that's basically, you know? Yeah. I did strings and stuff like that. Let me ask you, okay, so you're doing this album for 11 years? 12 years. 12 years. Well, 12 years. You're doing this for 12 years. So you start at point A. And then after five years, you keep changing things, don't you? Don't you have that urge to go back and maybe that vocal's not right? Don't you get into this cycle of I got to keep fixing stuff? What happens? What's the mindset here? Well, when I started in 2008, I wrote these songs. All these songs made it to the final five. They were recorded with drums. I went home and finished them. But the drums didn't sound great. I went to a studio here in Montreal. And I didn't have my studio built because all the gear had come back from Ireland yet. And I hadn't set it up because I was living in Dublin. I lived there for six years. And so I had to go into a studio in Montreal, actual real commercial studio, even though it was the best studio in town. And so I went in and I recorded these eight tracks. And of course, it was only a drummer because that's all I use as drummers. And one thing I can't play is drums. I suck at drums, literally I suck. Anyway, so I hired a drummer and I played everything else and did all the orchestrations. All the songs appeared on the album. King of the Seat was done in 2008. I did the orchestra. Then waited for a while and like I said, like I say in other rooms you use that. In 2008, I made a conscious decision not to work with anybody else but myself. It was a conscious decision. I got tired of it. So I moved the line, I said, forget it. I didn't have to start. I'll start, which I did, but I'll never go back to doing anything else. So in 2008, I actually sat out there. I had a vision. I wanted to buy a rock opera. The title came like that in the late 10s of the gauge. So I wrote eight songs. And then there was a break and then I started writing more songs in 2011. Then there's another, which I demoed. I did another couple of songs, like a bunch of songs. Well, say a little prayer, which was in 2013. Then I wrote some 2000 pieces some more. And a bulk of the album I wrote at the end of 2019, the album was actually finished, mastered, with 22 songs in September of 2019 by Bob Ludwig. But when I wrote it on May 12th, I wrote, I felt that it was missing one character to actually put it together. And then I wrote one all of a sudden, which is like a part of the song. Yeah, the new single, yeah, exactly. So it's very heavy and the lyrics can be taken a bunch of ways. It can be taken like the God and the devil. It can be taken in my character as a lawyer with a judge, you know, Eddie. So it's everything is like power, you know? So I took a powerful song. And so I called Bob and he mastered it. And I said, well, okay, put it in the album. So to me, since I'm my own record label and my own producer and everything, having 20 conditions on the album, at least people won't be able to say that I jipped them like on two points. I mean, you know, they've got 23 songs in two hours long. You know what I mean? And all quality and solid top, not sure, best players, best sound. And getting back to Jimmy's saying, yeah, of course. I, you know, I found my drummer, Lee Levin, in the end that I found was just phenomenal. I mean, you send these and I found that really good guitar player called Dan Warner who passed away in the last year. And I was sent, I would do labored demos with machines and I was sending these tracks. And the beauty of it, working with guys at your level is that they say you step back and you go, my God, this is like amazing. So every time I'd hear, every time I was waiting for their like Dropbox or, you know, their files, you know, I would get excited. And of course they never, they're never disappointing me. It would just be like a hundred times better than the way I sent them. You know, so like now I'll only work at people at the level of musician or whatever, at the level of record company, I don't have any record company, but I'll say management or a record distributor that understands, you know, so I hate friction. I've had enough of it in my life. I don't like arguing. So just like I didn't like arguing on my first record, like I wanted this kind of effect which I knew was doable. And the engineer said, no, no, you can't do that. So I watched him work for about a week and he was fired a week after. And I didn't have a job. I mean, I was, I was going to start a career. So that's Italian style. I'll take care of it. Don't worry about it. It's all good. Al Pacino style. People used to make that comparison when I was young that I looked like a young Al Pacino. Yeah. Rolling Stones said that. They're blonde Al Pacino. I remember that was the article. I get the Robin Hood girl thing. You know, we just, we just had an interview not too long ago with another Montrealer. You know, Frank Marino had his largest album ever with the Juggernaut leaves the music industry. You know, you're a fellow guitar player, a fellow Montrealer, a fellow Italian Canadian. And you know, you kind of got to fit up with the music industry too. So that's it. I'm going to do my own thing. I don't need these guys anymore. What is it with the water Montreal guitarist? What's going on, everybody? I screw you up. It's not Montreal, guys, it's the American guys and all these guys that, you know, it's like, over here I can get a good promo scene. I found a great promo scene in La Shouse and Vicky Bonomo that, you know, they don't tell you that the price is like really reasonable. You know what I mean? It's like, in the States they got a single promoter. They want $50,000 US and not even get guaranteed that you're going to get on the radio. I mean, it's like, where do they get these numbers? Why do you need $50,000? So I said, I'm going to start in Canada slowly and do it this way and do it my way. And of course, work with great people and no friction. Everybody understands, you know what I mean? So I don't like arguing. I don't like, you know, get out of my way and my way or the highway. But it's not as if it's just, you know, if I'll work with people like a great drummer or a great rhythm guitar player, a great, you know, even in my band, it's just like the top of the top. I mean, you know, we just laugh all the time. So it's just, I was talking a bunch of jokers. I mean, you have no sense of humor. You don't go off with me. So. Well, how would you describe the musical direction of this album? Is it Prague rock? Is it rock opera? Cause I'm listening to all the tracks and like it's kind of like Queen sometimes, the way Queen sort of built their songs just going off in different time changes and different, I guess key changes I would think, how would you describe it? How do I describe this album? The musical direction, yeah. The musical direction of this record is just tells a story that every, every song is written around a certain character. So I wasn't, since I was free to do everything, there's some songs like, you know, that are eight minutes long. I mean, I didn't have anybody to answer to and set myself. So I don't care. I mean, you know, Rick, a company would normally tell you, oh my God, you've got everything done. You can't have a song like over four minutes for radio, every song, like every song is, I have songs with six, seven, eight minutes. And they're just like, it could be any style. I don't care. I mean, music is music. And one thing that's common to me in my music is it has to draw an emotion. It can't be stare on. For me, I make music out of emotion. It's gotta, you know, it makes somebody cry. It's gotta make somebody laugh. It's gotta connect with myself first. And I know that if it doesn't connect, then I'll scrap it. But I know that if I write something and connects with me and gives me emotion, that it'll definitely give somebody out of emotion. So to me, the only thing that ties with the record is that every song is brought out with emotion. I mean, you know, the vocals are done with emotion, everything, no matter if the style is different. Like you said, there's a, when you say that there's a common thread and you know, if the characters are different, the only thing that's identified is me, even if I change my voice. And that's because the songs are written in the way that she volunteered Alvin Melvin, which is like their emotional song, you know? The songs that I write out of emotion. I don't sit at a piano or something and go, oh, well, I'm gonna sit to them and write a song. Screw that. I mean, that's not, that's not originality. That's not inspiration. You know, inspiration is inspiration. I'll write a song while I'm driving, which is probably where I'm such a bad vibe right now. I'll write a song while I'm playing, when I'm driving and I'll get the riff in my head and then after that, I'll get it titled and I'll record it on my phone and now I'll get another right there, record that on my phone. So by the time I get home, I have to do a whole song. And now it's just the hardest part for me is trying to figure out what I have in my head. It's like so difficult sometimes when I hear. And so that's it. And I'll sit down and finish the song in a night and the lyrics should be almost written. Like, I'll recommend the car. So that's inspiration, not written by, but there's no, how do I say, formula. There's no formula in there. So the last character, the last song you said was written last night. So how is this going to get rolled out? I'm going to release it. There's either one plan where I release one song every two weeks. So by the time that August next year comes around, you're still gonna be releasing songs. What do you mean by releasing songs? Like, is this like something people can buy or is it just like on YouTube? Yeah, Spotify and the songs and it'll be like a one song every two weeks. And we get to keep people involved and stuff like that. But we're actually working on talks or progress to bring this to a huge stage production, which was my dream all along. That was the whole thing that I started. I mean, I envisioned this as a huge stage production. So now we're talking with the production company. That's actually loves the album and doing that. So for me, it's more important to get that there than to put the record out. The record will make more sense. Like I said, there's no timeframe. The music is timeless. And I don't care. 12 years, I waited 12 years, I waited 12 years. I don't care. I don't know if I could wait another 12 years. That's my problem. I've got nobody on my ass. What about Tim Gaines from Striper, X Striper, right? I mean, is he gonna be part of your live crew or does he help you out with music or what's his connection there? Tim Gaines player, I'm gonna all of a sudden, so it's funny how I met Tim Gaines. I was looking at somebody's page on Facebook and then I saw this guy that says that you might know, and then I saw Tim Gaines and he had a base in his hand. Hey, I don't know. Something's just attracting me. Yellow and black. No, that's not, he wasn't wearing yellow and black. He looked like a real bass player. Then I contacted him and I talked to him and I said, I sent him the album and then I said, send me some stuff of yours. And he, he sent me an album which was a solo record called Breakfast at Tiffany's or whatever it was called. Not Breakfast, but he says Breakfast at something. And you see it on the cover, just all bases, all over the seats. So this guy is not a guitar player. Not even, his instrument is bass. He's a bass player. That's what he does. He loves bass and lives for bass. So, and he was a hell of a nice guy. My drummer Billy Carmasi, I've been playing with him for 40 years, part of the famous Carmasi family of drummers. I mean, he's brother to Denny. He's played with just about everybody. And you see Billy in my fantasy video, so we've been pals and he's hysterical. So, Mike Bruno from Montreal who you probably know from the Vikings. I have Igor Sellerar on there from Montreal also. And that's the band where we're with me and we're five guys. But like I said, they're all, they're all, they're all funny. Good, good, good. That's nice to hear. Alan, Alan, what was, what grade were you in when you first heard fantasy? What was your initial reaction when you saw the video? Oh, I just, I mean, you couldn't get it off the radio. I mean, you couldn't, you know. I remember the lasers on the guitar. I was probably in grade seven, I think. The great seven or grade eight. The leprosk. The leprosk. The tiger, what was it? The tiger spandex? Leproskid. Leproskid, that was it. I have to understand that. I loved it. Air guitar, air guitar the whole time. That's all my idea. Like nobody knew I was gonna wear the leproskid suit. So imagine I'm 22 years old. I'm 22, 23 years old. I show up, I step out of a helicopter. I come out in a leproskid spandex, skin tight suit. I have a Les Paul and a laser down on the door. And back then to do a laser, it wasn't like a CGI. That's right. It had a rotoscopy. I start to draw it on each frame on that. And so, but still they did it. And then I showed up with a smoke or whatever. But that was done by Richard Casey. He used to be a B horror movie producer. I mean, he all he used to do was shot horror movies. But he did a great job with fantasy, you know? So that he did that in the ball and chain. But like that was pretty much. Lock and wait. Yeah. Yeah, so. I'm telling you Matt, air guitar. Everybody I knew was just playing air guitar to the solo of fantasy. Yeah, but it's just like, there's two things now. You have to say I've invented some things that I'm identified with. One is the leopard skin suit. Because you just say leopard skin suit and people go out on a nova. The other thing is, and two in 1982, I designed a guitar that Gips made for me which was a Les Paul with an explorer head start. So you see that and you say, that's out on a nova's guitar. That's the difference between me and a guy like Bon Jovi or any other band. It's like I was really like somebody where that you can identify music, but you can say, wow, the leopard skin suit, wow, the guitar, that's all custom made, you know, subject, you know, which is like completely, like nobody wants to hear subs, the record company. Like it's like, but I was. Zombie apocalypse. Yeah, but that's because I was lucky because the first record I'd done so well that I did whatever I wanted in a second record, a second record on a subject. I could go, be at work, everything was done. And sort of record is a subject is really people are now just discovering subject. It's a great album. Yeah, exactly. It's different. I mean, it's like, it's got, that's called rock. It's got. Carl Dixon. Carl Dixon who wrote Hey Operator, you do a better version than he does. And that was the whole idea is at a certain point I wanted to produce corny hatch and I wanted to show them what it could be done. They of course refuse. But that said, okay, I'll do it. And I said, this is the way the song is supposed to sound. But it's a great rock song. It's a live song. You know what I mean? Oh yeah. No, you do a great version of it. What about, and just, just sorry. I just want to, is it true? Fantasy is actually dazed and confused that, but sped up. I guess the keyboard part. No, Dacing Confuses the Rift. The Rift. The Rift. The Rift. Oh yeah, yeah, yeah. A lot of people don't know that. I overheard that one day and I go, I'm not sure. I didn't invent anything to say the truth. All I do is, all I did is like take all my influences and make them as a starting out of it. And then, you know, this music came out. Like I took all the background vocals that I heard off of Boston. I took the raw guitars from the sound from Boston. But I took the big, you know, sound of the, I just started doing one guitar. I did two guitars and that gave you like a wall of sound. And then I would do the guitar solos. I would trade off. And then I was fortunate enough that the record company president introduced me to it. We were mixing the album and with an engineer from Montreal and it really didn't have any soul. It didn't have anything. So Lenny Pizzi, you know, when I went to his house, he used to have these big monitors in his house in his living room. And he made me hear a band of his called Balazs. And I said, that's the sound that I want. I want my record to sound like that. So he introduced me to Tony Bon Jovi. And Tony Bon Jovi had built the power station, biggest studio in the world, everyone, which now is Avatar, also the biggest studio, but it's all Tony's design. He designed the big room that makes the drums sound like cannons. So he took my stuff and he made it sound huge. I mean, you know, I mean, we argued a lot mixing that record. That's why he says, I don't know that I'm Tony Bon Jovi in the pit. I mean, it really says like, I learned so much from him. But of course, but he learned from me too. I had my own way of thinking, you know? So with that record, that's why that record sounds monobastic because I own a lot of the sound. Otherwise, it would just would have come up as just a regular sounding album. I don't know if it would have had the impact. No, no, it wouldn't have. The production today holds up it. You know, my vinyl that I have back there, I mean, you put it on, it holds up. It holds up well. Yeah. I had guys like Bob Ludwig, you know, who mastered all my records. He's, you know, I had the top of the top the premium of the corrupt. He was doing my stuff. I was 24 years old when it came out. And, you know, the, when you think about it, a guy from Montreal, I'm 22 years old. The head of the A&R, who had his own label, boutique label, the guy who signed Boston, the guy who signed Hart, the guy who signed Cindy Lauper after, comes to Montreal and takes me and signs me to a U.S. record deal. I didn't get signed to a Canadian deal. Wow. I got signed to a U.S. big label that were the guys signed Boston and everybody. So that's, I mean, it was, when I think about it now, it's pretty extraordinary. And I don't know who was bigger back then in Montreal. I don't, like, I mean, okay, Salim came afterwards, right? Corey Hart was after, but I think, Aldo, I think you must have been the first Montrealer to really break into the U.S. Maybe April Wine, I guess we could say. They're kind of Montreal. Yeah, well, yeah, but I don't know. April Wine did break with, like, Robin Roller and she's, she wrote, she's a roller. Yeah, yeah. They're a great fan, by the way. Oh yeah, absolutely. Frank too, Frank Marino, but not as big as Fantasy. I don't think so. No, no, no, like I said, Fantasy is considered a classic. I mean, that's today, which I have to admit, you know, I have plaques on the wall. I have some back here. I also haven't had a V3 back here with a Leslie in case you see. If that's in my living room, I'm in my living room. She's at your living room. It's not my studio. Actually, it's my living room. I actually have a real V3 with a Leslie in my living room. That's how nuts I am. This thing was 500 pounds. I had to get three guys to move it in here. You're also a comic book collector. Are you not? Yeah, I have $75,000. Oh, that's pretty good. That's in the kitchen. Actually, I have an enclosure built just for comics. That's the only reason. Amazing. I wanted to ask you, and I'm going to make this short because I don't want to talk too much about Bon Jovi. I was listening to Eddie Trunk. And I think it was Eddie Trunk. And maybe if I'm wrong, I'm wrong. There was no mention. So this is how the sequence of events came. Runaway, and we've talked about this before, right? I just want to clarify this. Runaway was a single that was released by itself with an all-star cast of musicians and you were part of it. Then, correct? Correct. Did you play rhythm guitar and a little bit of keyboards and additional back vocals on it, right? I did that, but I also did all the background vocals with him and a guy called De Caseros on the whole album. And I played keyboards on a lot more songs than I'm giving credit to. Yeah, and that's what I'm getting at. I'm getting at, I think, there's a lot. You played a bigger role that people talk about when they think of Bon Jovi's first album. Well, you know, it's like he's pretty cheap with credits. Instead of going, well, Aldo Lola did this and that's Aldo, he just said Aldo Lola appears to have carried portrait records. That was it. So it's like, I mean, on my albums, everybody gets credit or whatever, you know what I mean? So, I mean, you go to the Bon Jovi page or that, you know, you don't even see my name anymore in the Wikipedia page. How long was the Selenity on? You don't see my name anywhere. Every band that I've ever produced, you don't see my name on the page at all. Well, that's why you're on this show. We're gonna make sure we get that out. We're gonna make sure everybody knows what the real deal is. I don't give a shit, I don't have an ego. I don't really don't care. I mean, to me, I don't need my ego fed by playing in front of 20,000 people. I'm happy sitting in his own restaurant telling jokes. I mean, you know, it's just one guy. I mean, I'm not a guy, I don't need my ego. It matters to me. It matters to me, Aldo. It just matters to me. That's all good. Rather where credit is due. It bothers me, okay? That's why I wanna clarify this. That's all, that's all. All right, let's get back to the new album. Anything else you wanna tell everybody about the new album? The new album is, like I said, it's a labor of love. I've worked on it hard. I think it's probably, the critics are gonna criticize it, but I think the fans are gonna love it. It's gonna be totally innovative music. And like I said, some things are gonna go, this is not like Aldo Mobile, when all of a sudden done, people are going, but when all of a sudden done, people are going, well, you did take a left turn. You did change direction. You did stay current rather than doing fantasy all over again. When all of a sudden done, it's like three-piece band, no keyboards, no background vocals, just bass drum, guitar. That's it. So it's a three-piece power trio. So, and then one voice, my voice. So it's completely different and radical. We're writing the one after the four. And that's who I am. I evolve. Alan? Hey, keep your ears and eyes out for these songs. If they come out every second week for the next 23 weeks, I guess, yeah. That depends, because like I said, we're working on the Entoch for doing the rock opera. So that might change the whole perspective of everything all together. Is that local? Is that international? So who's these people there? It's people that are international, and they flip on the material. Wow. I mean, the guys, like I said, they should be on a big stage. The guys that get it. So they've done a lot of things over the world. So it's, again, it's not on a small scale. And when I've actually done, when I've actually achieved that thing, then my dream will happen, too. And then my vision will be complete. That's what I like about you, Aldo. You're a visionary. You're an artist. You're a true artist. And that's really cool. That's very cool. Actually, my last question was a blue oyster cull. They just heard a new song by them. And I thought, you know, going back to the day when you actually wrote with them, you know, can you talk about that just a little bit? Well, the way that song, that song, Take Me Away. Take Me Away, that's it. It was a song that was a part of my original demos. And it was called A Cycle Word. A Cycle Word was about a serial killer that escapes from the Cycle Word. And it was out. It was like completely insane. Pause, you have a song called Cycle Word on this album, too, right? Yeah, but that's a Cycle Word on this album is about an ambulance, the guy being put into the ambulance going to the Cycle Word. Ah, okay. It's about the guy in the Cycle Word that escapes and he's a mad serial killer. And so I sat on the shelf for a while and then put it on my album. And then Eric Bloom heard the music because we had the same manager we had Sandy put on it. So Sandy gave him the tape and the music was really, really good. So Eric says, well, you know, I'll write lyrics and his lyrics fit spot on. Eric's a great lyricist. He's like very vis-visual. He's also into like UFOs and things like that. Yeah, yeah. Which I'm into also, space-age, science fiction. So he wrote Take Me Away, which are about extra extraterrestrial to take me away and things like that. So the song works. And I have a lot to do with the overdubs of the production. I mean, I sneak into the studio at night and like we do the guitars. I sneak in everywhere. I do whatever I want when the fuck I want. The life and times of Eddie Gage. Thank you. I can't wait till it comes out from what I've heard. It sounds like a great, you know, great bunch of great songs. I mean, well-written, well-written song. Congratulations. Thank you very much. Yep. All right. Yeah. Well, he didn't congratulate you. I did. Hi, I'm talking to Aldo Nova. My day is good here. What do you want? I can't leave anybody out of the conversation. How about credit? I'm not just gonna talk to one guy like I'll ignore the other guy. All right, Aldo, we'll talk again when you have more news and more updates. Look forward to talking to you again. Thank you so much. See you guys. Thank you. All right, congratulations.