It's Paul Martin and Ray the Roadie for the Rock and Roll Chicago podcast. How are you doing today, Ray? Bloody good, Paul. How are you? Bloody good.

Yes, indeed. So, that's a tie-in. That's a hint to who we've got today.

Is that your hint? It's kind of a hint, yes. Do you want to guess who it is? I know who it is, but go ahead and tell all our folks who it is. Today we met with John and Tony from the band Tiny Bit of Giant's Blood.

Yes, we did. TBGB. TBGB.

Right, not to be confused with the heebie-jeebies. No, Tiny Bit of Giant's Blood may give you the heebie-jeebies. I don't know.

They might, but I think they got a cure for that. Do they? I believe so. I believe so.

I see. It's not like COVID. Yeah, unlike COVID, right? Unlike.

Yeah. So, they're pretty interesting guys, and we talked to them for a little bit, and let's get to it and see what they're all about. Let's go.

Let's climb aboard. We're meeting today with Tiny Bit of Giant's Blood with John Shulman and Tony Rogers. How are you guys doing? Great.

Doing excellent. Thank you. Hey, guys.

I have to ask you, first of all, have either of you had any injections or drank any of Giant's Blood today yet? Not today. Not today, no. I start every morning with it.

Oh, that's good. That's good. I can't get out of bed any other way.

It's better than CBD, I hear. It has quite the opposite effect, it turns out. I have a little built into me, so I don't necessarily need to.

So, tell me, where did this name come from? Well, for starters, we wanted to create a band that was larger than life fundamentally, and we also wanted it to be the kind of thing that celebrated making yourself as big as you could when you needed to, right? Like, there's something about, like, we all can understand the feeling of either we want to go out and have a good time, which nobody can do anymore, or you're faced with a difficult situation, and you have to kind of fortify yourself and make yourself your biggest self, right? And that was kind of the fundamental idea of the band, so a tiny bit of Giant's Blood was a real, it's kind of, we wanted it to kind of say what we were about, what we meant. It has a little bit of that, I don't know, it has a decent amount of bravado in it, I guess, but also probably a little bit influenced by Hodor from Game of Thrones, but that could be it. I see.

Well, people definitely will remember it. I hope so. I hope so.

And it also, it's conveniently abbreviated to TBGB, which is kind of fun to say. Yes. I think we tried to get TBGB.com, but somebody wanted, they wanted an exorbitant amount of money for it, right? Wasn't it? I don't know, but surprisingly, tinybitofgiantsblood.com was totally available.

Yeah, yeah. Wow, imagine that. Yeah.

Now, I read where the two of you came from a band called The Good, right? Now, that sounds totally opposite of tinybitofgiantsblood. What happened? Where did it all go wrong? Yeah, well, The Good has been kicking around Chicago for a couple of decades at least. Early 90s.

Early 90s. We probably did most of our heavy lifting in the mid-90s, I would say. Mid to late 90s, we were kicking the harvest.

It was, that band was formed by a guy, Devin Arkin, and I, he and I were the chief songwriters, and John joined us pretty early on in guitar, and a couple of other guys, John Goodman and David Rothkopf. And we did a lot, we made a lot of records. They were more, I would say they were more kind of in the power pop slash, it was like, it was heavy rock, but it was more, it was more like songwritery rock, you know, like it was, some of it was more political, some of it was more, I don't know, it tended a little bit more towards pop.

But Devin Arkin, the other founder of the band, died from brain cancer in 2016, right after we'd finished a new double record that we were really, really excited about. And we put it out, and we were really satisfied with it. But that was kind of the functional end of the band, although, you know, occasionally the four of us would play without him, but that band doesn't, that band isn't really a creative force anymore because of Devin's passing.

Well, I'm sorry to hear about Devin, but so now you guys have moved on to Tiny Bit of Giant's Blood, and what is, what would you, how would you describe your music now? I mean, you said the good was kind of a power pop thing, but how would you describe TGBG? Yeah, so Tiny Bit of Giant's Blood, we describe it as glam punk heavy rock. And I think glam and punk are probably opposite, but that's, you know, we like putting them together on purpose because I think there's a lot of, there's a lot of fusion of different attitudes, musical attitudes in this band. And I would say the glam element is like, is kind of like that over the top component to it.

I think it's more, it's probably more ridiculous. It's probably more fun. It's probably more, well, it's, it's more over the top.

And John will back me up on this kind of our, our credo from the start was that if we ever found ourselves asking if something was too much, the answer was, it couldn't possibly be too much. Right. There's always more as you, as you, as we would say.

So yeah. Yeah. Just to echo what Tony said, like the, you know, you, I think you can hear a lot of those glam and punk influences in the music, but you were, you were really comes out as if you see us.

Right. Which obviously is a thing that isn't a going venture at the moment for the worst possible reason. But you know, once you can see us again, I think it would be evident within the first 30 seconds that, that we're about putting on a, you know, a really big show.

Yeah. And I mean, I don't know if you guys have seen, it's on the back cover of our album, which I'll show you. I know you can't see it in the podcast, but you know, we built these giant lights for the stage.

John actually built them completely by hand from with, with like hundreds of LED lights from China, a lot of careful woodwork and soldering and electrical work and, and computer programming. And so we have this array of lights behind us that we, that we bring and we set up behind us for every show. Just for starters, I also have a pair of, of giant forefoot platform heel shoes that I climb up into for every show.

So we, we try, I mean, it's a lot, it's a lot, but also we wanted to do things that most bands wouldn't even try to do because for us, that makes for a more interesting show. Yeah. So, so you want to make it a lot about the show as well, correct? Yeah.

Oh, absolutely. Yeah. Well, I think, I think that's cool.

I mean, I love the light behind you. I think that's awesome. And I saw the boots, I saw the boots.

I've been watching some of your videos and, and speaking of which, if you want blood, it is, you've got, is, is, is a great tune and, and it's very interesting video. Thank you. Our credit to ACDC for the tune.

Of course, we try to do something different with it, which I think we did. Right. Absolutely.

I don't think, I'm going to embarrass John again because I don't think anything about our song is better than the ACDC version, which is canon in my book. But I do think, and I'll fight anybody on it, John's guitar solo in our version is infinitely better than Angus' guitar solo in the original version of that song. And that's not throwing any shade on Angus because I fucking love Angus.

Oh, he's a hero. But I think that solo in that song, it kind of tossed off. It's not one of his great ones.

It just is. It sounds great. I appreciate you saying that.

It was, I would just, I would not say that about, I would not compare myself to Angus as such. He's a hero of mine and has been since I was a 10 year old child. You can't, you can't do it, but I can.

Yeah. Okay. Fair enough.

Yeah. And then we shot that in my garage, which is, which is in the, in the act of falling apart, gracefully. Maybe.

No, it really is in the act of falling apart. No, I meant gracefully was maybe. Oh, great.

Yeah. The gracefully part is that's it. That's a, that's a euphemism.

I guess that's hopeful. But we shot it with my, my son, who's a film student. And we also made a bunch of really practical, AKA made out of flour and corn syrup, prosthetic horror effects, which we really enjoyed.

It would have been so, it was, it was fun to do. It would have been so much more fun to do if it wasn't like five degrees outside that night. It was really cold.

We could only run, we had multiple space heaters in the garage, but, but we found really quickly that using more than like one of them blew the fuse. So we had, we had that, and then we were trying to keep the doors closed to keep the cold out. But it definitely was cold laying on the concrete with, with fake blood all over us.

But it was, it was fun. Not too many bands are doing videos these days. It's kind of, kind of a throwback.

Yeah. I was going to say, we like, I feel like we're, we're, we're trying to throw it back in a number of ways, right? It's, we're, we're, we're trying to bring back a lot of what made rock and roll awesome when we were kids consuming it for the first time, you know, and, and videos would be a big part of that, right? Like we're all, we're definitely the MTV generation. It just seemed like a natural, a natural way to continue to express what we're trying to, what we're trying to be about.

Yeah. We grew up watching Bowie's videos for God's sake. Yeah.

Like the really early videos were good. Yeah. Well, it's definitely, it's definitely interesting.

So tell, tell us about that. I mean, you've got, you've got an EP out that came out first, correct? That's right. And tell us a little bit about that.

Yeah. So we call that Dram A. Dram is a, is a small quantity of, of anything. It's like an old apothecary term.

And we actually made, we have little vials of, of a giant's blood that we, that we make and sometimes distribute that shows that are the, the volume is a Dram. And we like that kind of, we use the symbol of the Dram too as part of our iconography, I guess you would say. And so that EP is called Dram A and we were just, that was really us just, you know, seeing what we sounded like.

Honestly, like, like it was the first thing we did. I think we did it before we played any shows. Is that right, John? Yes.

Yeah. We went, we went into the studio. We have a friend, Brian Clavy, who has this, this miracle of a studio called Crystal, Crystal 2Ls, C-R-Y-S-T-A-L-L recorders in Lombard.

And it's bizarre. We ended up at a session there a number of years ago for something different. And we drove out, it's like on a, it's on a quiet little Lombard street.

We live in the city or, you know, John, at the time we lived in the city. And so Lombard was kind of a mystery to us in the first place, but it was, we were driving down this kind of really idyllic street, all these, all these ranch houses. And we turn into one and there's all the, there's like shrub, you know, big shrubbery everywhere and a big, a big driveway.

And like, everybody thought like, are we in the right place? Right. It looked like every other house on the block. Yeah.

It's okay. Yeah. And then you go inside and it's like, it's been completely gutted and repurposed into a rock and roll studio.

Like. The whole house? Really? Yeah. I mean, the kitchen is still there and the living room.

Like everything else, like there's a huge live room, a control room, a couple of isolation booths. Like it, and again, from the outside it's like every other ranch house in Lombard. And then you get in there and it's this really organic, awesome rock and roll room, you know? Yeah.

Like wood, wood panel too. Like it feels like it's right out of the golden era of music studios and it sounds really good. And Brian is an awesome engineer.

And so we had this one good experience with him a few years ago and we decided to record this with him. And we went in and yeah, we recorded five songs and we really liked how they turned out. So when we went to do our full length album, we went back to Brian and did the same thing.

So now is that available on CD and vinyl as well? The new one, Gigantosaur, is yeah. The EP, we only released digitally, so that doesn't exist physically anywhere. Oh, I see.

But Gigantosaur, which is our new album, is available on compact disc and vinyl as well as digitally. We didn't make cassettes. I think that trend is stupid.

I mean, I enjoyed cassettes when they were a thing. Yeah. How about an 8-track? Yeah.

I enjoyed that when it was a thing too. But, you know, yeah. 8-track is like, it kind of kills me because it's like, it really is genius and stupid at the same time, right? Genius to figure out a way to use the same bit of tape to get four times the length, but stupid in the fact that the way you get it is by a completely random, at least as far as the music is concerned, right? One fourth of the way through every time it has to jump over and make a huge audible ka-chunk.

Right. And then when you hear it the way it's supposed to be heard, then you don't hear that click. You think there's something wrong.

Yeah. Right. Wait, are you saying that there are 8-track players that you don't hear the click on? Oh, no, no.

I'm saying if you hear like an album version or a cassette version, you're always waiting for that click and it doesn't come. When you were driving mom's car and listening to that Ted Nugent 8-track all the time and then you actually heard the album version, it was jarring. And you had to have matchbooks just to prop up the 8-track because it was double tracking.

Yeah, right. When I was in college, I used to borrow vinyl records from the library and record them on a cassette. And one of them was James Taylor.

I don't remember which one. And I don't even remember the name of the song, but it had, John, you'll probably know the song, but it's the song that has the line, one more time again. I thought I'd see you one more time again.

Fire and rain. Yeah, it could be fire and rain. But it skipped on that part, one more time again, one more time again, one more time again.

Funny enough on its own, but it took me a minute to get it to stop skipping. And then my cassette recorded that because I didn't want to go back and redo it. So in my mind, whenever I hear that song and it gets to one more time again, I want it to continue a few times.

That's awesome. And your friends are saying, hey man, your cassette is skipping. Right.

But meanwhile, you just admitted to the entire audience of this podcast that you were once a James Taylor listener. I'm still a James Taylor listener. I'm not apologizing for that.

Now your new album came out right before everything kind of went to hell here with the pandemic, didn't it? Yeah, I think we started it. Yeah, it's funny because we had plans for doing a bunch of shows in support of it and like really getting out there and pounding the pavement. And how'd that go? You know, so we're doing the best we can.

We're still trying to get the word out and we're getting a little bit of play here and there on it. But there's just no substitute for getting out there and doing the shows. You guys are helping.

We were told you had an audience of about two million. Is that right? We're working our way there. We're trying.

Well, first of all, how are you surviving the COVID-19 thing? Have you guys got any shows lined up coming up? We had a soft hold on a date in July for a while, but it was real clear that, you know, I think live music is probably going to be the last thing to reopen, right? Regardless of what phase we're in or whatever people say, like, yeah, I wouldn't necessarily want to go and consume music in a crowded club or concert hall right now. That's not something I'm feeling great about. So even if the clubs were magically open today and we could do a show, I kind of wonder what sort of turnout we would have.

I know it's a big concern, especially because we only have groups of so many. And plus the fact that we were talking with somebody recently that said, more than likely the clubs are not going to want to pay you for what they may have paid you back in February or prior to this. Because they don't have as many people there.

It's a grim situation. We know some club owners, we're friends with several of them, and I think they're all sweating it. Yeah, as far as I can tell, running an independent club anyway was a barely making it venture from the start for a lot of these people.

So now we had conversations where they were looking at, I'm going to have to do something completely different. It's not sustainable at any level below where it was barely sustainable before it was put that way. Now, where were your live videos shot at, speaking of clubs? Martyrs, mostly, and then the Beat Kitchen, we had one.

Martyrs and Beat Kitchen. Although the video we did for Five Foot Heels was not at a club. We rented a hall for that.

That's Link's Hall. Link's Hall on Western. Link's Hall used to be, that's a cool venue that's kind of moved around from place to place.

But they've got a really cool space, two different spaces that they rent out for performances and exhibits and all sorts of things. I was going to say, so you guys played together before in another band. How did Jackie and Larry show up? They walked into our rehearsal and were like, what do you want? Jackie Schimmel is someone that we actually, we met when we were playing in The Good many, many years ago.

And we always loved her. Our orbits constantly circled each other. She was in bands that would play with us.

I did a couple of quick one-off projects with her. Always wanted to be in a band with her. And then when we started this, she had never done anything even remotely like it.

She was kind of more squarely fixed in the pop realm. Jackie is the person who introduced me to the Kinks catalog and all this great music that I somehow had been neglecting my entire adult life. And so she's a really great friend and a great musician.

And this band was a proposal for her that was completely different from anything that she had done or even thought about doing. We talked about pushing her way out of her comfort zone. And that was the point.

She's pretty stoic, let's say. She's not fundamentally a real gregarious, glam rock person. But this idea really appealed to her because it would be something that she'd never really done before.

And so she was in on that count and we were really psyched to have her. And then Larry is actually our second drummer. We started with our friend Greg Fundus, who is another awesome drummer, and he kind of got swallowed up by the touring schedule of Led Zeppelin II, which he's part of.

I think they might be selling more tickets than Led Zeppelin sold in their prime. I don't know. They've been filling a lot of big venues and he really had to focus on that.

Larry is another rock star that we've played with in a couple of other settings. We asked Larry from the start to be a part of this. He was like, I've got a lot of bands going.

I don't know. And then after we released our record and he saw us and then Greg started getting too busy, Larry was like, I think maybe I would like to do that. Well, good, because we could really use you.

I mean, I met Larry, John, I think you too, when he was playing in the Charming Beggars, which is one of my absolute favorite 90s local bands. I couldn't believe that they weren't giant. That was one of those things that I just couldn't get.

But playing with him is like a dream come true. And he really has elevated this thing. Yeah.

I mean, just to amplify on a point, we've known both of them for 20 something years. As you guys have talked to a lot of local musicians, I'm sure you know that it's actually a fairly close circle. We all know each other and we've all played on each other's stuff.

And if you're kind of of the same generation, you just know people. It was super easy and super comfortable for us to start working with Jackie and Larry just because we've known them forever, known their work forever. And it's been a lot of fun because they've taken these things and made them their own.

We're not super about like, play this note, play that part, do it exactly this way. It's like, you bring your own spirit to this thing. And they both have really embraced their roles musically.

Yeah. And visually as well. Jackie is, I think that she owns only men's clothing.

She dresses really like, you know, fairly conservatively, although cool. But, you know, I was shopping for her and I sent her a picture of a thing. And she was like, hey, you know, just as kind of like a guideline, you know, don't suggest anything that you wouldn't wear.

And I was like, yeah, that's not going to limit you in any way. I saw some of your outfits there. It's not bad because that's not going to help you.

So I love the theme behind all your promotion and on your website, how you describe what a tiny bit of Giant's blood is, like a lion on stimulants. Now whose idea is all that? Who comes up with this? Who of you come up with that? That's all. That's all, Tony.

Anything marketing or cool along those lines or anything about our iconography or our logo types or any of that is coming out of Tony's fevered brain. Sometimes a lion just isn't enough. You know what I mean? Yeah.

Like a lion. A lion is pretty cool. But a lion on stimulants.

A velvet jumper. Two sizes too small. I cranked up when I read that.

You don't want it loose and floppy. That would just be dumb. So it carries into some of your songs as well.

Yeah. And like little people and girl over there. And number one man is actually talking about Lincoln, I guess, right? Yeah.

It's funny. I was thinking about a number one man in the context of all this unrest that we've been having the past couple of weeks. It's funny.

It's only been like it's been slightly over two weeks that the George Floyd thing happened in Minneapolis. And that song, we wrote that song two or three years ago. Obviously, you know, the things that are happening have been happening for a long time.

The song starts off talking about Abraham Lincoln because he's a person that we can all agree on, right, as being a hero and the cause of ending slavery and injustice toward minorities in America. But it kind of diverges because even though Lincoln officially ended slavery or was the president, you know, when a lot of people worked hard to end it together, it didn't even come close to ending the tremendous problems that the whole thing unleashed that we just continue to pay for as a society again and again and again. And it's just like, it's staggering to think, it's staggering to think about like the people who were engaged in the whole system, you know, could they have possibly seen the ramifications of what they were doing? You know, they were getting something out of it, obviously.

Could they have ever predicted what hell they were unleashing on earth, not just at the moment, because they were, but just across decades and centuries in the world? And would they have cared, you know? And even some well-meaning people in the, you know, in the civil rights movement, you know, the desegregation of schools was pretty massively fucked up by people who could have done it a lot better. So just, yeah, that song has a lot of things going on in it, obviously. We don't get super political in a lot of this music, but yeah, that's something worth getting pretty mad about.

Now, who does, you both do the writing? I mean, lyrically and musically? Lyrics are all Tony, and I've contributed musically some of the riffs, I think would probably be the best way to do it. And then Tony builds a song around them. I think that's probably a fair description of what we're doing here.

Yeah, a lot of what we've done is John and I sitting down together with our guitars. And he's, you know, he's way more of a player than I am. My guitar is more of just a songwriting tool.

But, you know, just playing with ideas, recording them, just musical ideas. And so we'll have a string of, you know, 100 riffs, ideas, you know, little snippets of things. Maybe we'll like it and we'll start evolving it.

Maybe we'll just move on to something else. And then I'll come back to it later and just kind of riff over that. A lot of songs evolve that way.

Do you have any favorites? Ones you love playing on stage, maybe? John, what do you like playing best on stage? That's a great question. I love playing Little People just because I get to play piano a little bit. But that's... It's kind of cool beginning there with piano and the bass.

Little people Little people Don't need remembering Little people Little people Won't need the slandering Little people are not even little people Let's just put it all aside And be big for tonight All you people are alive That's fun to play live. Tony plays most of the keyboards that we play live himself, but I get to do that one because he's busy singing. Very busy singing.

Very busy singing. So from the EP, I'm always psyched. Well, Number One Man is always fun to play.

I would say, gosh, it's like picking a kid, right? Yeah, well, I guess you're right. To Be as Beautiful is another one I love because that one just kind of chugs and cranks. So what do you think, Tony? Yeah, I have a lot of favorites, too.

I like Girl Over Here a lot just because of the energy of it. And we usually open shows with that. We're actually working on a music video for that right now, which I think is going to be pretty epic.

I can talk more about that if you want. I also really enjoy playing Five Foot Heels because that's the song where I get to climb up into my five foot heels. They're maybe more like four feet, but, you know, four foot heels doesn't sound as good.

They're pretty tall. I get up in them, but yeah. You bring them to the shows, right? Yeah, each one has a giant box.

We usually have to have a pretty early load in for our shows because there's a lot of stuff coming in. There's shoes, there's lights, there's fog machines, there's costumes. A lot of it involves a really sweaty John up on a very tall ladder.

Yeah. I really need to hire a roadie, like a whole crew, actually, with all the extra money that we've got coming in right now. Yeah, yeah.

Are you guys interested? Well, I think my roadie days are done. Not me. So what you're saying is you are interested.

Well. Yeah, yeah. It's a pretty easy promise to make right now.

I'm committed to one particular band right now, so. All right, I'll climb my own ladders then. That's fine.

Yeah, he doesn't do well on ladders anyway, so. Talk about this video you got coming up. Well, it was born out of a socially distant reality that we're living in, knowing that we couldn't really all get together with other people and shoot something.

My daughter was throwing out a bunch of, not throwing out, but backing up to donate a bunch of Barbie dolls and Ken dolls and all of the stuff that goes with it. And I was backing it up, and I couldn't really take it anywhere yet because all thrift stores were closed. And I had the idea, like, oh, I should do something with these before I give them away.

And then I was thinking, oh, maybe I could make a video with them so that we don't have to, like, we could shoot something without band members. But then I had this idea to do, I monkey around a lot with graphics. I've been starting to play around with motion graphics.

And I tried filming my face and then putting it in film, putting it on the body of a Ken doll, and I thought it was really funny. So then I started building and shooting these tiny sets full of Ken and Barbie dolls and a lot of other weird stuff. And then my son, Lincoln, he's the film student who helped us with the If You Want Blood video, he shot it.

He's helping me shoot this, and when we're done shooting it, then the band is going to shoot themselves, and we'll marry that with the dolls, and it's going to be pretty fun. There's a lot of insane action without any real action. So you've got a 14-song CD, a lot of songs, or album, I should say.

It's a lot of songs. It's available, where can people find it? I think they can only, well, you can't buy records in stores currently, so I think that the places they can get it, the best way to get it is at tinybitofgiantsblood.com, which our Bandcamp site feeds into that and you can get the disc or the record from Bandcamp, and you can get it digitally at Bandcamp too. We like Bandcamp because we don't just typically get the highest percentage of those sales, but during COVID, they've been giving all of their percentages to artists, which is really lovely of them to do because I'm sure they're affected like everyone.

But you can also, if you want or need to, you can get it at all the usual places as well, like Spotify and Apple Music and Google and Amazon. And where can we find you? On the World Wide Web or on social media. John, what's our Facebook page called? I'll pull it up right now.

I think it's tinybit. No, that's too simple. I think it's Giants Blood.

I think it is. Pick a lane. Or is it bitof? It's Giants Blood.

Yeah, so Facebook.com slash Giants Blood. Instagram is a little more. No apostrophe in that, by the way, which is we made it a little bit.

Well, so our name has an apostrophe in it because Giants Blood is Giants apostrophe S, but on the Internet, we don't use the apostrophe because the Internet doesn't like apostrophes. Right. I know they don't like ampersands.

Yeah. I love ampersands. Why don't they? I don't know.

I don't know either. Tinybitofgiantsblood.com. Yeah, I would say go to the website because links to all of our social stuff are there, right? Yeah. Because the Instagram is tiny underscore bit underscore of underscore.

It's difficult to say, but if you just go to tinybitofgiantsblood.com, I think you can find your way to all of them. And if you search, if you do a Google search, you know what, this might have just happened to Jackie because, you know, she spends a lot of time, you know, looking at the band stuff online. But when she started Googling tiny bit of not only the tiny bit of Giants Blood pop up, but also tiny bit of blood in dog stool, tiny bit of blood in snot, tiny bit of mold on bread, and tiny bit of blood in dog poop.

Those are other things that you might find. But we don't want any of those. We want tiny bit of Giants Blood.

I don't want any of those. That's all bad things. Well, I see a sneak preview of your upcoming video.

You got a picture on Instagram. It's interesting. To say the least.

Yeah. Yeah. You know what? If we can get that on our gravestone, interesting to say the least, I think we'd take it.

Sounds good. Well, thank you, guys. We appreciate you checking in with us today.

Yeah, it was fun. We enjoyed it. Appreciate that.

And talking about TGBG, or CBGB. CBGB. CBGB.

CBGBs. Yeah. Like CBGB except closed.

Yeah. Yeah, thanks a lot, guys. We appreciate it.

Awesome. And hopefully we'll be seeing you guys out and about. Hopefully sooner than later.

Sounds like a plan. Thanks for talking to us today, guys. Thank you.

Thank you. Bye-bye. Bye.

Bye. Rock on. So that was John Shulbin and Tony Rogers from Tiny Bit of Giants Blood.

And they're a very interesting band and very interesting fellas. Ah, excuse me. Well, I have a dram of Giants Blood.

Yes. It's very tasty, I must say. Is it? It is.

You can order those right from their website, and they'll send you some. That's right. I mean, you can make mixed drinks with it and stuff.

And I already ordered my five-foot heels. Did you? I'm getting a pair. It's a mysterious dark liquid that wants to be pulsating inside of you.

What's that place to pulsate? That's what it's described as. A blast of radiant light that will render you temporarily immortal. So you got that going for you.

And pulsating, you won't go blind. That's right. Like some things will make you go blind.

Yeah, so they're kind of a glam rock. If glam and rock had a baby, it would be a little bit of Giants Blood. Exactly, exactly.

Kind of the glam stuff from the 80s and rock and roll from the 80s and 90s and today, and put together into some interesting music. Exactly, exactly. Definitely recommend going out to see these guys.

A little bit of a change from just your traditional pop, rock, whatever. Right. They're kind of a Northside band.

Seems like playing at Martyrs and Beat Kitchen. Two cool clubs, two very cool clubs. So be sure and check them out once this whole pandemic thing is over with.

Yeah, visit their website. Check out their music on Spotify and all those places. And on Bandcamp.

You can buy them on Bandcamp. And this way, some of the proceeds go more directly to the band. Exactly, exactly.

Speaking of Spotify, did you know we're on Spotify, Paul? Are we? We're on Spotify. We are on Facebook. We are on Twitter.

We're on Instagram. We're on TikTok. We're on Apple Podcasts.

We're there. Check us out. Like us.

Subscribe. Let us know you're out there. Yes, indeed.

So thanks for listening, everybody. We'll see you next week with another interview. Another edition of the Rock and Roll Chicago Podcast.

Thanks for listening. Good night, Chet. Good night, Dorothy.

Who? Huntley Brinkley. You remember them guys? Oh, yeah. Chet.

Good night, Paul. I couldn't think. I thought it was Dorothy.

Oh, okay. See you guys next week. Bye.

The Rock and Roll Chicago Podcast does not own the rights to any of the music that's played on this podcast. The music is used to promote the band or musicians that are interviewed. Road to Rock Radio is proud to welcome Paul Martin of M&R Rush and the Dancing Noodles and Ray the Roadie.

The Rock and Roll Chicago Podcast. Join Paul and Ray as they bring you weekly interviews from bands that have rocked Chicago. It's the Rock and Roll Chicago Podcast.

Monday night at 6 on Road to Rock Radio.