 Welcome to the metal voice today on the short show. We got Nazareth's own Pete Agnew. What's going on, Pete? Oh yeah, nice to see you, Jerry, nice to meet you. Yeah, great, that was going fine in this COVID-ridden country. We're coming out of it now, everybody's heard it, so. You bet. Surviving the Law, Frontier's Music, April the 15th, the new Nazareth album. This is the 24th studio album, it's kind of shocking. It's the 25th. 25th, okay. 25th, yeah. Last one was Tattooed on My Brain. So, right off the bat, what's the difference between musically that you did differently on this album compared to last album and comparing that to, let's say, the 70s peak? Well, it's a different band now for a start, but The Tattooed on My Brain was the first album that we did with this lineup, you know, with the new singer. So, you know, that was the first time sort of taking everybody's songs, taking different guys' song that we hadn't been using before, you know. This time we've all got a bit more used to each other, and it was a different sort of way, a different way of writing this time because we wrote it, and basically, I figure I've told everybody we wrote it in jail and we recorded it on parole because it was, you know, we were stuck in, we were stuck in because of the pandemic, the plague. So everybody was writing an awful lot more songs than they normally would because they weren't doing anything else. And then, of course, we didn't get to record it until because, again, all these quarantine restrictions and guys coming out in the country, you know, producers from Switzerland, their singer was out in Vienna in Austria. So, we were sending sort of files out. We were in the studio, three of us sending the files out to the singer and he was doing the stuff, you know, out in Austria. But it all worked out very well, but like I said, we recorded it differently from the last one, mainly because, just because of the circumstances, you know. I think the, in terms of the material and the content of the album, I think there's a, I think this one's a little bit darker. I mean, I think it's a bit heavier than Tadio and my brain. Tadio and my brain was a great selection of all the songs that we'd all been writing at the time. At this time, I think that there's a little bit more cohesion between the different songs written out by the different people. I think because they were all in the same jail, but there you go. So, I think there's, you know, the circumstances, again, were different. So, yeah, I think you can, there's definitely a kind of different mood on this album, you know, but I think it follows that too on my brain well because we were always, we never ever liked to put an album out the same as the one before, you know. It was even going back to, you know, the hair of the dog days, okay, we'll have another one of those priests, you know, the record company will say, well, no. So we didn't like, you know, close enough to rock and roll, which was nothing like hair of the dog. And the next one we did after that was nothing like that one. So, you know, you always try to be, yeah, a wee bit fresh for your fans. So I think in this case, I think, you know, it was a wee bit, it was quite funny actually because when we did that to my brain, we were kind of worried, you know, how the audience were going to take to a new singer, you know, replacing Dan. And so you're always, you know, we're already got over the fact that it already been accepted live because everybody was loving it live. But, you know, you're making an album. It's a different thing. So a wee bit different when you get to record it. But of course, well, it was great. The people loved it and they thought it was a great album, lovely. So the nervousness over that one went away and we were pleasing then. Then of course, then you get the same as every band. Can we follow that one? You know, that's the next worry, you know, because you get an album that was a really good album. I mean, it was probably, it rates up there with the best of Nazareth albums of all time. So, and that's not just coming from me. That's coming from the fans themselves, you know? Well, the comments that we were getting, it was a wee bit thing. How do we, can we follow this thing, you know? And I think we have, but it's again, but it's a different album again, you know? It's a different mood, I think that's one. Yeah, I think Carl Sundance, who is the current singer for those of the people out there who don't know, he's a current single. He was on the last album, like you mentioned. He's on this album. He's got a great voice. There's a more of a hard rock and metal feel, if you will, maybe perhaps on some of the songs, but it's always varied. Like all Nazareth albums, they're very varied. So I did enjoy that aspect of it. What do you say to, I mean, we're living in an age where, you know, the name of the band continues on and on and on. What do you say to the naysayers who's saying, are you guys still continuing? Dan's sort of retired. What do you say to the people who say, why are you continuing? I mean, what do you say to those people? Oh, basically, this is what I do. You're still an original member. I mean, that's the good news. Yeah, yeah, I mean, this is what, I mean, I get up in the morning and I love rock and roll. It's just what I do. I couldn't imagine, obviously, I couldn't imagine but tiring. And I mean, there's lots of other guys, the same as me. It was funny, you know, I get a lot of the, I get a lot of people saying things like, you know, how could you call it Nazareth? You know, because there's only one member. How I could call it Nazareth? I'll just go through a wee list of them, right? Status quo, that's just people with one member. So there's a lot of guys going to have to change their names here, right? So let's go with status quo, the Eagles, King Crimson, White Snake, Leonard Skynald, Uriah Heep, Slade, Sodom, Foruna, Foghawk, Boston, Yes, Starship, Blue Oyster Cull, Jeff Whittle, Black Oak, The Outlaw's Suite, The Animals, how can I go on Guns N' Roses? You have a whole list there in front of you. I might mention ACDC, you know, and if you want to get really tricky about it, Ian Pace is the only original member of the real deep bubble that started off. So, yeah, I can think we can call this Nazareth. I agree, I agree. After these other 40 bands change their name, I'll change the name for Nazareth as well. Your favorite, let's say, your favorite track or two off the new album? You know, I'm just getting used to this thing, Jimmy. You know what happens? You record an album, this definitely happens with us, you record an album and you hear the thing so much when you're recording, you know, and you're in this to go over and over and over. I mean, by the time you finish, you're sick listening to the tracks, you know, because they're just, oh, come on, you know, I kind of listen to this thing again. And then after a wee while, and this is just getting to that sort of stage with me now, it's been out long enough for me to actually be able to listen to it, you know, as a record, you know. So it was quite, I like, the one that hits me right away is Strange Days. I mean, I love the track, I think it is. It's a really good song, it was Lee wrote that one, and it's got a great noise, it's a great energy, and I'm very, I would say, if you were talking about a modern Nazareth, if we were, that would have been the one, you know, that I would have picked to represent it. But it was funny, I was listening, the other day there, somebody told me about this, they said, oh, you know, I was on iTunes and I saw all the tracks up there, and you know, you get like a minute and a bit of each track. It's a great way to go, it's a great way to go through the album I found, you know, because I was going on it and I thought, yeah, this is good, I could skip through the whole album in 10 minutes and then you can get a kind of feel for, oh yeah, I like that one, oh yeah, yeah, I like that one, you know, so other than Strange Days, I don't really have, and I wouldn't say favorite, that's the one that sort of smacks me, as it sort of stands out as a whole production, you know, but there's other tracks on there that sound nothing like that, but things like Sweet Kiss and Siggies and Booze, and things like that, they're just a wee, they're different, they're a wee bit more, they're really different, you know? So I like all them as well, I'm still at that stage with the album, that I'm still quite open minded. Yeah, yeah, you know, it's interesting, there's a huge, for the people out there who don't remember, I guess I'm old enough to remember, but there's a huge connection with Canada and Nazareth. To the point when I was growing, to the point when I was growing up when I first heard Nazareth as a little kid, I thought that you guys were Canadian, that's how much they played you on the radio. I know, and to this day, I mean, somebody was, there was another show that was done, I think it comes at a BC, and a lady got in touch with me, and it was all the Canadian greats, Canadian great bands, and then she was telling me, you know, so she was worried to do this show, and then I'll get in touch with you. So where are you? I mean, we're on Vancouver time, where you were like an hour ahead or something, I said, well, I'm in Scotland, you know, and oh, are you over there? What are you doing over there? I said, well, I'm here, this is where we're from. And she didn't know that Nazareth were not a Canadian band, and that, you know, so, and listen, you know, I don't mind, I don't mind, Canada took us to their hearts, you know, and it was a great thing, you know, what happened with you, and the same happened with, actually, it took us by surprise at the time because we didn't know that this can con, you know, this Canadian content, we didn't know about that, which by the way, I think is a wonderful idea, I think every country should do that to give their homegrown talent a push, a do. I think that's a great thing, but for us, it was a great bonus for us, because when we covered Ben, this fight tonight, Jory, as you know, was from Saskatoon, now, and when we did this fight tonight, when we came over, I mean, we'd already had, we already did pretty well in Canada, you know, there were albums before that, but this one, we were on tour, and this thing was on a bit twice another, and something like three times another, I said, by God, they like us here, and then somebody told us, they're gonna talk about this, you know, this Canadian content, I said, oh, right. So Pete, just so I could tell everybody, because not only Canadians watch a show with people in North America. Oh, right. So what we have in Canada, and we still have in place, I believe, I'm not sure, but what we used to have is sort of like a 20, 30%, everything on the radio had to have Canadian content, or meaning the composer publisher had to be Canadian. So in this case, this fight tonight, which was a Joni Mitchell song from Saskatchewan, like you said, because Nazareth is from the UK or Scotland, because it was written by Joni Mitchell, it qualified as Canadian content. So we used to, Crocus, for example, American women used to play on the radio all the time, Nazareth, because of Joni Mitchell used to play on the time, because so that's just to give everybody some background of why Nazareth broke so much in Canada, and it's a great song on top of it, right? Oh yeah, it was a great version of the song. I mean, it's so funny, after we found that out, we were running about looking for a Neil Young song to do, but we didn't do that. No, what happened with that is, I remember when the day we released it in Britain, we were over in Hollywood, Carl Fabernia, or A&M's studio, we were at the record company's headquarters there, and they did a studio there, and they said, oh, Joni's on recording right now. I think she was mixing Miles of Isles or something like that at the time. And we said, they said, go and say hello, so we went, all right, so we'll go and say hello, so we went and Joni said, would you like a cup of tea or something, that would be great. And we said, listen, we've released this flight tonight today, and she said, with a rock band? And it was like, yeah, yeah, it's great. So we played it there, and she thought it was wonderful, she couldn't believe it, you know, the racket that was going on. You know, how down it was. But it was funny because like a couple of years later, she came to tour in Britain, and she owned up in the Queen Elizabeth Halls in England in London, and she'd come on stage. She said, I'd like to start with a Nazareth song. So we thought that was quite nice. Well, as a kid growing up in Montreal, I thought, first of all, Nazareth was Canadian because you were on these compilations of Canadian albums, like a K-DAL kind of thing, because of Joni Mitchell with this flight tonight. And second of all, I forgot my train of thought there. But anyways, I thought you were Canadian growing up. We were recording... In the studio. Yes. We did three albums up there, and we did another album. We've done quite a lot of Canada, actually. We recorded an album up in Vancouver as well. We did a live album on the Pacific Coliseum in Vancouver. So we've got quite a history with Canada, actually, you know, and it's nice. Canada's been good to us, very good to us. And that's why we... Well, we still try to come and do a Canada tour every year. I mean, you can't do the whole place, obviously. It's huge, but, you know, but we do... We always come and get about 14 or 15 shows if we can, you know? In fact, we're coming over in August, hopefully. You know when I saw you live? I saw you... I saw Nazareth live when you guys opened up for Black Sabbath on the Born Again tour in Montreal. Oh! Why were you late? Like, to this day, it plagues me. So I went to see Nazareth open up for Black Sabbath on Born Again in Montreal, the Montreal Forum. And the show was delayed something like an hour and a half and nobody knew why. Do you remember? Well, that was that stupid... Do you remember that stupid stage set that they had to play Sabbath? I mean, that was their... You know, if anybody's seen Spinal Tak, that tap, that was what it was taking their piss out. I mean, that is incredible. They built that Stonehenge thing, and it took them about a day, two days to put that up. Before we couldn't get on stage, they still had joiners up there, banging up Stonehenge and doing this, that and that. We couldn't get... Our guys couldn't get in there to organize our equipment because of the amount of nonsense that was going on with Black Sabbath's wood crew. In fact, it was so funny because I think half of the crew got fired that night, and then they never used the set again in the whole tour. That was the first night in the tour. It was hilarious, and that's what happened. I mean, it was just complete mayhem, backstage, onstage. So in fact, at one point, at one point they were discussing that we weren't going to go on because it was going to take that long to get them on, but then they would have been complaints because we did sell a few tickets ourselves as well. But that's why you were waiting. You were waiting for them to build that stupid stage. How was that tour in general? I mean, I know Black Sabbath, I think in the States it was quite right, but Nazareth did the Canadian dates, I believe. Yeah, we did the four shows with them. I said, what happened is we were going to do a States tour, but that's what it was. We were going to do a States tour, and so we just did the four shows up in Canada. At the beginning, we did them first, and then we went to America to do the rest. And we were there for another six weeks, but the four shows we did, well, I mean, it was a bit of a, that first one was a bit of a carry on, to say the very least, but the gigs were okay. The gigs were okay. I couldn't, I must say, is I'd never, I mean, I've been out with somewhere. We're not that quiet ourselves, and I've been out with some loud bands, but I'd never, ever heard anything like that Black Sabbath thing. I couldn't believe it. We were, when they started up, we'd never seen Black Sabbath, you see, because we'd never went along to see them anywhere. And we were in the dressing, you know what that was like in Montreal, the venue? Well, we were in a dressing room, God knows how far away from the stage, underground, you know, away, away, away. And just, back to what I was saying, talking, you could feel this rumble started, you know, this sort of, you know, I thought it was an earthquake or something, it was a boom, and they said, I think that's Black Sabbath started, you know? So we went up, and I thought, my God, I'd never heard anything so loud in my life then. So I didn't, you know, I don't know what they were playing, they were that loud. Did you get along with the, look, if there's a connection with Deep Purple, and of course Nazareth with Gillian, right? Oh, I very well, very well, because you know, we always, we've always gotten well with you. In fact, when, before that, I was after that, when Ian got his own, you know, when Deep Purple, when he left Deep Purple and then, and he got the Gillian band together. Well, we took him out on tour with us, as our opening band, and it was, and we got on great, and we did a long tour, and Ian was with us, he's a really good band actually, but an excellent band. And I can't remember if that was after the Sabbath, I think it was before the Sabbath thing, I can't really remember. But then actually with the, well, we did the Sabbath thing. Oh, well, basically I can remember the four gigs we played, we were in the bar with Ian every night, so you know, that sounds like a good one. I remember when that tour was announced, there were probably just as many Nazareth fans going there than Black Sabbath fans. That was a good balance, but the thing is with the, you know, when you got a couple of bands like that going on, usually the people that would come to see those bands would like both those bands anyway, you know, normally it was, it's like when we'd play with Deep Purple, you knew, you know, if you like Deep Purple, there's a fair chance of going to like Nazareth, you know, and if you're, you know, it's not like you're playing with, you know, a folk band or something like that, you know, so there was a good mixture, I thought. And I think, I don't think Black Sabbath were at, that was kind of after the peak anyway, you know, they were, you know. So it was, you know, it wasn't like, you know, one of these, you know, it's not like going along and opening for the Stones, where everybody's going like, you go out and play, what's the point? No, no, they're waiting for, they're waiting for the university to come in, you're just getting in the way, you know. We can, as Dan used to say, they're sitting there going like, could you hurry up please, get off before I come off this high. What about the legacy of Nazareth, okay? We could talk about, oh my God, Axel Rose, you know, and, you know, they covered, Guns N' Roses covered Hair of a Dog on their spaghetti incident. And then what is it, you guys are asked to buy Axel to perform at his wedding? Is there any truth to that? Well, he talked to Dan, you know, it was Dan. No, I don't, it wasn't Nazareth as such. He would, like, dante of someone who went along to sing Love Hurts, because, well, he was getting married to an Everly Brothers, you know, daughter. But so, yeah, it was mentioned, like, that he would like Dan to do it, but we were touring it, just, we were touring it, just, it wasn't possible, you know, or he would have went, he would have been, Dan would have went along and sung, well, I think, I think the, I think possibly the song could have lasted a bit longer than the marriage, I don't know, what are you saying? Well, I mean, I mean, it's obvious Axel Rose was a, Dan was a huge influence on Axel. I mean, you could tell, right? Have you had contact with Axel or Guns N' Roses over the years? Yeah, yeah, well, I mean, in the early days, obviously, they used to come to see us, but before they were huge, they used to come to our gigs in California, and so we used to see a lot of them as younger guys. But the last thing we saw, Axel, we were actually recording in Prague a few years ago, we were doing an album, a Big Dogs album, and they came to town to Prague, and they got in touch with, we did, because they found out that we were recording there, you know, so Axel got in touch and said, oh, you've all got to come down, come down, blah, blah, blah. Sent the manager up to get us, and we went, we were in the studio, just outside of Prague, so we came down, and we saw that Guns N' Roses, it was a great band, by the way, I mean, it was only him from there, they were really, really good. When they eventually went on, I mean, it was, you were talking about us being an hour late in Montreal, I mean, Axel can be a day late, you know, so they went on about, I don't know, an hour or two late or something, but we weren't fussy because we were in the bar, so it was a good night, and that's the last thing we saw. But, you know, we don't, I mean, we don't write to each other or stuff like that, you know, just, you know, we run into them then again. I was also reading an interview with you, like way back, where Russia and Ukraine, were like your two big markets for Nazareth, you know, people, I guess, seem to love the band there, and then you look at the situation in Russia and Ukraine now, it's just, isn't it sort of despairing in a sense, right? Well, I should have been in Russia tonight, right? Yeah, yeah, we should have been in, we should have been in Novosibirsk last night, but now the night before, and I think it was Novosibirsk tonight in Siberia, I'm not sure, Tomsk, maybe it's Tomsk. Anyway, we had, and we should have done Moscow and Ufa in Yekaterinburg in February, we had to cancel that one because of the COVID thing. But this one, and then what we had here now, in March, we're going March and into April, was the 11 Russian dates and three Ukraine dates, and in Ukraine, we should have finished this tour in about a week's time in Kyiv, in Kharkiv, and in Zaporizhia. So that's Kyiv, you all know, Kharkiv, they're flattened, and Zaporizhia is where they've got the atomic power station that they're right to be. So that's where we should have been now. The Russia and Ukraine, well, I was going to say, are still a huge market for us. I don't know, as we speak, I don't think it is. I don't know if I'll be back to any of them, but it's funny. People are still making noises. I just had an email and came into the business email yesterday from this guy telling me how ashamed we should be of ourselves for not canceling the Russian tour, and it was going like, excuse me, but we canceled it. We said like, there's bands, there's European bands, bands all over the world have canceled and Nazareth haven't canceled. In fact, we were the first to cancel. We were the biggest to do that country. We were the most important band to do, but we were the first to cancel. But what happens is the promoters don't stop advertising it. So this is what happens. These guys see your name still getting advertised. They don't look at your website to see if you're advertising it. So you get accused of all sorts of stuff. I was a wee bit annoyed about that, because I mean we've got lots and lots of good friends in Russia and in Ukraine, you know? I mean, very good friends in both countries. And I'm talking to them both as we speak. I mean, I was talking to my mate in Moscow yesterday and we're talking to people in Kiev who are actually shouldering guns right now. And one of them was phoning. She was in touch from a bunker that she's been, well, they'll have been hiding and that's where they sleep, and they come out during the day. And these people are, you know, they're shouldering guns now. These people that were working with us as tour managers and interpreters and stuff. I mean, it's very, very sad, but it's doubly sad for us because it's threads of those doing it, you know? You know, it's very unfortunate and I wish, you know, all the people in Ukraine, you know, all the best and I hope, you know, everything works out and this ends on a lighter note. You know, you had the big ballads as Nazareth but then the band Helix from Canada covers Dream Eye. That's right, aye. That was actually, that was funny, that one, aye. That was good, that one, because, I mean, we played, you know, we know Helix, we know all the Canadian bands, you know, Street Heart, Manny produced them and all of them did the head pins and they're all friends of ours, you know? And I remember one night we, because Dream Eye was a massive hit for us in Europe. I mean, it was, we never released it in Canada or America that, but it was released in Europe and it was, if you go to Germany and you put on, you know, the daytime soaps, you know, the soaps, right? You'll hear Dream on at least half a dozen times in the afternoon on these things, you know? And it's a Nazareth thing. That was funny because we were playing a gig that was a good few years ago and up until then we never realised who, we knew somebody had covered it there but we couldn't remember who and our Helix would play with us at this gig and they were on before us and they came to the dressing room and said, is it okay if we play Dream on? And we went, ah, you know, knock yourself out, you know, what's, you know, and then somebody says to her, well, these guys are like a number one, we say, well, good on you, get out there and play it because we'd never played it. We'd never ever played it in Canada so what happened was the last, see what we used to play for the slow one, if you like, other than love hearts, we used to play Sunshine in Canada because that was the big, you know, walk down the aisle song, you know, and so that was our kind of slow one for the set whereas we would, in Europe when we were playing at that point of the set, we'd play Dream on, you know? So a couple of times we've been in Canada and we've played Dream on, you know, at a couple of concerts this then and people will think we're doing a cover first gig. So there you go, you know, I mean, strange enough when they released Dream on, I thought Helix actually wrote that song. Well, there you go, I see a lot of people thought we wrote love hearts, I wished I had. Just the same way I used to think love hurts when it first came out as a kid, it was your song. So I remember one time we did a thing and I think we did a thing in a website and tell them you should listen to Joni Mitchell, Joni Mitchell's version, you know, doing this like tonight and all these people are in and, you know, oh, that's just horrible. God, what has she done with your song? I was like, no, no, no, no, no, it's the only way around, you know, no, I think, I thought, I thought the Helix version was excellent, by the way. It's very, very good. It's a great record, it's a really great record. I guess what distinguished Nazareth to other bands who did covers, the difference between Nazareth, in my opinion, and you could comment on this, is you've managed to take a song from someone else and making your own, but making your own so much so that people believe it's actually your song. Yeah, and that's the way, and that's how you've got to be able to, if you're gonna do a cover, you've really got to treat, I mean, obviously, you're doing it because you're loved the song in the first place. So that means you love the record usually in the first place. But you have to kind of forget that and treat the record as if it's a demo, you know? The original record, then then say, what would we do with this? If somebody had come in just playing this on a piano or just from a guitar, you know? And then you can do and make it yours and track and make it yours. I'll give you an example of something that doesn't work. We've tried other things. We've done other covers. I don't know if they were that great, but we've done other covers. We've tried them. And unless you can really change it that much, you wouldn't look at we, there's a band called Over Here, the move they were called, right? And they were huge, huge over here. And they did a song called Tiger Women, the Wild Tiger Women. And it was a great, great record. And we used to play it when it came out, you know, a way back in the 60s. And we were up in the studio one day, actually, and we were messing about with, you know, doing stuff and work. And I think it was when we did the playing the game up and we said, Tiger Women, that was a great one. Why don't we have that? Give or go with that. That would be great. So we went in and we played it. And we played it great. We did a good job at it. We played it great. And we sung it and everything. And then we played it back. And we thought, that's just the same as the move. I mean, it was just another version of the move. I mean, it was just the same. So completely worthless. It's worthless, you know, to us as an exercise. We had failed in making that song into something else, you know. So I think, as you used to say, you've got to get put, to make it not sound like a cover, really. You know, to make it sound as if it was yours. And of course, we're joining. I mean, it's obviously, it's easier to do that because you sit playing it on an acoustic guitar and it's, you know, obviously, as soon as you add bass, drums and electric guitars, it's gonna sound different anyway. That's not just the sound of the thing. It's their approach to it. It's getting the arrangement and the way to do it. You know, the way to do the song. And if you do that, I mean, I think that's the secret, I feel like, if there's any such thing, that's the secret of ours. Any fond memories at the studio? You didn't, you know, you did a few albums there, but it's the north of Montreal, so everybody knows. It's, it's... Millions. You've polished it now. I know, I know, I know, I know. Millions, millions. We used to, we used to, we did three albums up there. We did one in the spring, I think it was, and then we did one in the autumn and then we did one in the winter. And that was it. That was it when we went up there. There was a guy who had a tow truck company just down the road from us. And I think when we left, he retired and went and bought an island in the Bahamas or something, you know, where they made a money that he'd got a Nazareth or a corner or a car, or a snowdrift or something. So we used to, it was great. It was a great studio, and it was really handy for nipping down to Montreal if you had a night off. We used to zip down there, down to Thursdays now and again and have a yahoo. But the studio was, it was so different, you know, from, I mean, there was a lot of these studios that were, and we used to do the living studios, as we call them, out in the countryside. There was nothing quite like that place I mean, you have to see it, you have to be there to just realize just how beautiful the surroundings never were. And it was a great place to record. Just generally, it was like, well, we went there. It says, well, we did three albums there. What does that tell you? Well, I go by there as a pilgrimage because I'm not too far away. And I just go, and for people who don't know, you have to go down this little sort of country, little road, it's like in the forest. And that's how you get there. And it's a small town. We got stuck there. We were in Moran Heights, where we were in there. We had a little house there. And we used to go down into Moran Heights to eat and things. But the amount of times, and when it got to that winter, the amount of times that we get stuck up there, sleeping on the couches and on the floor of the studio, we're getting snowed in. Because it used to come to, you know, you would be in working on a track. And it started snowing. You never really notice it that far, you know, at first. And then the guys would go, oh, it's starting snowing. And we would think of that. I said, no, we come from Scotland, we get snow. But we don't get snow. We don't, we get, we get out. Canadians would laugh at what we call snow, right? You know, we used to say there, the guys go, right guys, it started to snow. And then they go, it's getting big snow now. You know, and it's time to run away because if you don't get out of the place and get back to the house or wherever you're going, you're there for the night, you know. Well, keep in mind, so Montreal has a metropolis, right? It's three million people, greater Montreal. But when you go, it's north, more nights is north of Montreal. So there's always on the countryside, the weather's more extreme, right? Oh, I, oh, I. So Montreal gets a lot of snow. But when you go up to the mountains, it gets a lot more snow. So yes. We had so many friends in Montreal back in the 70s, you know, like when we used to get, when we were touring, when we were touring in America, not even in a Canada tour or a Canadian tour. If we were touring in America, and we got a couple of days off, we used to fly up to Montreal from wherever we were down in the States. And we'd fly up, have a couple of days off up there and then fly back down to, and I'm not just saying that. I mean this, we did used to do that, right? Yeah. And did you, were you friends with Miles Goodwin in April Wine? Oh, I, Miles is, Miles is a good friend. Then the last time, actually the last time I saw Miles, just a couple of years ago, we were playing on, you know, they do this, these boat cruise things, you know, there's one goes from Florida. And we were on that one just, just before the, the year before the lock up, the lockdown thing there and April Wine were on that. So it was great. Got to hang out with Miles and, you know, chew the fat for a bit and remember, remember, remember. I mean, the thing is, they used to, that April Wine, again, they did a long tour with us. We did a, we did a coast-to-coast job up in Canada and April Wine were with us. And there was a few wild nights in there. I mean, we were a bit crazier in those days. And Miles was dead. Brian Greenway too? Were you friends with Brian? Again, Brian, that's all. I said, these are, Miles and Brian are the guys that have always, always been friends. And of course, Jerry. Jerry was the drummer. Jerry, I saw Jerry, he come over to Scotland, they're just to be where they go. A couple of years ago, Jerry was, well, Jerry was one of your favorite drummers. He's a phenomenal drummer. He's moved to Kingston now, I believe. I think he's staying, he moved to Kingston Ontario a few years ago there. Maybe. Still here. But he was, he was a great drummer and a great character. They were a great band, a great band too. Oh yeah. As you see, I had a lot of drunken nights with those boys. Any last sort of words on the new album, which is coming out April 15th on Frontiers? Any last comments? And I say, I think, nice of the fans. People who have been sort of nice of the fans are gonna love it. I just, I can tell them that they're gonna love it. It's gonna be, and if, and if you're not a Nazareth fan, well, you probably won't buy it anyway. But I mean, check it out because I think it's a, it's got something to say. You know, it's definitely got something to say. It's, it's, it's very relevant and it's a, and there's a lot of it's, it's a, that's, that's today. It's very today. All right. I enjoyed it. I enjoyed it very much. And it's, it's just like all Nazareth albums. It's got a little bit of everything, you know? So. And that's the cool thing about it. Except for cover. There's no covers on it. Like I was expecting a cover, but. No, but we haven't, we haven't done covers for a long, long time. You know, it's been a, it's a long, many years now since we, since we came away. I mean, it's a long, long time since we did a cover. I mean, if we, we don't, we don't avoid them. But if we, if we, if the summit came up, then we would definitely go for it. But you see, the thing is now, we've got four guys that write songs, we've got four, four songwriters. And the songs of it, I mean, the guys are all very good. What they do, you know? So, you know, by the time we get through the stuff that I've done, I mean, you know, do I'm Jimmy with this one? There's about, there's a good 10 songs that aren't on it. Could easily have been on it, you know? I mean, they're good enough to be on it, but they're just, you know, space, you know? Time, you just didn't, didn't have it. And the, the shame about that kind of thing is, if a thing doesn't go on the up, well, mind you, Carl or Singer and Jimmy or guitar player both put out a solo album just before, you know, just, just before we were, well, they were doing it while we recorded that one. So a lot of the material we used in there as well, you know, that they'd written. But generally, if you don't, you know, if the songs that you write don't make it onto that album, people always say, oh, well, you can put it onto the next one. It never happens. Just very rarely happens, you know? Because by the time you get to the next one, you've written new stuff, you know, that you like better than there. And that's, that's probably a good thing. So, you know, you know what you're getting fresh. Yes, yes. And on that note, thank you so much, Pete, for being on this show. It's been a pleasure. After all these years, I finally got to speak to you from Nazareth, pick up the new album. It's going to release once again, April 15th, Surviving the Law. And hopefully there's many more years to come and many more tours. Thanks Jimmy. Thanks very much. It's been a pleasure talking to you, pal.