 voice we got a first timer here Alan first timer popping a cherry Tracy guns himself I'm a virgin I'm ready it's gonna be a lot of fun looking forward to it that's what we should say LA guns black diamonds we're gonna be released April 14th on Frontier's Records yep and like Alan said finally on the show Tracy guns easier we got him we nabbed him so many questions this might go on for a few hours it could it could the older I get the more questions there are Tracy's got a life we don't so I don't go ahead no no hey I mean listen to the album congratulations again what's this your fourth album in 2018 something like that so what's your secret to success of reading for having all this prolific prolific output in the last couple years boredom you know you buy mannequins I play the guitar so tell us about this the musical direction on black diamonds versed checkered past like what did you do differently musically or you just kept the same formula I you know it's always such a mysterious question to me too you just kind of got to go with whatever comes out you know I mean LA guns isn't specific like some things that I do are very specific and you know I can focus on a sound or you know a vibe or something like that but LA guns is kind of all over the place and it always has been so it's like you know the playground the giant sandbox where all the other kids left all their toys and you get to play you know with these trucks these balls these jacks these shovels kind of thing and so I really don't put much as far as musical limitations with LA guns you know so I guess you guys are familiar with LA guns so I mean there could be you know some extreme metal and reggae on the same album you know what I mean it's kind of just as long as Phil sings it sounds like LA guns that's kind of my rule of thumb yeah I agree I agree I think I think he even squeezed in an album with Michael sweet during this period and that was very specific no reggae on that one yeah there's no reggae and now I'm working on that second record right now that's what I just started demoing up my son bomb yeah son bomb to is coming okay it's always writing the reign of guns and Moses but you guys you guys go way back you guys go how long you know Michael I'm known of Michael since I was about 16 or 17 we didn't become friends until 2018 believe it or not wow yeah yeah do you know him before he was a Christian I knew of him but no I don't think so rocks regime like right right yeah I think but I think they were Christian too I know I think no that there was a transition it was sort of like they start off like this and then they sort of convert it out a bunch of Jews and then they said fuck this Jew shit now we're Christians so let's change the name in a way in awakening I don't want I don't want to reign on Michael's parade but it was like an awakening yeah it's great and striper's great they're so heavy striper yeah yeah yeah yeah so tell us about like I'm listening to this album and I mean I'm hearing Led Zeppelin oh yeah I mean is this a conscious decision to sort of like amen we're going more hard rock and blues here with Led Zeppelin I mean I'm assuming this is Jimmy Page is probably a year of yours well he's my whole reason for existence some things just really sound like Led Zeppelin when I write them you know and then especially you know because we do everything remotely now so it's not like everybody's in the same room and like oh I got this riff mate you give me a drum beat here so when I send you know a piece of music off to Adam Hamilton who's our drummer in the studio and he does everything yeah I mean I'll tell him yeah play exactly like John Bonham and and you know get that sound you know he's like all right let's do this and the opening track you betray actually Adam had recorded that drum track on his own without any music and sent me the drum track and said hey you know could you write something to this and we never even edited the drum track I just put the drums up I started playing for about 15-20 minutes I'm like this is the immigrant song you know so I mean you know so that one well yeah you know it's it's it's pretty zeppy but I mean my my production style the way I record and the way that I want to hear the layers is very Led Zeppelin but that really also comes from guys like Andy Johns and Eddie Kramer those engineers producers that worked with Zeppelin that I also worked with when I was younger and to me you know you're not going to do better than Zeppelin you know I mean there's just not never going to happen so when so when something comes out of me that sounds pretty zeppy I make sure that we take it you know to the extreme you know to make sure that you know I don't get caught in in retro way you know what I mean to make sure you know if I'm gonna write something from 1970 well you know better use modern production so it doesn't sound exactly like that you know things like that so there's tricks to kind of get away from it so LA Guns doesn't sound like a Zeppelin cover band and you know and Phil for years I don't know if it's complaining he's like you share a lot Jimmy Page mate yeah yeah you know I do and you know I figure a page you know borrowed from his favorites you know that I'll just borrow from Jimmy Page yeah pretty good example the thing you got a borrow from somebody that's not a bad guy to borrow from so yeah I mean I'm not gonna borrow from you know anything less you guys and then but most of the stuff that doesn't sound like Zeppelin you know that just kind of channels through and it's amalgamation of many influences and styles and I think that's what I like about you as a guitarist and a composer like you take a song like diamonds and I think you like knocked it out of the park if this was the 80s this was sort of been like okay maybe not the ballad of Jane I said it's kind of in that vein but it's right I don't know I think I would call it I don't know organic I don't know like that would be could be played on the radio that guys would love it girls would love it it's just Alan how would you describe it it's a big one you know yeah it's it's one of my faves off the album for sure yeah yeah I mean in the you know everything from the arrangement of the music to the vocal to the lyrics to the sound you know it's just one of those ones that you spend a you know I spent a little extra time on kind of orchestrating the guitars because you know we don't have the luxury of hiring orchestras and you know we don't have the luxury of hiring anybody so you know I got I got to spend the time you know to really do my best Jimmy Page kind of production deal on something like that but you know it's the end of the day you know I must have listened to that song a thousand times since I got the mix you know six seven months ago and you're right I mean if any big artist did it at any time in history it would be a massive hit and I'm aware of that because it strikes a nerve the lyrics the vocals and the music all strike this nerve it could have been written by the who it could have been written by Led Zeppelin and anybody that's the shame of today's society where the music industry well something like this will get lost yeah yeah I mean especially you know you got it you got to have a twenty seven thousand dollar budget just to go to radio just just to hey here's my 27 grand see what you can do you know so you know our label doesn't do that so it's it's everything has to be the satisfaction of people that are LA Guns fans but number one for me you know I make records that I want to hear now you know without any you know pretense of you know we're gonna be a mega hit you know they have to be hits to the band we have to love them and then our fans love them and that's where our success lies right now that's it I was watching a sound city doc yesterday and they were saying you know there's something about everybody being in the room at the same time and and you hey what was that you just did what was that little groove you did and now you said you're everybody's recording separately yeah what's your take on on both of those situations um you know I've done both obviously our first few records I mean a lot of the records were done that way for me you always end up as isolated anyways yes you can go and you can play you record the drums and you track the guitar maybe some bass but you always go back and fix it you know what I mean you know when you record like that you're trying to get the best drum take you know so so maybe the drummer gets the luxury of listening to the band you know the bass player guitar player kind of going back and forth and pushing and pulling but I don't feel that it's that much different the way that I do it because you know I record the guitars do a click track very loosely and then that goes to the drummer so with me playing bass and playing guitar to a click track they're very loose you know they're there you know it's not perfection it never is with us and then I find that later you know when I get that drum track I'm able to play around the drums instead of right on top of the drums and the the luxury of time is what is the difference you know back then it's like get it done you know go rehearse for a month and then get in and then hit record and there's a lot of chefs in the kitchen man you know that way and some of the some some of the producers engineers were great and some of them just have their own ideas and with LA guns it's just it's my vision you know and it's what my ears want to hear so there's a lot of struggles in the early days you know a lot of friction and that's so much arguing I mean there were arguments but I mean but it's just a lot of compromise you know and you know a lot of times you know a producer would say oh you need to really shred this up or you need to lay back on this and most of the time I felt the opposite most of the time I'm like like yeah the music's going really fast maybe the solo should be slow you know maybe it should be listenable maybe it should be this you know cut the tempo and half for the lead guitar or really slows on where you know you got to liven it up you got to make some dynamic happen and then play something fast over it because it's more of a surprise and since I only listened to ten rock bands my whole life pretty much it's like I'm just gonna take their advice I'm not gonna pretend anything like that hold on one second this is my third X your third where's the check yeah kind of there you guys I see you're wearing a Orianti shirt that's Ori yeah she has new merch yeah she's not my ex yet the current current we call her yes she's like my current love okay that's nice that's nice so as a producer you know we have Michael sweet he's been a guest on the show since we started the metal voice and he's always saying I could go back and listen something I should have done that different I should done that different what how are you as a producer um there's a lot of stuff on the early records I do that with you know God a number of things not so much arrangement choices or song choices a lot of questionable notes and some solos sounds things like that that's what I was talking about that compromise earlier but like black diamonds checkered past these two records I think I got them right like I listened to them all the way through and and there's I'm not inspecting them you know like some of the other ones waking the dead like that too it's just from start to finish I love that record you know no no no little no cringes but there's some stuff on some earlier stuff that's a little cringy totally yeah I think you've it's the times right now you have the time to fix those mistakes like you said words in the past hey man that's a hundred bucks an hour for the studio time or a thousand dollars an hour you're in you're out let's go let's go you know kind of yeah but in a way that that's inspires creativity to Alan's point the cues right like you're getting inspired and sometimes that spontaneous inspiration is what makes greatness sometimes sometimes it's a complete failure but I'm that's a lot of moments right you know recording albums and demo tapes and you know playing with musicians live with you know other musicians and stuff and an LA Guns live too because we improvise a lot so there's a lot of those like whoa moments when playing you know with humans at the same time there's no doubt about it and I can I can remember those kind of moments as early as like nine ten years old of my friends you know in the garage but you're making records right you know you're recording records and just the the word record right a record it's a it's a record of a document it's a record of a sound it's a record of a visual it's a record and it lasts forever so for me and Phil like I said you know we really make the records for ourselves now so that we are happy you know musically so that we listen to them so that so that our time's not wasted you know that's what it feels like a lot of times you know you spend a year on a record you know with with other people engineers producers management and you know even the business manager has to throw their two cents in you know and the records are great but you're just like yeah you know why did I listen to that guy you know why why this why that and you know and you do those things when you're younger and hopes for commercial success you know you just do you you trust somebody else because they have had more success in their past than you so if you're smart you know you you you well let me get this right if you want to be smart you listen to your gut because your gut tells you personally what's going on but if you want to be right and you want to make friends and you want to be logical then you listen to your older peers that have more experience but art has no logic you know at that point and that's what you come to you know it's a realization at some point where art is not logical you know that's what makes art interesting is that it's like whoa you know I wasn't expecting that wow you know oh god it's sound you know I can relate to what that guy's saying you know all these things that go into just one minute of recorded music you know there has to be it has to be interesting and that's the thing that I'm a stickler with is we don't have a lot of songs that you could strip the mute the the vocals and lyrics away from the music would still be interesting you know and that's kind of my job in the band is to make sure that the music stands out its own you know what we'll jump into pass a little bit but before we do on the new album give me one sentence that describes this new album this is for headline purposes what one sentence that describes your new album that's all order of fries it's marketing let's see you met me on the street I'm a complete stranger and I go hey mr. mr. guns you have a new album out what it's about how does it sound like what does it sound like it's the greatest hair metal album ever ever that's what ever okay ever okay if I say to you I don't know what hair metal is what would you say well it's the medallion you wear around your neck and it's got a beard and mustache it's hair metal I don't even know what I think of hair metal I think of really bad clothes and and hair sticking up all over the place okay and hot chicks all right there you go that's what I think of when I and I think of her right all right okay let's jump you know since you brought it up hair metal I've been reading this I just finished this book nothing but a good time and you're you're you're one of the major guys in here they're right back to your high school days when you formed it was some of your earlier demands yeah because I'm hair metals oh there you go you know so yeah rich beanstalks a good friend of mine he's the guy that put the book together and uh you know he ropes me in on all the good stuff like you know what color nicky six is underwear you know are we talking 84 or 85 right yeah I mean I was talking about hair metal for you when when did the kind of that whole scene the sunset strip scene start dying out or died out what year oh really I mean I guess it started getting just real silly around 89 okay where where you know there was more emphasis on fun and getting dressed up than music at some point you know um you know to me poison is the ultimate hair metal band because they had great songs admittedly they didn't care about being virtuosos you know bob doll would always tell me you know I want to be successful and I want to have songs that everybody can sing right now you know um and they did that you know and they you know they're into the dolls but they were also into into the suite and they were and they were into scorpions and aerosmith and all these things so to me like that's really a great successful hair band you know they weren't trying to stretch the boundaries of rock music um which is a which is a great to know that early on when you're putting a band together you know I think that has a lot of foresight and that is the logic that works for poison for sure you know um and then you kind of have warrants which was like the five piece poison with maybe a little bit more you know emphasis on the musical side of things but still the the big song mentality you know um especially for the time you know that they were they were great at that um and then there's dirty ass little LA guns you know so 89 was the year that things started getting a little ridiculous and maybe redundant even well here they did you know an LA for sure you know um we were going to more alternative clubs by that point because going to bazaaries and the troupe and and the whiskey and rocksy at that time it was just kind of like seeing the same band over and over again and I mean it's fun you know it was fun but you know I mean being a musician the type of musician I that I am you know I've always been into the dirtier side of like garage rock for example and and you know kind of psycho dirty rock ability kind of stuff punk rock obviously but then I also love metal you know like real metal um you know maiden and death leopards first records stuff like that was a had a really big impact on me especially because at the time all I was really listening to was like Van Halen Aussie Sabbath Zeppelin and Aerosmith and Ted Nugent um but then those records came out you know death leopard and maiden and really changed my point of view you know like wow so you can take all these great sounds and neat things and kind of condense them and actually write a normal song you know over slightly sophisticated rock music you know nothing progressive I also love rush I always loved rush well Canadians so I mean this is our calling card it's right yeah right I mean wow what a what a hey a rush hey um but yeah they had a huge huge impact I mean I think you know in my garage bands you know all the way up through high school we always played rush especially 2112 stuff you know just just so into it and it was so heavy and Alex Lifeson you know not underrated but certainly under celebrated as a guitar hero exact way to say it yeah you know he's he's just such a guitar god to me like wow yeah talking about somebody can play reggae or any style of music yeah definitely one of them so and he's so snotty I love it I'm just going to jump back and forth in moments in history Alan it will do the same a lot of people know this and a lot of people don't know this you were in guns and rows right it wasn't guns and roses correct it was guns and roses it was guns and roses yes I mean how long were you in the band for like is it a month a year like how long was it a year so you know Axel was thinking for LA Guns we did a gig there was a big throwdown with our manager uh based on a big throwdown with another band we played with that night uh our manager fired Axel but we all lived together we sat on a couch we decided what we were going to do next and it was guns and roses that's all we did we just changed the name and we added Izzy to LA Guns that's the whole story were you rehearsing those sort of like the songs off the first album at the time or we were playing them in LA Guns you know a lot of those songs and Mr. Brownstone no no not Mr. Brownstone but uh don't cry anything goes think about you uh a bunch of them yeah okay so so you actually helped in the compositions or the arrangements of those songs back in the day I guess yeah some of them yeah because me and Izzy lived together so um by the time he was in uh well by the time we had guns and roses when he basically he joined LA Guns I guess that's an easier way to to show the transformation um Izzy had some of those songs they had played them in Hollywood Rose because earlier Izzy and Axel were in a band called Hollywood Rose yeah and um they had some of that stuff and when Flash was in Hollywood Rose they wrote Welcome to the Jungle um but for some reason when we got together as guns and roses we didn't play Welcome to the Jungle I don't know why I don't remember the thing about that but that was always a favorite song of mine that they had you know but I think we were going when I was in the band we were heavier than what people know as guns and roses now it wasn't as blues based a little bit more metal um so more straight ahead uh more LA Guns really but were there any songs that you said you know you lend your hand to it and you say you know I wrote that riff and that sort of still exists in the songs today well I mean I do that with everybody you know you know that's that's how it goes because me that's a piece of history you know you're with the band for a year it's only normal that the ideas are going around they're exchanging you're finessing the songs you know and you know of course yeah I mean you know they say write a word get a third you know that's kind of this old but real rock bands don't do that you know it's like whoever's in the band at the time when the record comes out you give everybody equal credit you know I'm gonna kind of learn that from Led Zeppelin right you know you look at those album covers and things like that you want things to be fair and you want things to be um what's the word uh condensed and look strong like a unit right yeah united so you know so like a lot of records don't have uh everybody that played on an album for example or uh people that made smaller contributions and and things like that you know because it's just it's a lot it's it's a lot of stuff that goes into making a record especially with appetite for destruction because like it's so easy for example was also written with Wes Arkein and nobody knows how much of the song he wrote is it just the lyrics is it just you know did he write the riff you know did he write this it's very non-specific all the time you know it just will say you know words and music by these guys you know kind of a thing and it lends to the great mystery that rock and roll is supposed to have like who did what and you know and that's what trivia buffs are all about you know they want to get they want to know and i do that with a lot of recording stuff like uh 50s and 60s stuff because you know particularly bands from the netherlands like for some reason in the late 60s their albums sound like they were made in the 90s they're like insane but how did you do that you know yeah and why does you know the seemingly kind of weird sounding production on Led Zeppelin records and Jimi Hendrix records you know compared to today's standards it's like how did we get from those recording standards to these recording standards you know like how what's the big shift so that's like a constant rabbit hole i go down as far as music production is like like damn yeah everything sounds great now you know i mean even if it's a terrible song you know everything sounds great and clear and separate and all these things where you know the engineers from the 60s and in England they were maxed out you know what i mean like they were really making loud records and getting great drum sounds and all these things but it's still quiet compared to today's standards like you know you put Van Halen one on when i was 12 it was the loudest thing you ever heard it's like man you know now you put it on like next to an altar bridge record and it's like man that's little yeah it's so bizarre it's so bizarre yeah yeah now uh no i mean i had to go ahead jim i had one oh yeah just going back to the new album of course i i do hear a lot of the punk punk influence on it and i would call this album like four to the floor i mean this is you know it's really uh really really hits hard on a few songs so yeah i i think a lot of that has to do with adam our drummer um he's getting more comfortable as the gears go on and really pushing things and his recording techniques change a little bit from album to album so there are some songs on this album the energy is just wow yeah this like whoa and you know johnny and ace really contribute mostly to that up tempo high energy stuff more than i do you know they bring in the song ideas and then i kind of arrange them into a song and then adam gets them and then i don't play on those till after we get the drums back and then i really go for it then but i don't come up with that much fast stuff anymore i'm glad you mentioned adam because i'm listening to the drums on wrong about you just blowing my mind that's yeah it's crazy drumming on that song yeah if this if this album came out in i don't know 1985 adam would be the hailed as the leading drummer you know he is amazing you know and and look i played with some guys i've really played with some guys adam hamilton is the world's best kept secret you know he is amazing and he records that you know it's not him just playing he's recording and getting that sound and and you know and that's without me really like i'll turn in a song like wrong about you to him without any direction i'll be like well here it is and then that's what i get back you know and i'm just like yeah oh my god you know playing it to my grandma like listen to this guy play drums you know i mean that's how good he is to me you know that's my opinion of him is just insane and he played on sunbomb and he's playing on the new sunbomb and he also played on i have an album coming out with todd kerns that band's called black bird angels that comes out of timbre and adam played on that way to hear that the drums are nuts he's a big stop you don't stop you don't stop creating music man once you open that can is just keeps coming out right the fizz well i didn't write anything for about four or five months now until i had to i got my notice in an email box you know uh it's time to get the new sunbomb record going like ah i'm not ready i don't have anything and i sat down one night you know and i was like man i don't know you know do i have this much metal in me right now you know that's really under the impression i get in and then i went to my girlfriend's and we were talking about it and she kind of played something and she's like well you know something like this you know so one of hers might end up on there and then that gate that kind of opened like a floodgate you know just having somebody give you an idea you know like like yeah and then i came here back home and i banged out seven songs in three hours you know it's just because when when the when the floodgate opens it opens you know and it's like part part part part it's like oh i have this part i have to put something around this okay this naturally flows into this this naturally flows into that and then that's all voice notes on the iphone right and then of course i didn't tune my guitar to any specific tuning so now i'm going back to demo those songs and i'm having to tune my guitar to the voice memos you know because it's not anywhere close to you know any traditional tuning when it's just sitting in the living room um so yeah now i'm just in that process you know and i think that all 11 tracks drums will be recorded finished within two weeks and then i'll start really pretty much finishing touches on it then michael gets it and he writes the lyrics wow it's a good process yeah it is tell me in the few minutes that we have left about the uh the randy roads documentary i watched it i enjoyed it you know um well you know you narrated it i mean it's it's a big job i mean and i'm sure it is a big compliment too to narrate something of that that legendary right so what was the feedback like i mean i know there was some sort of ron sobel he used the footage that he you know that was reused but it was still done in a good in a very proper manner and and and and honored the legacy of randy roads but what was your feedback from it um well the feedback that i've gotten from it is people are just grateful that it exists you know that they're like wow you know these quiet right ears and these things a lot of people didn't understand them or they didn't know about them at all um and how i got why i got involved was andre relis the direct the director um and uh see what love does i get a text from my girlfriend and i'm like she upstairs is she upstairs and you're downstairs we don't live together okay um my wife texts me she's upstairs yeah like get down here right now you left the ass tray next to the why are you yelling at your computer no i'm not doing a show yeah yeah yeah um so it was a a randy roads randy roads um okay so andre relis contacts me and i got really nervous because i'm really good friends with randy's brother and sister and we have and we have always said that we would never do anything to do with randy unless it made sense unless uh somebody else wasn't going to make money off it like it wasn't a cash grab kind of thing so i talked to andre about that i go so hey you know what is ozzy you know what is sharon osborne say what does uh uh kathy say you know oh they're all against it and i'm like i'm like i'm like well hey man you know those are my people and i really shouldn't do this without their approval getting this done and and he said well i understand your your thing but i'm doing it anyways there's no league nothing legally binding which says i can't do it and i had to think about it at that point because i knew that if i didn't do it they would just get anybody to do the narration and then it would be a big sore spot forever right so i agreed to do it after i saw the documentary and i read the script and like you said it's really complimentary it's really put in a positive light and it's very truthful you know it i think it spells out the truth as close as it could be and and i can proofread that because i played with rudy sarzo for a year i was on a tour bus basically with rudy sarzo for a year so and i'm obsessed with randy anyways now i'm in a band with rudy he's telling me everything so i get done i do it and it was a big job you know we did it in my studio um i was in denmark the night before flew 10 and a half hours got a couple minutes sleep and then we spent 10 hours doing that you know starting at 8 a.m i had a i had a speech coach the director his assistant and you know there's like four people behind me doing this for 10 hours and it turned out great and you know kathy hit me up and goes i can't believe you did this i didn't answer for a couple days you know because i really had to process the reason that i did it you know why is it a positive thing why is it a good thing why does it make sense now and i told her you know why i did it and and um and that i wanted to tell her after i had done it and explain those reasons but she found out before it was actually made public so ultimately she agreed with me you know she said well it is good that it's you and i wish you were to run it by me and i said well i didn't run it by you because you would have talked me out of it and then somebody else would have done it it was going to get done um so i think that at the end of the day which is now it's been out two years now um i think that that it was very successful number one but i think that we all feel good about it you know and and it leaves a lot of room for the ozzy years like if it ever gets done you know they don't have to go back here to this beginning kind of stages of randy you know because an ozzy documentary about randy would be a full 90 minutes on its own you know what i mean it's it's there's footage there you know a lot of people say there's no footage of randy there's a lot of footage of randy with ozzy um but they're very unseen unseen footage with absolutely of course there is of course you haven't seen it you haven't seen it you're just assuming no no no i no i'm not assuming but i haven't seen it i i i know it you know there there there's and the that type of footage is uh you know i've been collected over the years um a lot of its vhs um quality a lot of its bootleg um but the the ozzy camp you know they only use bits and pieces of it for like let's say they made the crazy train video which is like 20 years ago already but you know they they're they're protective over randy and they should be but i do think as with this documentary is that that fan base is getting older now and when this came out it was finally a biscuit you know what i mean it's like it's like oh man i love randy so much so my fear is that they never do anything with randy and the ozzy thing and that nobody gets to enjoy that you know what i mean and because i think randy rhodes fans are really passionate about randy and they deserve to have you know inside look of his life i mean look you know with hendrix there's an abundance of commercial footage and bootleg footage and still releasing songs to this day you know and and i love that being a hendrix fan you know what i mean like wow something i didn't see before something i didn't hear before and randy's no different you know randy is the only hired musician to come into a band and revitalize the main attractions career right that's how powerful it is on that note and i'm just going to end off with this i've been to musonia you know i've talked to kelly i've talked to kathy i've done a whole little thing on musonia and fans went nice and i went inside we spoke we looked at everything around there we we had a huge conversation and did a whole little mini rhodes documentary on it and the fans loved it they ate it all up and uh and rightfully so i mean absolutely such a legend yeah i mean and kathy and kel they're so sweet they're so nice they're such good people you know they're so they love their brother's legacy so much they love their brother and their their mom and you know nothing but positivity comes from those people you know and uh you know and that's why they're very protective i think yeah definitely on that note la guns black diamonds on frontiers coming out april 14th uh thank you so much uh tracy for being on the show we had i had like a ton of questions to ask you but time is limited when the other albums come out we'll have you back on to promote the other albums thank you very much guys tracy i love it again so many more questions i want to ask you so let's do this again please congratulations on the album all right thanks tower right on you guys all right have fun all right take care