0:08

Hi everybody, welcome to a very

0:11

special ProG Report interview. As you

0:13

can see, I have with me

0:15

for the first time the legendary

0:18

Alex Lifson joining the podcast.

0:20

How are you, sir? I'm great. Do you?

0:22

Doing well, doing well. You know, listen, our

0:24

name, the Prog Report, we cover Prog Rock,

0:27

all that. You know that rush is right

0:29

up there at the top for our channel

0:31

and for people to follow us and certainly

0:33

for me as well, big fan. So having

0:36

you on is really an honor. and exciting

0:38

we'll talk to you about a little bit

0:40

about rush of course if that's okay but

0:42

yes we have to ask you about the

0:45

new band and the new album with envy

0:47

of none I want to talk about that.

0:49

The first thing I want to I want to

0:51

just sort of say is I think it's

0:53

impressive I think that yourself and

0:56

and there's a few other artists

0:58

that I've had a chance to

1:00

work with or interview Ian Anderson

1:02

Jethrothal or John Anderson or who's

1:04

doing his thing with with this yes

1:06

thing. That artists like yourselves

1:08

still feel the desire to make new

1:11

music for one and then also Do

1:13

the interviews get out there and

1:15

do the promotion all that kind of

1:17

stuff because I imagine there's many that

1:19

just they've been there done that and

1:22

rightfully so that you know They don't

1:24

want to do it anymore. Do you

1:26

still get excited about all that kind

1:28

of stuff? Well, I think after rush

1:31

finished the last tour in 2015 both

1:33

getting I felt like we were

1:35

just missing something we weren't really

1:37

ready to to pack it in

1:39

yet but Neil was so we

1:41

you know we weren't gonna stand

1:43

in his way certainly and then

1:45

I didn't really do too much

1:47

in the intervening years and then

1:49

of course Neil became ill and

1:52

we went through that whole thing

1:54

but you know when you've done

1:56

something like this for so long

1:58

and you're a musician at heart

2:00

it's never over. When I had

2:02

an opportunity, especially with Ambien to

2:04

None, when that came along, it

2:06

was an interesting project. I thought,

2:08

oh, it'll, you know, keep my

2:10

fingers working and my brain working

2:12

a little. So I embraced it

2:15

and then I just fell in

2:17

love with the whole process again.

2:19

So making the records, doing the

2:21

interviews, all of that stuff is

2:23

an important part of the whole.

2:25

project. So yeah, I like being

2:27

busy. It's great. And with that,

2:29

you have all the new media

2:31

right the Instagram reals and Tik

2:33

Talk and YouTube videos and these

2:35

zoom interviews that I'm sure you're

2:38

doing a ton of. How is

2:40

that world? And is it just

2:42

it's just other interviews? It's not

2:44

really that much different than than

2:46

maybe used to do it back

2:48

in the day. It's just another

2:50

format. Not not that big a

2:52

deal. Yeah, it's funny, you know,

2:54

I offered the record company when

2:56

they were doing the interview schedule,

2:58

I suggested that Maya and I

3:01

fly to London where the record

3:03

company is and spent a couple

3:05

days doing press. And they wrote

3:07

back and said, you know, that

3:09

doesn't happen anymore. It hasn't happened

3:11

for a long time. You just

3:13

do Zoom calls now so you

3:15

don't have to go and do

3:17

a whole big press day, which

3:19

was kind of fun in the

3:21

day, but things are very different.

3:24

And social media has changed so

3:26

much. how we do things in

3:28

all in every aspect of our

3:30

lives. Yep. And certainly in this,

3:32

I have to say that, you

3:34

know, I have, you know, I

3:36

look at my accounts occasionally, but

3:38

I don't really get involved and

3:40

I have people that sort of

3:42

post everything and do all that

3:44

stuff. I just, I think it's

3:47

a little of a distraction sometimes.

3:49

Sure. But. Yeah I like to

3:51

focus on the work and when

3:53

you're really super busy that that

3:55

is the way to go I

3:57

think but yeah yeah it's got

3:59

to be interesting time for for

4:01

certain artists that have been doing

4:03

it's one way and you know

4:05

that one way must have been

4:07

So much more fun, I feel

4:10

like. Maybe I'm looking at it

4:12

differently, but I don't know. That's

4:14

almost a romantic thing now, not

4:16

subject, the way it was, and

4:18

the whole industry, right? Having an

4:20

album in front of you. I

4:22

mean, there's been such a resurgence

4:24

in vinyl. So you get to

4:26

have that experience again of looking

4:28

at an album cover and reading

4:30

the thing while you're listening to

4:33

it. So some of it's coming

4:35

back. It's fine, but you just

4:37

don't get that that same experience

4:39

at all, which I know you

4:41

know. But again, the new album

4:43

from envy of none, your singer

4:45

records, Did You and Waves is

4:47

out now, it's been out a

4:49

few weeks now. Really cool stuff,

4:51

very different, then obviously the the

4:53

rush stuff, but it still has

4:56

that rock edge to it, female

4:58

singer, my, my win, sorry, she's

5:00

excellent. Well, I mean, for people

5:02

that aren't familiar a little bit,

5:04

you want to give a brief

5:06

back story on how the band

5:08

got together and how you got

5:10

involved? Sure, when we came off

5:12

the road, you know, I continued

5:14

playing and I did a little

5:16

bit of writing and that sort

5:19

of thing. And then Andy Curran

5:21

reached out to me. Now Andy

5:23

worked at our office for about

5:25

12 years in, he was the

5:27

A&R guy for the record company.

5:29

And he sent me some music

5:31

that he was working on and

5:33

said, if you don't mind, can

5:35

you put some guitars on it?

5:37

fancy. I just want to get

5:39

an idea of what it sounds

5:42

like with some guitars. So of

5:44

course he did. And I didn't

5:46

spend any time. You know, I

5:48

just did it very quickly. Use

5:50

plugins, didn't use actual amps and

5:52

all of that stuff. Just simple.

5:54

In the meantime, he did, he

5:56

was asked to be a judge

5:58

on a talent contest and my

6:00

win was one of the contestants.

6:02

And he said to Maya, you

6:05

know, you've got a great voice,

6:07

so what you should do is

6:09

work with some other people and

6:11

sort of develop your skills. She

6:13

was 19 at the time. And

6:15

she said, well, I Googled you

6:17

and I know your past, so

6:19

why don't we work together? And

6:21

he kind of laughed and said,

6:23

well, okay, I'll send you a

6:25

song and we'll see what happens.

6:28

So he sent a track, it

6:30

was Liar, which was on the

6:32

first album, and we already had

6:34

a vocalist on it, but he

6:36

sent it to her, she did

6:38

her vocals, sent it back, and

6:40

he sent it to me, and

6:42

said, you have to hear this.

6:44

I listened to it, I wrote

6:46

back to him, I said, Erase

6:48

everything that I sent you. I'm

6:51

going to redo all the guitars.

6:53

We have to work with this

6:55

woman. She's awesome. And that's basically

6:57

how it started. I used her

6:59

for a Marco Miniman project that

7:01

Marco and I were doing and

7:03

she was brilliant on that. And

7:05

the relationship just developed and we

7:07

went into, because of the pandemic,

7:09

we all have our own studios,

7:11

home studios, this is my home

7:14

studio here, and we worked independently

7:16

and just shared files to build

7:18

the songs and build the whole

7:20

album. And we continued that with

7:22

Stigeon Waves as well. So they

7:24

swayed for us to work. It's

7:26

very efficient. That's amazing. How, what

7:28

a stroke of luck for her

7:30

to get in that world with

7:32

you, that's got to be amazing.

7:34

And for us to come across

7:37

a talent as. awesome as she

7:39

is because she truly is. I

7:41

mean, it's not just her voice,

7:43

it's her sensibility and her professionalism

7:45

and her thoughtfulness, her lyrics. It's

7:47

all of that. She's really quite

7:49

a talent. It's just for me

7:51

personally, it is an enormous pleasure

7:53

for me to work with her.

7:55

That's exciting. I did read somewhere

7:57

that you approached the first album

8:00

more like a project where it

8:02

wasn't really going to be... maybe

8:04

a full-fledged band, but then something

8:06

with the second record, you know,

8:08

changed it for you. Is that

8:10

how it happened? Yeah, that's exactly

8:12

how it happened. The first record,

8:14

I just, I looked at it

8:16

as an opportunity to work on

8:18

some music with a group of

8:20

people that I hadn't worked with

8:23

before, under, you know, Took difficult

8:25

conditions with the pandemic. And I

8:27

just looked at it as a

8:29

recording project. Very happy with it

8:31

and proud of the work that

8:33

we did. But with Stigeon Waves,

8:35

when we got, or at least

8:37

when I got a copy of

8:39

the Master record and listened to

8:41

it for the first time in

8:43

sequence, after not listening to it

8:46

for a number of days, Master

8:48

all like finished. Right. No, that's

8:50

pretty cool. So when you guys

8:52

write, how do the unity of

8:54

a band, and we, you know,

8:56

we understand each other and we,

8:58

you know, we, we, we just

9:00

move as a unit and it

9:02

was a bit of a revelation.

9:04

I was quite excited about that.

9:06

I didn't expect it. Right. No,

9:09

that's pretty cool. So when you

9:11

guys write, how do the songs

9:13

come together and what is her

9:15

role? Is she providing? the full

9:17

melodies and lyrics after you guys

9:19

provide a backing track or how

9:21

does that work out for you

9:23

guys? Well we throw ideas around

9:25

when we settle on a particular

9:27

idea and these ideas are just

9:29

literally that. They're just kind of

9:32

seeds. They're not structured or anything.

9:34

It just kind of riffs or

9:36

phrases. Quite often. Andy and Alf

9:38

will do the bed track. So

9:40

Andy will put his base on.

9:42

Alpha put some guitars on keyboards,

9:44

you know, a drum pattern and

9:46

send it to me. I do

9:48

some guitar tracks that are just

9:50

sketches. Then it goes to Maya.

9:52

She does scratch vocals, comes back

9:55

to me. Now, being informed by

9:57

her vocal treatment, I redo the

9:59

guitars and they start doing more

10:01

final versions of the guitars, goes

10:03

back to her. She works to

10:05

Maya guitars, comes back to me,

10:07

I finish it up. So with

10:09

Maya and myself, we sort of

10:11

go back and forth that we

10:13

do this dance until we feel

10:15

that we've completed it. And then

10:18

everything goes to ALF and he

10:20

starts to fit it all into

10:22

the arrangement and mixing ultimately. That's

10:24

pretty cool. Had you listened or

10:26

been a fan of more maybe

10:28

sort of alternative rock and sort

10:30

of different things in the last

10:32

couple of decades that sort of

10:34

helped inform how you wanted to

10:36

approach this project where you are,

10:38

because I'm assuming you're not one

10:41

of those guys that only listens

10:43

to. progressive rock things, right? Yeah,

10:45

I would. Oh, no, absolutely. Yeah,

10:47

no, I listen to a lot

10:49

of music. I would say, I

10:51

don't think, I try not to

10:53

do that, and it was the

10:55

same thing in rush because I

10:57

feel that it's so easy to

10:59

be influenced by something you hear,

11:01

especially when you're working on something

11:04

else. Right. So I tend to

11:06

be very cautious about what I'm

11:08

listening outside of the project when

11:10

I'm working on it. I'm certainly,

11:12

you know, I was a fan

11:14

of garbage and, you know, and

11:16

nine inch nails and sound garden,

11:18

you know, that whole era. And

11:20

there's a taste of all those

11:22

sort of things in our music

11:24

and everybody else brings those little

11:27

tastes as well. So I think

11:29

it's quite, quite rich in source

11:31

with the stuff that we've done

11:33

with envy of none. There are

11:35

hints of a lot of different

11:37

genres in the music and song

11:39

to sound, you know, there's really

11:41

quite a variety in all the

11:43

material. Some of it's very trippy,

11:45

some of it's, you know, really

11:47

soft and gentle, some of its

11:50

hard and industrial. It's just really

11:52

a great palette of sounds and

11:54

moods, I think, that as a

11:56

joy to listen to. Yeah, I

11:58

definitely think the second record took

12:00

a step up for sure in

12:02

the songwriting. One of the singles

12:04

that recently came out the story,

12:06

I think it's the second track,

12:08

is particularly great, has a really

12:10

great hook to it. And and

12:13

Right away, I mean, I don't

12:15

have to tell you, but you

12:17

know, the song is great listening

12:19

to it and all of a

12:21

sudden your solo comes in, which

12:23

you don't do too many of

12:25

them throughout the album, I don't

12:27

think. But it's like, I don't

12:29

even need to know you're in

12:31

the band to know that's your

12:33

playing. It's so distinct, it's incredible.

12:36

That's fascinating to me too, because

12:38

now it's a completely different band,

12:40

completely different style, yet the solo

12:42

is undeniably, Alex Lifes. To all

12:44

talk about that song a little

12:46

bit and then how you approach

12:48

a solo in a song like

12:50

that I agree with you that

12:52

song just naturally as it came

12:54

together I think it may have

12:56

been the second or third song

12:59

that we we wrote there was

13:01

something immediate about it. It's very

13:03

it is very hooky. It's got

13:05

a lot of great. hooks to

13:07

it. The choruses are great with

13:09

the 12th string guitar in there.

13:11

It's got that little hint of

13:13

a 60s kind of vibe to

13:15

it. And Maya's voice is spectacular

13:17

and the lyrics are fantastic that

13:19

she wrote. The solo, you know,

13:22

I kind of With soloing I've

13:24

sort of gotten away from it

13:26

a little bit in these last

13:28

years and even towards the end

13:30

with rush I soloed a lot

13:32

less I love doing them but

13:34

if I don't feel that they

13:36

have a real intended position in

13:38

a song unless they're doing something

13:40

for the song it's just a

13:42

little. laughing, you know, it's just

13:45

kind of showing off and that's

13:47

okay. But you know, you go

13:49

on Instagram and see a thousand

13:51

amazing guitar players who can play

13:53

like crazy. But is there soul

13:55

in it? Is there a purpose

13:57

to it other than just being

13:59

flashy? With the story, we left

14:01

that place for something and we

14:03

figured probably a solo, but when

14:05

the part that comes right after

14:08

it, when that started. to be

14:10

built up, tracked up, it became

14:12

the most important part of the

14:14

song for me. So the solo

14:16

had, the solo's purpose had to

14:18

be leading into that and an

14:20

ascending solo that comes to a

14:22

crescendo and then that part comes

14:24

in where you drive the point

14:26

of the song home is really

14:28

what it's all about. So the

14:31

solo is just doing this little

14:33

job of setting Maya up. to

14:35

deliver that last line and that

14:37

signature little riff that comes in

14:39

in that part. That's that's the

14:41

high point of the song for

14:43

me. So it's just getting to

14:45

it and how to achieve it.

14:47

And I treat all the solos

14:49

on the record like that. And

14:51

there are actually more. I was

14:54

surprised to hear more solos than

14:56

I thought I put on the

14:58

record. I really enjoyed it and

15:00

it got me thinking about really

15:02

doing that again. I think I'm

15:04

very distinctive in how I create

15:06

solos. Yeah, yeah, how I compose

15:08

them. So why not? I think

15:10

that's a strength that I should

15:12

be more aware of. Yeah, absolutely.

15:14

So what's the future for the

15:17

band you think? Is it, you

15:19

know, I imagine... doing shows is

15:21

always tough for a new band

15:23

no matter what what's going on

15:25

and but maybe some more music

15:27

or you think this thing is

15:29

something you'd want to keep going.

15:31

Well first to address the idea

15:33

of playing live I mean we're

15:35

talking about that and a lot

15:37

depends on how this record does

15:40

if if we expand an audience

15:42

and there's a possibility to do

15:44

half a dozen shows at least.

15:46

And then I think we would

15:48

make the effort and take the

15:50

time and expense to put something

15:52

together. I think it would be

15:54

a couple of hours to play

15:56

the two records. It would be

15:58

a couple of hours of just

16:00

really awesome music, really nice theater,

16:03

really nice presentation. So we're seriously

16:05

thinking about that and just kind

16:07

of going through those. logistics in

16:09

the numbers. I think Maya wrote

16:11

to me the other day and

16:13

said so. Well, what do you

16:15

think? She must be dying to

16:17

get out there and sing these

16:19

songs. Yeah, for sure. She's young

16:21

and would love to tour. I

16:23

mean, the rest of us are

16:26

kind of seasoned veterans. We've been

16:28

on the road a lot, but

16:30

I could see doing something other

16:32

than residency or something if we

16:34

could get the dates. But what

16:36

I was going to say about

16:38

Maya, she reached out the other

16:40

day and said, so Eon 3,

16:42

what do you think? And I

16:44

have a feeling that we're going

16:46

to start throwing some ideas around

16:49

sooner than later. Yeah, that's pretty

16:51

cool. I want to ask you

16:53

a few questions about Rush that

16:55

I've always wanted to talk to

16:57

you about it a little bit.

16:59

I think for every band, you

17:01

guys were around for so long

17:03

covering so many decades and... always

17:05

successful no matter what kind of

17:07

style you were approaching and what

17:09

was going on at the times.

17:12

But I think for a lot

17:14

of people, their entry point or

17:16

their favorite record is wherever they

17:18

discovered the band, right? So I

17:20

discovered the band in the mid-80s.

17:22

That's when I was a young

17:24

teen. The first Rush album I

17:26

ever bought was presto. And I

17:28

remember hearing chain lightning on the

17:30

radio and my just... blew my

17:32

mind that one song. And that's

17:35

still to this day, one of

17:37

my favorites, if not my favorite

17:39

Rush album, just because I just

17:41

love all those songs. Is that

17:43

your experience with a lot of

17:45

fans these days? Do you have

17:47

people from all different eras saying

17:49

to you, you know, vapor trails?

17:51

That's my favorite record or counterparts

17:53

or anything or going back obviously

17:55

to the earlier stuff? Well, I

17:58

think the point you made is

18:00

very accurate. The impact comes with

18:02

where you are at that point

18:04

where you hear the music. Music

18:06

is such an amazing language and

18:08

it defines different points in our

18:10

lives. I think, you know, having

18:12

20. studio albums of new rush

18:14

material over the years. Yeah, everybody

18:16

gravitates to that thing where they

18:18

were that summer when they heard

18:21

that song for the first time

18:23

and it's imprinted on your mind

18:25

that every time you hear it

18:27

you're taken transported to that place.

18:29

That's so powerful. I think, you

18:31

know, from what I hear, there's

18:33

a large young audience for rush.

18:35

I really wasn't aware of it.

18:37

I didn't really think about it.

18:39

In some ways, we seem to

18:41

be more popular or as popular

18:44

as we ever were 10 years

18:46

later, which is pretty pretty bizarre,

18:48

but Yeah, I really so appreciate

18:50

that and I know that when

18:52

again I get together we goof

18:54

around and we play some rest

18:56

up we realize how difficult those

18:58

songs are to play. Especially if

19:00

you haven't played them for 10

19:02

years. So I understand that there

19:04

was something about our music that

19:07

was really quite unique and the

19:09

level of our playing and songwriting

19:11

is something that's really quite quite

19:13

permanent I think and to know

19:15

that there's a younger audience that's

19:17

hungry for that stuff it's it's

19:19

inspiring to us. The change you

19:21

guys made going from the the

19:23

longer intricate tracks to you know

19:25

then becoming more keyboard-based you know

19:27

in the 80s and all that

19:30

going back to your discussion about

19:32

guitar solos and now later on

19:34

you you stopped doing as many.

19:36

That era in the 80s was

19:38

actually sort of the peak. guitar

19:40

hero shredder guy thing that was

19:42

going on and here you were

19:44

definitely one of those guys if

19:46

not better than any of those

19:48

guys you had been there done

19:50

that I was just wondering what

19:53

your Mindset was when you saw

19:55

that stuff going on. And Rush

19:57

was then sort of shifted away

19:59

from that already. From the outset,

20:01

we always wanted to move forward.

20:03

You know, when Neil came into

20:05

the band, it really changed quite

20:07

quite a bit. You know, John,

20:09

John was a good solid drummer,

20:11

but he was stylistically very different

20:13

and was happy to stay within

20:16

that kind of, you know, English

20:18

rock sort of scene or Zeppelin,

20:20

that sort of thing that faces.

20:22

That was where he was at.

20:24

Again, I really wanted to move

20:26

forward. We were listening to Yes

20:28

and King Crimson and that's what

20:30

really spoke to us. When Neil

20:32

came into the band, he was

20:34

so aligned with how we thought.

20:36

So it was a natural fit

20:39

right from the start and our

20:41

goal was to always grow, always

20:43

move forward. We didn't know how

20:45

long it was going to last.

20:47

We never ever in a million

20:49

years thought we'd do it for

20:51

40 years. Five years is kind

20:53

of the window that we were

20:55

looking at when we signed our

20:57

deal in 1974. So, you know,

20:59

it was all sort of short

21:02

term, get it all done, and

21:04

let's move forward to that. But

21:06

it stuck with us and we

21:08

always wanted to embrace something new

21:10

with every record that we did.

21:12

So we quite often go against

21:14

the stream and in the stream

21:16

and in the 80s. We made

21:18

a couple records that were quite

21:20

keyboard heavy, but then that sort

21:22

of changed as we got closer

21:25

into the 90s and moved forward.

21:27

So it's always been sort of

21:29

moving around and we don't really,

21:31

we didn't really care what anybody

21:33

else was thinking or doing. There

21:35

was no like competitor competitiveness in

21:37

you that was like, let me

21:39

show these young, young guys, what

21:41

it's all about on guitar. Oh

21:43

no, oh my God, no, the

21:45

opposite really. I loved hearing other

21:48

guys that were amazing and what

21:50

I could learn from it, what

21:52

I could steal from them. You

21:54

know, I think that's the thing.

21:56

the world of guitar. There are

21:58

so many great players, there are

22:00

so many great guitar riffs and

22:02

phrases and lines and you just

22:04

absorb everything and see where it

22:06

takes you. I love playing guitar.

22:08

I mean, if I wasn't in

22:11

rush or doing this, I'd still

22:13

be playing every day for a

22:15

few hours, which is what I

22:17

do. I played for a few

22:19

hours a day, an hour before

22:21

I go to bed every night,

22:23

last night. Metallica in town. They

22:25

came in a little early so

22:27

I had dinner with Kirk and

22:29

Rob and after dinner we went

22:31

up to Kirk's room and we

22:34

sort of sat around for a

22:36

bit and of course he had

22:38

a few guitars in the room

22:40

and we started playing and I

22:42

mean I was there for a

22:44

few hours we were just playing

22:46

on these two on a sort

22:48

of a semi-acoustic guitar and an

22:50

electric guitar not plugged in and

22:52

we were like you know lost

22:54

in it. And then, so fun.

22:57

So we're going to have dinner

22:59

tonight again. And he said, let's

23:01

get back together again. Let's do

23:03

it again. So he's going to

23:05

come here. And I already restong

23:07

a few guitars and Rob's going

23:09

to come and we're just going

23:11

to jam here tonight after dinner.

23:13

And I'm sure we'll be here

23:15

till the wee hours just doing

23:17

what we love to do so

23:20

much. It's, you know, it just

23:22

equalizes everybody and everything. If that's

23:24

your attitude. I know there are

23:26

a lot of guys that are

23:28

quite competitive about it and that's

23:30

always been a joke about guitar

23:32

players. You know, how many guitar

23:34

players does it take to screw

23:36

in a light bulb? One and

23:38

six others to say, yeah, I

23:40

can do that. I could do

23:43

that. And it's quite true, heavy.

23:45

Yeah. Just a couple more questions

23:47

if you have some time. During

23:49

that era as well in the

23:51

80s, I think one of the

23:53

big ways that a lot of

23:55

us discovered the back catalog was

23:57

the Chronicles. best of that you

23:59

guys had put out. Was that

24:01

something that you guys had anything

24:03

to do with or was that

24:06

just a record label putting out

24:08

a greatest hits type thing or

24:10

do you... what was going on

24:12

around with that? Yeah, that's almost

24:14

always a record company thing back

24:16

then. You know, how do you

24:18

get more rush music on one

24:20

package to get people into it?

24:22

And that's their, you know, that's

24:24

their stick and that's their gig,

24:26

you know, to be promotional and

24:29

all of that stuff. We seldom

24:31

get involved in things like that,

24:33

you know, if we don't like

24:35

something that we would say so.

24:37

and likely at that time it

24:39

wouldn't happen. But that, you know,

24:41

we give them credit for doing

24:43

their gig and leave it at

24:45

that. Yeah. And a lot of

24:47

these albums that are being re-released

24:49

now that we do at 40th

24:52

anniversary records and stuff like that.

24:54

you know that we always get

24:56

asked for approvals on the stuff

24:58

and but I have to say

25:00

you know the quality of the

25:02

packaging is really really great huge

25:04

sign is involved in a lot

25:06

of them most recently so there's

25:08

always that you know connection to

25:10

our history for our graphic history

25:12

so it's nice to know that

25:15

Hughes there looking after that end.

25:17

to, you know, to make sure

25:19

it's done. I was going to

25:21

ask if that stuff is also,

25:23

if you guys get involved in

25:25

those boxes, because actually now you're

25:27

going to start hitting 50th anniversary

25:29

of some of the, some of

25:31

the earlier records too. I know.

25:33

Pretty crazy, right? Buddha funk. Right.

25:35

So I imagine you guys get

25:38

asked all the time about you

25:40

and Getty doing something, playing, are

25:42

you pushing away promoters and phone

25:44

calls all the time? Or are

25:46

people leaving you alone? How close

25:48

has anything come to maybe doing

25:50

one show here or something like

25:52

that? Well, you know, yeah, that,

25:54

I mean, that happens all the

25:56

time. And it has been consistent

25:58

for 10 years. So, and I

26:01

would say that it's happening even

26:03

more lately. And I think it's

26:05

because after COVID, everybody's on the

26:07

road and. you know, there's excitement

26:09

for live shows, people getting out.

26:11

So all those old promoters are

26:13

quite excited to, you know, get

26:15

something from us. But, you know,

26:17

Getty's been writing quite a bit

26:19

lately. He's written four books. He's

26:21

been super busy with all of

26:24

that stuff. I'm working on, you

26:26

know, envy of non-two albums, some

26:28

soundtrack work, a couple of other

26:30

smaller artists that I'm producing. So

26:32

I've been super super super super

26:34

super busy. We get together and

26:36

I get together, you know, like

26:38

we're best friends. So we get

26:40

together all the time. I mean,

26:42

we talk to each other almost

26:44

every day. We live 10 minutes

26:47

from each other, like we have

26:49

for the last 35 years. So,

26:51

you know, we're connected. I go

26:53

over there, we sometimes we just

26:55

sit around drinking coffee and laughing

26:57

and talking. Sometimes we go down

26:59

to his little room and, you

27:01

know, play. whatever, maybe some

27:03

bluesy stuff, or like I said,

27:06

we've been playing some rest songs

27:08

for the fun of it, and

27:10

realizing how they were much harder.

27:12

What were we thinking? Yes, exactly.

27:14

What were we thinking? But that's

27:17

fun, you know, because we haven't

27:19

really played that stuff in a

27:21

long time, and that's our, you

27:23

know, that's our history. Yeah. So,

27:25

you know, I don't know. You

27:27

know, anything can happen in the

27:30

world. I mean, so many things

27:32

are changing, so many things are

27:34

happening that we never would have

27:36

expected. We see that every day,

27:38

particularly politically. So, who knows? You

27:40

know, right now we're so busy

27:43

living life and doing so much,

27:45

but well, we'll see what happens.

27:47

Yeah. Well, again, the new envy

27:49

of None album's Sydney Waves is

27:51

out now. Please check it out.

27:53

Follow the band on socials and,

27:56

you know, buy the... by the

27:58

vinyl, it's nice get

28:00

in hold it. it.

28:02

Alex, Alex, appreciate coming on the podcast.

28:04

on the podcast. It's such a pleasure

28:06

and honor to talk to you, fan, and

28:08

time fan, Thank and just a thrill.

28:10

Thank you. enjoyed you so much for, I

28:13

really you, thank you. Bye. a lot. for right,

28:15

thank you. out the podcast. bye. to Hey, thanks

28:17

for checking out the podcast. Don't forget

28:19

to subscribe to our YouTube channel, wherever

28:21

you get your us on follow us on

28:23

all our socials and pragaport .com, and we'll

28:25

see you all again real soon. Thanks.

28:27

real soon.