 The Falcon has landed. Richie Faulkner. Lads, it's a pleasure and honor as always. How are you doing? Great. Richie, you know the last time we interviewed you, you had a UFO shirt on dedication, so I went and got my 70s dedication for you. Fantastic. Fantastic. Love Thin Lizzy. Love the guys in the band. If the boys want to fight, you better let them. Oh yeah. And somewhere in your house there is a metal voice shirt. There's somewhere in your house there's a metal voice shirt. There is. I had to run to do this interview today. I forgot the time and I forgot to put the shirt on. Actually, I wear it every day. I wear the metal voice shirt every day and it was just today. I put it in the laundry and that's why I haven't got it on. Every other day I've got it on, I promise. Okay. How about this? Send us a picture. Send us a picture with the shirt. If that's cool. How's that? I'll do that. I'll do that. Like an endorsement. Like an endorsement. Of course. Love it. Thank you. Great news. Elegant Weapons, debut album Horns for a Halo will be released on May 26 on Nuclear Blast Records featuring the Falcon, Richie Faulkner. Of course, we have Scott Travis on drums on the recording, right? Rex Brown from Pantera on bass. And who am I leaving out? Of course, Ronnie Romero on vocals. Richie, it's a very cool album. I know you got lots of questions, Alan. Oh, look, every year Richie, you know, I try to plan our year-end best of. This is the album for me. Everybody has asked to measure up to for 2023. That's very nice of you to say, man. I'm very grateful for that. And I'm also grateful for the guys on the record. Under the circumstances that it happened during COVID, I got the songs together and asked Rex and Scott if they would do it. I didn't think Rex would do it, to be honest. He's a friend of mine, first and foremost. I asked him and he said, yes. So I mean, I'm incredibly grateful, incredibly fortunate. And obviously, Ronnie Romero, I mean, Ronnie's, I mean, I think one of the greatest new vocalists of our age, you know, so to get him on, he's got that classic tone, that classic soul, you know, but he's a modern singer. And it was just, he was the icing on the cake really. I mean, you know, I got the track listing, I've been listening to it nonstop. And then I got the promo information, you know, and everything that you say in the promo, your interview in the promo information is everything I came away from listening to this album. So hats off to you. All the boxes are checked. You hit the nail on the head. Everything you tried to achieve on this, I think you succeeded because my first notes are it has that 70s kind of rainbow, kind of meets more 80s metal feel. And then I read your promo, that's exactly what you were kind of describing in the promo. Yeah, I think I said in there as well, it's always difficult to describe your own stuff without sounding pretentious. It's really hard. And also it's down to other people to describe it really. And everyone might have their own interpretation. And I can just say what went into it from my point of view, as you said, the 70s, the 80s, some 90s as well. There's some obvious, I can hear from my point of view, it's obvious where those influences come from. So why not be proud of them? You know, there they are. It's no secret. It's never been any secret who my influences are. And you just got to be yourself. And that's the music that came out. And it's true and pure and organic. And that's all you can do really. Organic is a good word. The word that came to my mind is a fluidity. There's a fluidity between the songs. And it's just got a vibe to it. I really appreciate that, man. Again, you can only, even with priests, you know, like, with any music you create, you can only put down what's coming out to the best of your ability and, you know, make it sound as good and play it as good and all those things. And then it's, you let it go into the world and let the world decide. So I appreciate that, man. Let the sharks take control after that, right? And see what happens. I've never heard that expression before, but that's a really good one. I just made it up. The sharks take control. Made it up. Okay. On the album, you have Scott Travis and Rex Brown. They're actually playing on the album, correct? Yes, absolutely. However, in the live situation, you're going to Uri Heaps, Dave Reimer, right? Rimmer or Reimer? And Christopher Williams. And Christopher Williams, the accept. So what, why the change there? Well, obviously, Rex is in this band called Pantera, and I think they're going to do quite well, you know. I don't know, I've just got a good feeling about it. So, Rex is obviously doing that. And we always knew that, you know, the Pantera thing, at some point we knew that that was going to happen, you know, and obviously that's a massive thing for Rex and makes it massive thing for us all really to have Pantera back on the road. Scott Travis was unable to do live dates, and, you know, I was just again fortunate enough to have him on the record. So when I was looking for, you know, the band to actually be the band and tour and play dates, obviously Ronnie was on board. Dave Reimer is a very good friend of mine. I was his best man at his wedding, and we've known each other for over 20 years. We used to play all the gigs we could in London and England. We used to tour around playing covers, you know, anything from Deep Purple to Van Morrison to Jeff Beck to the Stones to, I mean, you name it, Priest, Maiden, Purple, anything, you know, we've played it all for five days a week for, you know, 20 years, whatever it was. So we're very close personally and musically as well, you know. So when I was looking for a tour and a bass player and a bass player to be in Elegant Weapons, Davey was the only choice really. And Christopher, Christopher obviously is an accept and Christopher actually played on the early demos of the horns for a halo record. Scott was unavailable and I wanted to get the process moving. So I called up Christopher and I asked him, can you come and play these songs, you know, so we can start putting the tracks together and then Scott can come in later and work his magic. So and so when it came to again, putting the band together and, you know, going on tour and doing these dates, Christopher was the only choice really. He knew the songs already. He was already in the family, so to speak. He's a great guy, fantastic drummer. And again, there was really no one else. And just a follow up, if you were to record a new album, would it be with Scott Travis? Or would it be sort of like the original sort of studio guys? Or would it be with Christopher? You know, which lineup would you choose? How's that? Well, we've actually already started recording drums for the next record with Christopher. Oh, okay. Okay. You know, because I mean, obviously, as the band grows, you know, we've done a couple of things. You know, we've been doing some video shoots, we've got into rehearsals to do the for the live shows. And that becomes, you know, that becomes the band. Obviously, I've always promised Scott really that I'll do something with him after Priest. And it was fantastic to get him on a record. If he's unable to tour, then that's great. I just thank him for his service, if you know what I mean. And like, you know, and Christopher's the guy. Davey's the guy. I don't see why not. You know, that's the band we're firing on all cylinders. And we really gel as a band, as a unit with Ronnie as well. So we're going to push on like that. So if we could just touch base about Ronnie, how did Ronnie come into this process? I called him up. I called him up one day and I said, you know, this is the situation. We're looking for a singer. He was like the only guy that came to mind. It was when it hit me. I was actually talking to Damon Johnson, who is now in Lina Skinner. And I was talking to, there you go, and then Lizzie. Yeah, exactly. I was talking to Damon and I was thinking, you know, what singer can I approach? And he mentioned the rainbow thing with Richie Blackmore and Ronnie. And I said, and the light bulb went off. It was like, that's it. It's perfect. So I called Ronnie and I know Ronnie's busy, you know, and I said to him, I know you're busy. I've put this thing going on. I'm looking for a singer. And I explained to him, you know, why I was putting it together and the philosophy behind it, you know, which is, you know, I'm in Judas Priest and Judas Priest has been around for 50 years, but that, you know, where they are in their career, I want to put something together that's going to carry on when they decide to call it a day. It's always been made clear to me really, since I joined the band, Glenn told me, you know, we're not going to be around for another 20 years. So that's always been in my mind, you know, so when I spoke to Ronnie about it, he understood totally, you know, he plays with Schenker, he plays with Blackmore and he said the same thing, these guys aren't going to be around forever. And it's almost like we feel like we've been given the torch by these guys to hopefully take that style of music on into the future. So he understood where I was coming from. He was the perfect guy. And it went from there really. And I sent him the tracks. He loved the tracks. And he sung them within about a week. I think it was about three sessions he did it in within about a week. They were done. So so yeah, he's great. He's sent it. I can't say enough good things about Ronnie. Yeah, I mean, that's what I was thinking. I'm glad to hear you're already recording for the second album, because with your schedule and Ronnie or like Ronnie's played with, I can't even list all the band he's played with. I said, this could only be a one-off because of schedule. So this is fantastic news to hear that might be even a second one in the work. So it was a priority really to be a band that plays live, has live dates, does more albums. I didn't want it to be a one and done deal. You know, and you're right, we've all got busy schedules. But you know, that's that's part of the reason why we started working on the record so that, you know, even though everyone might have something else going on, we've already started it. We've got it, you know, we've got the momentum going, if you know what I mean. So yeah, that's why we're doing it. It's a priority to be a band that evolves and grows. And it's interesting to see what our journey takes us. And just one last question about Ronnie, like, I mean, you know, when he's played with Gard Hart, he sounds a little like Steve Lee and like Rainbow, he sounds a little DOS. I mean, is this his real voice on this album as far as you're concerned? I think there's parts of this that brings out parts in his voice that are his own, you know, I think Ronnie's great at, you know, when he was on the Dio stuff, Rainbow stuff, it was easy to make a Dio comparison, because obviously, Dio I think is an influence of his, but also the songs where we used to hear in those songs with Dio on it, for example, with this, their original song. So a bit more, I think there's a bit more of Ronnie does come out. Yeah, for sure. And again, you can hear that in me as well. I mean, there's no mistaking, you know, if I play guitar, you can hear Zach Wilde or Michael Schenker, there's no mistaking it. And I don't think it's something that we shouldn't be proud of. I think it's who we are. That's where that legacy comes from. So be proud of it, you know, In one line, before we get into the songs, we'll cover a couple of songs. In one line, how would you describe this album in one sentence, the musical, how would you describe the music of this album in one sentence? For the people who never heard it, right? That's a hard one. That's probably the hardest question I've been asked. I mean, as I said earlier on, it's really hard to describe your own music. I've never, I've not heard the album, and you want to tell me about it. What would you say? Oh, dude, I can't answer that. I'd have to say you'd have to listen to the part of this is to, you know, give the listener the record and have them make their own opinion about it. You know, what do they hear? Where does it take them? It's a record that comes from all of our influences, but hopefully has its own flavor as well. You know, I can't sum that up in one sentence, man. You just did. You just did. You just did. That was a man of a wrong sentence then. No, you said it's an album that has all of our influences, but and what was the last part? I forgot. You said it was an album that has all our influences, but has something sort of like a new direction or some sort, you said. See, I don't even know what I said. No, we'll have to look back at what you said. We'll have to like. I'll answer. I'll give you my takeaway. It's like you said, it's got all your influences, but it's modern at the same time. It's it's really hard to describe and it's got a certain vibe that is throughout and your guitar playing. I love the way you've got the rhythm guitar playing, but you've got these leads that overlap that that is like just amazing. You know, the dive bombs at the guitar in certain places and and overall the guitar work and even the drums like Scott Travis is really unbelievable on this album. I appreciate it. Again, I think you're right. I think if I had to sum it up, it's an album that takes from the past and fully, you know, moves on into the future, taking those influences into a new generation. I like that. I like that. How about that? Yeah, I like that. That works. I like that. All right, let's go into a couple of songs, like just sort of you tell us your thoughts on the songs and the songs that I'll throw out one that I enjoyed and now and could throw out one you enjoyed and you could tell us what you thought about that song or what does it mean and or how you put it together. To me, the blind leading the blind is a to me, the power melodic song that sounds kind of like in the vein of scorpions, maybe perhaps and even the solo. I think I even hear like Matias jabs there. It just I don't know. Maybe I'm right or wrong about that. See, this is what I mean. This is the beauty of it. You know, I was never conscious of it sounding like the scorpions until the internet started telling me, you know, it's one of those unconscious things and it really wasn't. I mean, if there's any Matias jabs, it's all because it's in that melt. It's in kind of the DNA, you know, the scorpions, the Michael Schenker, the, you know, things like Metallica or Sabbath or, you know, stuff like that. It's all unconscious. It's stuff that I like as a guitar player and a musician and stuff that I want to play in here. And then you get you get that impression as well. It's it's that's the beautiful thing. I think to me, I can hear children of the grave, you know, that kind of that sort of gallopy stuff I can hear this is in there. I think it was one of the first songs that I actually completed as a track, you know, for the record. And I thought it's a straightforward rocker. It's easy to digest and just announce to the world that this is a new album, a new band and a new track. So it was perfect ready to release first. You know, just to add to that, Richie, you know, of course, Judas Priest, like you said, celebrating 50 years, they've got their own metal god style. It is what it is. So how did you go into this album kind of unstrained without any prior history that you kind of have to respect? What was your thought process leading into this album? What did you want to achieve? I wanted to achieve something that was different, you know, that stood on its own two legs. If it didn't do that, if it was more priest stuff, then there'd be no point. You know, it would that would go towards the, you know, some priest material. And they've allowed me to do that for the last, you know, more than 10 years. They've allowed me to be part of the writing team. We've made two priest records, you know, we almost finished the third one. There's no point in making a band outside of priest that sounds like priest. I wanted it to sound, I didn't know what, but I wanted it to sound like its own thing. And I think it does. And that's one of the reasons that I pursued it in the beginning, because it was it was taking on its own life and its own character. And I thought this is something that I could pursue. You know, there's more bluesy elements in there, which are more akin to, you know, earlier priests, maybe, you know, that progressive blue stuff. But I just think it added its own character and something that I could stand behind as my own band and take that forward into the future. Well, well, hats off again, because Jimmy even mentioned earlier, listen to all the songs, we're coming over all these influences, but Judas Priest is not one of them. Oh, it's definitely in there. It's definitely in there. And again, it's the way it's perceived by the listener, really. But that's definitely in there. There's some more metal elements, and then there's some more bluesy elements. But there's definitely some metal elements in there. But I don't think it's a heavy metal record. I think it's more of a heavy rock record, if you know, that makes sense. Yeah. All right, let's go. Sorry. Well, just I had a ghost of you, which you got, like you said, that bluesy 70s feel. For some reason, Ronnie James Dio comes to mind for very early Rainbow albums. You're howling at the moon on that track. And I think that's one of the stronger tracks for myself on the album. So I appreciate that, man. For me, I like to hear things that reference things that I know, but don't copy them and do their own thing. And it's hard to do because obviously you're reaching out to a lot of listeners. So you've got to do it for yourself, really. So when I put down a song, I can hear where it comes from, but I can also hear where it can go with someone else when someone else listens to it. Horns for a Halo. Now, this one, I was kind of thinking, what does this remind me of? And I'm just saying what it reminds me of just as a point of reference. I don't mean it sounds like that. It reminds me of Dehumanizer from Black Sabbath, especially the midsection. You know, it's more complicated than most songs. I kind of dig it because I'm a huge Dehumanizer fan. And maybe it even falls between somewhere between Dio and Tony Martin era Black Sabbath. I don't know if that's, did you get that from anybody else? I got it from myself. I remember the working title for that. I remember putting that riff down, you know, the opening riff. And the working title for that riff was I owe me. Because it was just, again, there's no point in hiding that stuff. That's where it came from from me. I don't sit there and think, oh, let's come up with an I owe me riff. I'm sitting down and riffs come out. And they obviously bring out those influence from me naturally. And it was obvious that that's the part of me that likes Black Sabbath and Tony I owe me. That's what was coming out in my guitar, you know. So why would I shy away from that influence? You know, Tony is a massive influence. Sabbath, massive Aussie as well, knows guitar players. So, yeah, the working title was I owe me. Because that's exactly what you get from it. Sabbath, some Alice in Chains, some Dio, you know. So, yeah, you're absolutely right. You hit the nail on the head there. What about the, explain a little bit about the detuning and your Marshall Plexi amp that you used on this album? The Plexi has been a massive part of this whole process. We were just out yesterday. We've done a couple of live sessions. And the guys that were recording the live session were freaking out about the amp. Love the amp. It's a big noisy beast and it smells and it vibrates. And it's fantastic, but it sounds incredible. And it's a classic amplifier that we all know sonically. When we listen to, there's so many albums that we've listened to over the years, you know, from Malmsteen to George Lynch to Priest to Maiden. There's a characteristic of the Plexi, which is just unmistakable. But it's a classic amp, you know. So the down tuning was almost like a counterbalance to that. It was a bit more of a modern approach that we don't do in Priest. I think Priest, we come down half a step live. And I think on some of the songs on Firepower, we came down half a step. But to go down, I think they might have done it on Juggulator and Demolition as well. They detuned. But, you know, so it was a juxtaposition really of the classic Plexi with a more modern tuning to maybe create something different. And the Plexi is just, it was funny yesterday. There was, as I said, there was a live session. And the guys in the studio, I looked through the studio glass and they were all gathered around this amp. It was like a piece of alien technology had come down from the heavens and it landed. And they were, they were so excited by it. It's one of those amps, you know, and because of the history that it has. So again, taking from the, you know, the legacy of the past and hopefully pushing it forward into the future. Look, I know there was mention of Judas Priest with a new album in 2024. Is this the gap to sort of for 2023 to fill in that gap before the new Priest album? And I guess more touring. What's the plan for Judas Priest in 2024 then? How's that? Yeah, I mean, we're almost finished the record. I was out with Rob a few weeks ago and Andy Sneep putting some vocals down. I mean, Rob's been vocal, no pun intended about, you know, him being the only one. We're waiting for him now, you know, to put his vocals down and we're getting. So I think we're looking for, you know, next year sometime to get that record out. And with a record comes a tour cycle normally. So, so yeah, this is a gap. This came at the perfect time, really, to release a new record, a new statement from me and the band, do some live dates. And, you know, as I said before, you know, Priest are at that stage in their career. So let's get this. Slowing down. Yeah, I think so. And the icons and legends and I mean, when I joined the band, it was the farewell tour. You know, it was the epitaph farewell tour. And that was like 13 years ago now. So like maybe we'll be having the same conversation in another 13 years. I don't know. But, you know, one day, you know, one day the priest will retire and hopefully, you know, weapons have done the groundwork and put some stuff out. And people are familiar with with elegant weapons as well. So we can continue. And again, I keep saying continue in the legacy. But that's we said earlier about, you know, writing songs that don't carry the responsibility of the history of writing like writing in Priest. But it kind of does anything I do. Everything I do rightly or wrongly feels like I'm responsible. I carry that name as well now forever. So whatever I do has to be representative of Judas Priest and what they stand for and what they stand for. So all of us and myself, which is do what you do to the best of your ability. Don't back down. If you think you're right and you're doing the right thing, doesn't matter what anyone tells you, you know, all that sort of stuff. Do it. And I'm carrying that, you know, duty forward. So it kind of, it's always there and it always will. It's always a part of me. And I think that's a good thing. It raises the bar, you know, would priests be proud of this? And if they wouldn't be, then I wouldn't do it, you know. And so, yeah, that's what it is, right? I guess that's how you judge it. You say with priests, when I, when you listen back, you go with Priest. Is this priest approved? Right. Exactly. Yeah, would it, would it be, would it be approved by Priest? Yeah. Yeah. So that's a good benchmark to have. Yeah. Yeah. I mean, in terms of Priest, can you give anybody all the huge fans of yours and Priest, any sort of idea of what it's kind of shaping up like the album or the songs complete, or maybe you're just starting at the writing stage? I can give you, if I can try anyway, I mean, they are almost complete. The songs, the songs have been around for a little while now. We didn't have the ability to get together and record them because of the COVID pandemic, you know. And when that lifted, we then got out on the road. So then we had to record the stuff around being on the road. But we did it. So we'd do a tour leg, then I'd come back and do the guitars. And then we'd done the drums and then went back out on the road. You know, and we've done things around the touring cycle. Now Rob's doing the vocals. So they're almost finished. And I've said this before and, you know, the internet, you know, the sharks, as you said, the sharks got out of it. You know, you say anything these days with sharks. I love the little hand signal as well. That's great, man. But I would definitely say, and Rob said it as well. I said the word progressive and the internet tore me apart. You know, but they haven't heard it. They, you know, when I say progressive, I say it's a little bit instead of, let's say, verse, chorus, verse, chorus, solo, chorus, finish. It might do verse, musical part, musical section, bridge, chorus, musical section, back into the verse. It's a bit more, it goes off, you know, it doesn't stay on the, on the, on the path. Sometimes it goes off and plays little, you know, like old seventies priests used to, where like the sinner and stuff like that used to go on a bit more of a musical journey, which I think is great. It's, it's, it's interesting, you know, and so that's what I can say. I've said it before. It's a little bit more progressive, a little bit more musically, not experimental, but it's got a few more riffs in there. More intricate, more interesting, more intricacies, there's more solos, there's more riffs, which, you know, I don't think that's a bad thing as a guitar player. And you saved all the acoustic guitar for the Judas Priest albums instead of elegant weapons, right? Do you know, I don't think there's, we haven't chosen the tracks for the priest record yet, if you know what I mean. We haven't chosen, chosen the final album, but I don't think there's a completely acoustic or ballad-y song on there. Even if we chose every song that we've written, there's a bit more, there's maybe one slower song on there, but I wouldn't call it a ballad or an acoustic, so there's no acoustic guitars on there. So it's a, it's a heavy metal record, you know. Now it just teases you because on this, on elegant weapons, you're saying there's straightforward too, which there's no acoustic guitar, so. That was on the promo sheet. I'm not a fan. That was a promo sheet, right? The promo sheet said there's no acoustic or something. No acoustics allowed. I don't, you know, I love the sound of an acoustic guitar when someone else is playing it, but I'm not, I'm not drawn to it as a, as a player, you know. This was, as I said, it was the Marshall Plexi. I played, I've got a signature flying V coming out this year, and I played that on everything. It's one guitar on the whole thing, you know, it's one guitar and one amp. I'm not really drawn to the acoustic, but maybe on the next record, maybe it'll be, you know, an acoustic, elegant weapons record. I don't know, but for the moment, it's, it's heavy guitar, you know. When you're playing live, but hold on, Alan, when you're playing live, it just, this came to me. Are you going to have two guitars? Are you going to bring in someone else or it's just going to be a four piece? Sorry, Alan. It's just, it's just going to be a four piece at the moment. We're all excited by the fact that it's, there's retro elements in there, Alan. You said earlier about the seventies influence. That's, that's definite, you know, and I think it worked when we played live together. When we play as a band, as a free piece in a singer, it's definitely got that vibe. It can move around a bit. There's a bit of space when the solos are playing. So at the moment, I think it should stay like that. It definitely lends itself to that kind of experience as a four piece. And being a huge UFO fan that you are, you know, with your cover of Lights Out, you get to release your inner Michael Shanker and, you know, the whole guitar playing, like you said, including using a flying V. The only thing I would have to say is, man, I would love to hear Ronnie and you play Love to Love as a cover. That would, that would have been very interesting as well. I mean, what a brilliant song that is. I mean, we're not writing off, we love, again, right? Keep going back to these, the legacy, you know, these, where this band comes from, we have massive fans. We were playing yesterday, as I said, we did a couple of live sessions and we started playing Queen and Alice Cooper and all that sort of stuff. So we're not against cover songs, you know, you know, so maybe Love to Love might show up on a future album. What a fantastic song. And Ronnie does those songs justice and, you know, beautiful guitar playing and why not do something like that in the future? I guess on a final note, your Hall of Fame experience, when you were at the Metal Hall of Fame, that's the Hall of Fame, Rock and Roll Hall of Fame, what was that experience like? And I think we asked Les, right, Alan? I think we asked Les about that too. Yeah, Les was there too, yeah, we interviewed Les. I think we asked Les about that too. Did we talk to you like a year ago before this happened or after that? I don't remember. But I mean, how was that experience like, oh, Rock and Roll Hall of Fame? It was surreal, really, you know. To see, I mean, I was a bit, I'll say I was a bit against it. I think my opinion has been shared. We did talk about it and, you know, I shared my opinion. And so I was a bit against it. It's not very Rock and Roll, but, you know, as far as I'm concerned, but when I got there and you see who's there and it's like, holy cow, that's Lionel Richie or that's Pat Benatar, you know, that's the edge. He's there. You know, that's Annie Lennox and Dave Stewart. They're right there, they're like four feet away from you. You can't help but be like, wow, that's pretty amazing stuff. You know, whatever music, you know, Duran Duran, Simon Le Bonnet, you know, I'm a big fan of that stuff anyway, but even if you don't like that type of music, you can't deny you're in the presence of some legends. You know, it was an amazing thing. And obviously KK was there. It was great to meet KK. I'd never met KK before. You know, he was a proper gentleman. It was great to meet him. I know the band, you know, I've got a history with him and I have by default, but there's no problem with me and him. You know, I haven't got a problem with him. He hasn't got a problem with me. So it was great to see him and Les. I've got a relationship with Les. We used to play covers and stuff together in England. But it was great to meet KK and play with KK and be part of and be allowed to be part of their induction, be part of the band that, you know, it was important for the band to represent Judas Priest in 2022, which when it was, but also include the members that were on ballot, you know. So that's why I was up there. I didn't have to be. I actually offered to get off, you know, and not be a part of it and let those guys do it. But they were adamant they wanted me up there to represent the band. No, it was right you were there. It was right you were there, I think. I appreciate that. But it was the old guard and the new guard. You know what I mean? It's it's together. You know, I think that's family, you know. And playing with Ken, it was great. If I ever get the chance again, who knows? But I got the chance to be part of the triple attacks, attacks, attacks, attack team with Judas Priest. So it was an honor and a pleasure. Love it. Alan, you got anything else? Yeah, just across my heart and hope to die. I really got to say that the favorite solo on the album is on bitter pill. So. Ah, brilliant, man. Thank you. Thank you very much. And speaking of other legends, you did mention George Lynch earlier. You know, he just came out with sweet and lynch. Is there going to be a maybe a lynch? Faulkner down there down the road. A few names are lynching Falcons or Falcon mob or Falcons end. There's maybe some some titles you can use. Falcon mob. I like I like Falcon mob. That's cool. I don't know, man. You know, again, you never know what the future holds. George is George is a blast. I love George. You know, I was I was never a huge docking or lynch mob fan. You know, I wasn't really privy to that sort of stuff. But I was always a huge George Lynch fan, you know, as a guitar player. And now, you know, he's almost my father-in-law and he's a lovely guy, as you guys both know. So who knows? Again, I keep saying who knows what the future holds. It's an exciting thing about this band. Like, where are we going to go? You know, are we going to get a guest musician in? Are we going to do covers that, you know, we want to play? Who knows? Let's see what the future holds and, you know, it's an exciting time. Well, I'm really happy to hear that Elegant Weapons is your first solid footstep into the future, planning for your future. For me, 10 out of 10. This is the album that everybody else has to measure up, like I said, in 2023. Congratulations. It just shows all your influences. And it's something quite unique in the sound, the feel, the vibe. You've been able to merge the past with the future. And it's just a five-star album as far as I'm concerned. Oh, look at this. Alan's just, oh, look at that. Thank you very much, Alan. Richie, look at that. The highest review I've had tonight. Thank you very much. He summed it up in four sentences. Alan summed it up in four sentences. What did he say? What he just said. What he just said. I'm just trying to say he summarized the whole album. Oh, I see. I see what you're saying. Yeah. So, Alan, if Jimmy ever asks me again to sum it up, I'm going to give you a call. Yeah, yeah, just give him my number. Yeah. Elegant weapons, horns for a halo. On May 26, nuclear blast records. I'm assuming you could pre-order it now, correct? That is correct. Yeah, there's vinyl options. There's the original version, but there's vinyl options as well. So, yes, it's ready for pre-order now. Okay. And on that note, Richie, it's been a pleasure. Todd LaTorre says hi. So, hi from Todd LaTorre. He says hi. Ah, Todd, beautiful. I hope he's feeling better. Yeah, he was zero a couple of days ago, wasn't he? Yeah, he's feeling better now. Yeah, yeah, he's good. Killer Singh, I love the guy, man. I love the band, so say hi to him as well. Okay. And on that note, Richie, have yourself a wonderful day. Guys, it's always a pleasure. Talk to you soon, no doubt. Yeah, hopefully, thanks. Always a pleasure speaking to you, Richie. Have a good day, man. Have a good weekend.