Hey, this is Paul Martin. And Ray the Roadie. With the Rock and Roll Chicago podcast.

So Ray, I have a question for you. Yes, sir. Are you a saint, or are you a sinner? Well, my mom always said I was a saint, but I guess I kind of leaned more towards the sinner part.

Yeah, yeah. Yeah, well, moms always say that about their kids anyway. That's right.

That's right. It's kind of fun to be a sinner. A little bit.

Well, this is like, you don't get too, too, too extreme. Not too extreme. No, no.

So, so anyway, speaking of saints and sinners, now, I forgot to ask these guys, which one was a saint and which one was a sinner. But we're, we're talking with the band Saints and Sinners this week, and they're, they're from the Plainfield, kind of Joliet, Crestville, Romeoville area, and, and the, they've got some insight. They've actually been around, started the band in 1963.

I know. I know. I think I, I, I wasn't even born yet.

I don't. Well, no, I'm sorry. I'm sinning.

I'm sinning now. Yes, you are. You're lying.

It's a lie. You sinner, you. I am.

I'm sinning. I was around. Yes, you were.

Yes, you were. Well, let's, we talked to Mick Jones and Bob Tinker. We call the, I guess they call him Tinker because he likes to tinker around and make sure that all the equipment is working properly, which is always a good guy to have.

The best guy to have. Yes. And he's, he's a bass player.

Bob, Bob is a singer and a guitar player and, and I guess they all sing, but, but let's find out some more about Saints and Sinners right now. What do you say? Let's do it. Hey, this is Paul Martin.

And Ray the Roadie. For the Rock and Roll Chicago podcast. Sitting with us today are Bob and Mick of Saints and Sinners.

How are you guys doing? Doing great. How are you doing? Great. Great.

Nice to meet you. Nice place you got here. Thank you very much.

Yeah. Very cool. Very cool.

Very nice studio. So tell, tell us about, tell us a little bit about how the band got started, started out there. Second time or? Well, well, whatever time, whatever time worked for you.

Take one. Yeah. Start from the beginning.

Okay. I originally, I started the band in 1963. Wow.

I was 13 years old and we were originally called the Gents, like everybody had a first name and they had like, you know, the Quarrymen turned into the Beatles and so on and so on. So anyway, we changed our name when I was in high school, I think a year later we changed to Saints and Sinners and it played till probably 1971. And then I left the band cause I was getting married and my wife didn't like musicians on the road and too many girls and you know the story.

Yeah. We've all been there and done that. So anyway, I had to get a real job and so my brother took it over for, my brother used to play drums.

He took it over for about a year and then the band went under, it went, it just dissolved. And then I raised a family and went to work, did like everybody else and then I was ready to retire back in 2014, 2013 and I said, you know what, I think I'm going to put the band back together. So I actually did put the band back together.

I'm the only original one left. There are a few of our guys, most of our guys are still alive, the original ones, a couple are dead but most of them are alive but they've spread out all over the country. New York and some in D.C., some I think Florida now and in Arizona.

So now what do you do in B&B? I play guitar. Okay. I play rhythm and some leads.

Okay. When we do lead harmonies and stuff. I do that and I run the business.

I do the business end of the band. I see. So that's basically what I do.

I manage the band. Okay. Pretty much.

And what about you, Bob? I'm the bass player and just the bass player. But actually it's the same thing. Everybody in the band sings harmonies, backgrounds, there's a couple of songs that I sing lead on.

But yeah, we all kind of share a part in that. And you tinker with everything, I understand. I'm responsible for taking care of all the cables, part of the networking end of it.

Making sure everything works. Making sure everything works. Because if it don't work, you aren't going too far.

That's for sure. So who else is in the band? See we have Frank Urisi, he's our lead singer. We're going to call him Mad Dog, but his name is Andy Miles, but it's Andy Mad Dog Miles.

He's from Detroit. He's a new lead guitar player that we just got from Detroit. Two of our members quit to form a new project.

They wanted to get female singers in and go a different direction in music. So they left and we got two new guys, our keyboard player and our lead player. So the lead player is Andy Mad Dog Miles, he comes from Detroit.

Brilliant lead player. Really good guitar player. He's actually got a good voice, a good lead voice he's got too.

And we have Bob Lynch that came with us on keys. And then we got Bill Ambrosini on the drums. And Bill Ambrosini has been around for a long time.

He's played with Barbara Mandrell and the Box Tops. He's played with a lot of people. Bill's been around quite a while too.

We've got a lot of years of experience in music in the band. That's true. So most of your shows are in this area, in the Chicagoland area, you guys travel a lot? Yeah, we do travel, but we usually make them about a 50 to 70 mile radius.

We try not to go that far. There are some exceptions. We're getting a little older.

It's kind of hard on the older guys. I could do this all day long when I was 25, but I'm pushing 70. It's not that easy anymore.

It's hard to recover from the kids. I always say when Mick Jagger quits, I'm quitting too. I will not say Keith Richards.

Because I could be 140. He's going to outlive everybody. That's for sure.

So you guys got anything coming up currently on your shows? We took a month and a half hiatus to break in our new guys. Our first show we're playing is, we're going to ease the two new guys in. So we took a job with the Joe Light Yacht Club down at Big Basin Marina.

On the 24th of August is when we're going to bring these guys out. And then on the 31st is... Leisure Lakes. The 31st is Leisure Lakes.

It's a resort out on Jefferson. Or Shorewood. It's on Shorewood.

Right off the 55 Furnish Road. And then every year we do... We're big on the Special Olympics. So we help the Crest Hill Police Department out with Special Olympics.

We donate our time to do part of a show for them at the Ridgeland School. And that's September 8th. So that's for Special Olympics.

And the Crest Hill Police put that on every year. This is 7th? 6th or 7th year? 6th year I believe. I think it's the 6th year.

We like doing... We can't do for everybody. You'd like to help a lot of people out, but you'd be playing benefits your whole life. So we pick, we do one for cancer, and we do one for Special Olympics.

That seems to be the ones that we are the closest to. Because I had lung cancer. And I'm a lung cancer survivor.

I just hit 5 years in April. They took my right lung. And I can still get up on stage like an idiot.

And I do. Does it affect your singing? No, surprisingly no. I was real surprised.

Because once in a while I'll get a little out of breath. And I'll just step back and I'll catch my breath and go right back up to the mic and then I'm fine. But I've been able to hold my own ever since.

I think it's because of that. Because you get that much exercise, breathing exercises when you sing. That's helped a lot.

I think if I would have not sang and would have not been running around on stage, it would have been different. I wouldn't have got the therapy that I needed. And a lot of the songs keep you young, I think.

Yeah, it does. And music helps keep you young. You guys look like, what, 25? 28? You're older than me.

It probably helps, too, with a lot of the clubs that are not smoking anymore. Because that helps. We mentioned before we started about Blue Chip, that they still smoke in there.

Yes, they do. Does that bother you? It doesn't bother me. No.

It's a pretty clean atmosphere. Unless you've got somebody smoking a cigarette in front of you. Yes, that's exactly true.

If you're standing right next to somebody smoking, yeah, you'll notice it. But you're right. I think they suck that air out pretty good.

They clean the air, go through it pretty good. Because I don't notice it as much. It's like if you go standing outside somewhere, even when a couple people are smoking, I'll notice it.

I smoked for 43 years. I actually quit five years before I was diagnosed with cancer. I told my doctor, I said, see, I got it anyway.

It was a good thing. It probably would have been a lot worse had I not quit. They caught it at stage 1A, which is the earliest you can catch it.

It was about the size of a nickel. They wanted to take a wedge out of my lung. I said, no, let's don't do that, because that happened to my father, and he died.

It came back, so I had him take the lung. I think my surgeon thinks it was a wise idea to do it, because then they had no way it could spread. I know I got it all.

That's good. Tell me, well, first of all, you were on the Illinois Rock and Roll Museum's CD. It's a mouthful.

You did the Crying Shames song. Yes, we did the Crying Shames' Sugar and Spice on that one. Did you record here? No, we recorded the song in the Nook Studio in New Lenox.

It's actually a really nice studio. Absolutely. The guy is a really smart kid.

He knows his stuff. I would say he is probably about 25 to 28 years old, but you would think he's much older for the knowledge he has about recording. He's got that perfect pitch thing going, too.

He does. He is perfect pitch. He can pick out stuff you kind of go, okay.

Stuff that you wouldn't hear, he can pick. I was amazed. He does have perfect pitch.

I would swear that he does. Wow. Yeah.

Because I was listening to that. We was going through a song, and it was just one little tiny note on keys. And he picked it out of a hole.

Yeah. The whole big, you know. Yeah.

I like going out and he picked it out. Yeah, and he picked it out. It surprised me.

But no, we had a lot of fun doing that. We have our CD here. Yeah.

We have seven songs on that one. And now we're going to put seven more on, and then we're going to put it out as a CD. But we want to put a few originals on, because these are all covers.

Okay. We don't have any originals out yet. We have some, but we haven't worked on them.

There's actually a couple back from 63, 64. Yeah, and I have some that I recorded at RCA in 1970 at Chess Records. Oh, wow.

And I have some that I recorded with Gary Leweisel from the American Breed. Sure. In his garage.

Yeah. I recorded there as well. Did you? Yeah.

You recorded in the famous Gary's garage? Yes, I did. Yes, I did. He'd go hit the button and come run outside.

Yeah. Yeah. The good old days of music, huh? Yeah.

Yeah. Oh, that's cool. Yeah, I remember that.

In Payless or something. Payless. Yeah.

Payless, yeah. Yeah, that's where he lived. So you're doing most of the writing on the new stuff, or is it all? Yeah, we collaborate on it.

Everybody kind of collaborates on it. We haven't really found our niche yet. We're like a London McCartney or a Jim and John.

Like if you went to Jimmy Peterick, he writes a lot of stuff. But he takes help from other people, too. Takes input, I should say.

Everybody should have a part in it so that it has your own. Right. And that's what we kind of try to do.

We kind of give it the flavor of until you do that, you really don't know what you sound like as a band. Right. You're just playing covers.

So what do you really, really sound like? Who are you is what you try to find out, figure out. And I think the only way you can figure out who you are is to record some songs of your own. Write them and record them.

Even on the covers, we do a lot of that, too. We kind of put our own spin on some of it. I mean, we don't change the songs, but we just kind of give a little bit of our own spin on some of the parts.

And a lot of these songs are so iconic. Anyhow, you have to have certain parts of the song in there, especially when it comes to the leads and that kind of stuff. Different nuances that have to be in there.

But as long as you have those, and if you put your own little spin on it, you can add a little bit to the song. Yeah, I mean, you couldn't play Hotel California and not play the lead. Exactly.

It wouldn't be the same. That's what we're trying to say. You have to put certain things in there.

For sure. Everybody get booed. Yeah, exactly.

You've got to have that in there. The same thing has to be in a lot of songs. Everybody looks for that hook.

It's good. It's got the hook in it. That's right.

And if you take it out, it's not that song anymore. It's like, what the hell are they doing? So what songs are on the CD? On this CD, we have Vehicle by the Eyes of March. Boys are Back in Town.

Boys are Back in Town, yeah. No Time Left for You. I Didn't Guess Who.

American Band. So you did a lot of 70s stuff. Yeah.

Most of our music is 60s and 70s. Yeah. Yeah.

All these covers that are on here are 60s. The ones that are on this side of this CD are 60s, 70s. We're going to move a little higher in the next one.

Yeah, well. Yeah. But that was when music was music.

Yeah. We pretty much stuck to 60s and 70s music. That's what we started out.

We try to stick with everything that's recognizable. I mean, any of the songs that we do should be ones that everybody recognizes, sing along with, or dance to, whatever they want to do. But I mean, they're not the more deep cuts type thing.

This is all. They're not B-sides. Right.

Yeah. We moved most of everything that was popular. Like, when the band first started, we played Top 40.

And now it's called classic rock. Right. That's exactly what we did.

When you were in a band back in the 60s, you just went to the radio station. Whatever was on the station is what you played. Right.

And that's what you did. But now you come back, and all those songs you played when you were 15 and 16, they're classic rock. And there are so many great songs.

There are so many great songs that people don't touch on. A lot of people don't get to hear anymore. Yeah.

I mean, I love every kind of music. It's just the kind of music that I choose to play happens to be classic rock. Well, that's what I say.

I mean, I like all kinds of music, as long as it's done well. Yeah, exactly. No, you're right.

You're absolutely right. If it's done well, any type of music is good music. Because it takes time, effort, and talent to put together any music, no matter what kind of music it is.

And if it's done well, you're absolutely correct. It's good music if it's done correctly. Yeah.

Are you going to record your new song at the Nook? Yeah, we'll record it at the Nook. I like to have a separate independent guy do it. Because otherwise, you get too much of one guy from the band in on it.

So you need an engineer or somebody with another ear, besides anybody that's in the band. Otherwise, you will get one person that's controlling all the music. And then the drummer's not going to like it.

Bass player's not going to like this. But if we all collaborate on the mixing with the studio, then it comes out kind of the way you want it. And I think it's a better way to do it than just send one guy off to mix and record all the parts.

And even here, we could record in here, but we don't have nearly the equipment that we need. We've actually done it. We have done it.

Which, I mean, it still sounds fine. But it's still, in comparison to running through the studio, I mean, it was just beautiful. And the thing is, is the way we ended up recording the songs that are on there other than Sugar and Spice, everything else was literally live recorded, and then we just added the vocals in.

So it was all the band all at once recorded that way rather than individual pieces. Yeah, we did not record in pieces. We recorded live.

And then we did the vocals separate as well. The only thing we did separate. So what you're listening to is when you listen to our CD, you're listening to us play.

Right. Except for the vocals. Yeah, it's a good way to do it, yeah.

I mean, I know a lot of times they put a drum track. Right, yeah. We wanted to stay away from that.

Yeah, you're right, Bob. It's the same kind of thing. If you can't produce it live, then what's the point? The only problem with that is if somebody makes a mistake, then everybody's going to start over again.

That's very true. It's a lot of pressure on you. And I think it should be.

Because you should know your stuff. You should be prepared, especially if you're going to record. You should know exactly what you're going to do and what's expected of you.

And it's too easy, well, I didn't have to do my part because he has auto-tune. No, you shouldn't have to do that. And we don't have to worry about there's a click track.

No, that's not the way you're supposed to do it. And that's the way we try not to do it. We try to do it as raw and live as we can.

And we'll come back in and tweak things. Especially if you take a song and you put five-part harmonies in it. That you have to deal with a little bit.

That's a lot of people singing. And people step on each other's notes here and there. But it works out fine.

I mean, you guys will be the best judge. You guys are the ones that will listen to the CD. And you're the ones that will let us know.

All we can do is record it and then record it so we think you'll enjoy it. And then if you do enjoy it, then we did our job. Well, I guess you can't answer the question.

And that's the music that you're playing has withstood the test of time. Yes, it has. I think it's been through more than the test of time, some of them.

Some of the 80s stuff, I'm a little iffy on. There's some good stuff. There is.

But it's starting to get processed. And I don't like the processed music. I like to stay away from the processed music.

I mean, that's okay if somebody else wants to do it. But I just don't want us to do it. Right.

And I'm sure you guys, because you're old school, you don't use any additional tracks. Nope. We use no backing tracks.

I go straight through the amp. I don't even have pedals or anything. I go straight through the system.

I know a lot of bass players do it. I have one button on my guitar pedal, and it's distortion. That's it.

Lead players always have pedals. Yeah, lead players got a few pedals. Everything we play, it's live and raw.

We use no backing tracks. We use no auto-tunes. We use no harmonizers.

We use nothing except what you hear on stage is what you're getting. Right. I mean, I guess it would be real easy to stand up there and throw picks out, and you're not really playing the lead, and you're hearing this great lead going on.

Standing there, oh, I'm supposed to be playing. And I've seen guys do that, too. Oh, yeah.

It's just a glorified DJ thing. Pretty much. It is.

Glorified DJ. No. But I'm glad you brought that up, because there's a lot of bands I'm seeing starting to do it, and it kind of bothers me that they are going to a lot of backing tracks, and there's not seven people on stage, and you're hearing instruments up there that aren't there.

Yeah. You should learn how to play a song. If you're missing that instrument, learn to play it without it.

Don't add it, because all you're doing is showing people that you can't play it. I just don't agree with putting instruments in that you don't have, or you don't have the capability to play, but here's some pro that he recorded it on the record, and now he's on your stage playing it. Yeah, well, as I said, I ran sound for quite a while, and I had a lot of bands that are doing it.

Oh, yeah, I know, I know. No, M&R Rush don't do that. No, no.

There's a couple of really good bands out there that don't do that. Well, yeah, I would say everybody we've interviewed so far. So far, yeah.

They're not used to it. They're not used to it? Well, that's good. We're on episode 15 or 16 or something.

Well, that's great. That's great. I'm glad to see that.

The biggest thing is we're out there having a good time, and I think that that kind of overflows into the people who come and see us, too. Now, you guys get crazy at stage, or what's it? No, not really. Frankie will get a little crazy, but he does, but it's part of the show.

Mad Dog's good at this. Yeah, we don't know what he's doing yet. Yeah.

We don't know what our two new guys are going to do, but they seem fairly reserved. I don't think they're going to bite any money badly. I don't know.

He made a comment the other day, wait until he starts jumping on the table, so we'll see. Yeah, we'll see. But Frank does put on a good show.

He gets the crowd involved. He gets the people singing along. He'll do a couple of songs.

That's what it's about. It's giving them a show. It's getting audience participation into the show and getting them in and getting them wanting to be part of what you're doing.

And sometimes we'll send our wives, we'll go out and they'll buy blow-up guitars, and we'll pass them out in the audience so they look like they're playing guitars out there. And, yeah, just stuff like that. Don't you send them one of your guitars, though? No, no.

Hey, here's this Les Paul. Try this out. No, no.

They won't break it. Yeah, right. They won't break it.

I learned as a sound engineer to always ask the wives how the band sounds. Because they're the best judges. Because they hear the band, they see the band all the time.

That's right. And they're the best judges. They really are.

Because a lot of times they'll be honest with you, too. Oh, yeah. They'll say, they're not sounding too good tonight.

I've had many of them walk right up to me and say, I can't hear my husband. I go, well, which one's your husband? Like I'm supposed to know. Sorry.

I can't hear my husband. That's a good one. We've gotten kind of spoiled, too, with most of us are using in-ears and that kind of thing.

And even with our sound system, the way it's set up, we're using a split snake and all that. So the feed that's going out to the house or out front, we have no clue what it is because we're listening to what we've got set up on our own. We're mixing our own mix in our ears.

Everybody's got their own mix. We have our own sound, man. Unless we go to a place where, like you, we'll mix sound.

We'll just run that part of the sound to you and you'll control it. So we have no idea what's going on in the front of the house unless some of our people tell us. And that goes back to what you're talking about.

It goes back to what you're saying. Right. Well, you have to have somebody.

A sound guy can make or break a band. I'm sure you know that. And it's always important to have a good sound guy.

It is. It's important to have a good sound guy because we're all digital. We have an XR-18 and we mix through an iPad, which makes it easy because you can go around the room.

And you've got to be careful of this because what it sounds like over here doesn't sound like over there. What it sounds like over here doesn't sound like over there. So you've got to get a sweet spot where you're supposed to hear the sound great and right there.

Stand there and don't move. And then mix from there and then leave it there all night because you can tweak too much. Right.

Just like an artist, you can put too much on a painting. You can put too much on sound. Yeah.

But I'm a firm believer in that every song is different. Absolutely. So you've got to get a mix for the song.

Oh, I agree. I agree that every song is different. Right.

Especially when it comes to keyboards having a lead or guitar lead or whatever. And in our case, even when we've got different people singing leads and that kind of stuff too, you've got to do the same kind of thing too. Vocals because background vocals won't be as prominent.

You need somebody that's knowledgeable of your music too so that they know when to turn you off and when to turn you on. Right. And that's a big part too.

You really have to work with a guy that knows when this part's coming in a song and when that part gets to go away. We always make sure we supply a specialist. Yeah, and most of the guys, I would give a set list out to a sound man so that they know what's going on.

I can tell them I have little notes on there. This is where I want you to bring this down and take this up. And they're written pretty precise where you can sound like you pretty well get the feel of what we're doing.

The thing about our songs is almost everybody in the world knows them. Sure. I very seldom hear a guy say, I haven't heard that song before.

It's Hotel California. And a lot of these songs come and get your love. Frankie keeps pointing out, oh, it's a JC Penney song now.

A lot of commercials, yeah. Oh, yeah. You think back to when we were, you know, 50 years ago, when we were kids.

A lot of these kids know this music that's 50 years old. 50 years ago when we were kids, did you know the music that was 50 years old? Yeah, yeah. No.

No, not really. Because you didn't listen to any of it. No, we didn't.

We didn't listen to any of our parents' or grandparents' music. But the kids nowadays do. They listen to music of the 60s and 70s.

I have three grandsons. They love the Beatles and the Stones. I mean, I'm sure that they love some of their music that's nowadays, too.

They've grown up with it, sure. But they do like the music that I play. And I see that it's on their playlists on their iPhones and stuff.

So they're not just appeasing me doing it. They really do listen to it. Right, right.

And that's a good sign of a test of a song, is if it can stay around for 50, 60 years, it must be a good song. I'm glad to see some of these young kids come out, and they're playing the older songs, too. Yeah.

Because I know they're also trying to get a good mix of music from their era, from the older era, from the middle-age era. And where it's going to go, we won't know. But we hope that our music goes somewhere.

Any kid who's learning to play guitar nowadays, I mean, really has nothing from this era to really work on. You don't. Because it's all boom, boom, boom, dump, dump.

It's all processed. It's all so processed that they have to go back and listen. To the older days.

Yeah, to the older days. That was one of the things that I was talking about at the recording studio, if you remember. I made the comment about all the bands that come in there to record.

He says, nobody's doing the newer stuff, because nobody likes to play it. They like playing the older stuff, which is kind of amazing, too. Well, yeah.

Now, this generation, they use garage band for everything. Anything they want, they can reproduce on the computer. It's a guitar, it's a piano.

There's not even anybody playing. Yeah, yeah. That's right.

Do you remember back when we were kids, 15, what we used to go through to pick a song off of a record, slow it down, and then drag it across, try and get that one note that he's hitting that you can't find, you know? Yeah. Yeah, and we did have people to look up to, like Clapton and Jimi Hendrix. So they had somewhere to go towards.

Now, they don't have anywhere to go towards. They're going back. Right.

Because if you don't have anybody, the old vinyl albums are coming back. Well, it's true. They are.

Nowadays, you can just go on YouTube and find out how to play the songs. Yes, you can now. Yeah.

Yeah, how to play Jessie's Girl. It comes right up. Yeah.

But we had some of the stuff. There's four or five videos. There's six videos.

Just like I showed you how to play a guitar, keyboards, anything. Yeah. It's kind of funny.

When I first started playing bass, I was in music in grade school. So I knew sheet music. So the first thing I did was when I wanted to learn a song, I got sheet music.

As soon as I started playing it from the sheet music, I'm going, this isn't going to work. Because this is not what they're playing. So, yeah.

I have found two bands out there. I don't know if you've heard of Greta Van Fleet. They're out of Michigan.

I mean, that's pretty darn close to what we grew up with. And then there's another band I found online. They're from Singapore.

They're called General Lee. If you ever get a chance to look them up. General Lee.

General Lee. They're from Singapore. They are really, really good.

It's all like classic rock, they do. And I see a couple younger guys coming out. They want to be Jimi Hendrix tribute.

Which is hard to do. It's hard to aspire to be 16 years old and play like Jimi Hendrix. And setting them on fire.

Setting guitars on fire gets expensive. That's right. There are a lot of tribute bands out there, too.

And it seems like it's a popular thing right now, especially. Do you find that, you guys? Do you find that tribute bands are getting too many? Yeah. It seems to be.

Yeah, there's a lot of tribute bands. A lot, a lot of tribute bands. Yeah, that's what we think, too.

It's like, you know. I went by Club Nets a little bit ago. I saw a sign that said, Cheer Tribute.

I went, really? I didn't know there was a Cheer Tribute out there. That's an interesting one. Here's the thing I just saw.

Last month in Kenosha, there was like a three-day festival. It was all tribute bands. There was like a hundred.

They had them all listed. There was like a hundred tribute bands. All different.

You know, Pink Floyd, The Beatles, The Stones, Led Zeppelin. I mean, the list went on and on. I was like, really? There's that many tribute bands out there? Yeah.

A lot of them are doing pretty well, too. Yeah, they do do well. Because one of the reasons.

You know what you're going to hear when you go there. When you go to hear us, you're going to hear 40 different songs. When you go to hear them, you're going to hear 30 or 40 Beatles songs.

You're going to hear 40 Led Zeppelin songs. You're going to hear 40 ACDC songs. Right.

If you like that band that much, then that's cool. But that's all you're going to hear that night. Right.

They're fine, you know, and I guess they work out for some guys. Well, you're a tribute band to 40 different bands every night. You know what? That's very true.

We're a tribute band to classic rock. Right. Exactly.

To an era. To an era. Well, thank you, guys.

I appreciate it. Thank you. Where can we find you? On Facebook? Yes.

Everywhere. Do you have a website? We have a website that you can go to. It's www.snschicago.net. Okay.

And we're on Facebook at Saints and Sinners Chicago. All right. So you can find us there, too.

We have pretty big pages on our web page. It has all our events. It has our recordings from our concerts.

Some different videos and that kind of thing. Some different videos. We've got some on the website.

There's some on Facebook also. And you can find where we're playing. We have our events on there.

Because we're just starting to book, so we'll fill up. Well, August, we've decided not to book. But September and October, we'll fill now.

So we'll be full. But those will fill up pretty quick. I look forward to hearing your new CD when you get around.

Yeah, we'll have to get a hold of you guys and make sure that you do get the other part of it. Because it's going to come in two sections. So you'll have the first section now, and then you'll get the second section, but it'll be on one.

We'll make sure you get it. I'll track you down. I'd love to hear some originals.

Yeah, actually, we're hoping to put two or three maybe on that. We'd like to get two or three originals on. That's cool.

That'd be great. Let people know what it would really sound like. There you go.

Thanks a lot, guys. Thank you very much. Thank you very much.

Thank you. Appreciate it. Wow, that was really some great stories, man.

They have been around a long time. Yeah, they have. Yes, they have.

And they've got some great insight into the music business and their whole perspective on music and playing music live. And even in the studio, they played pretty much what you heard there on the songs that we played. They did that all live in the studio, except for the vocals.

They added the vocals. So it's kind of like hearing them live. Exactly.

Exactly. I mean, nothing pre-recorded or nothing. They're just giving it all they got.

And it sounds great. They've got the song on the Illinois Rock and Roll Museum CD. It's actually the number one song on there, Sugar and Spice.

It leads off the CD. It's a pretty good cut. It's the number one track, right? That's what I said, the track.

You did. It was a lead-off batter. That's right.

It's a lead-off. All right. It was great talking to them, guys.

And they'll be out and about soon. Kind of got a new group together there, a couple of new guys joining in. So they're working that all in together.

And then they'll be out and about soon. Look forward to hearing their new CD, the rest of their CD, with some original stuff on there, too. Yes.

So speaking of them being on track one of the Rock and Roll Museum CD, you can catch us on the Rock and Roll Museum Road to Rock radio station every Monday night at 6 o'clock. Every Monday. And make sure you check out the museum, too.

Awesome place. It'll be open soon. Check out their website.

Donate if you can. Give them a hand. They're doing this all for you.

Yes, sir. All right. Let's sign off for now.

And thanks for listening, everybody. And we will see you next week. Talk to you soon.

Bye-bye. Bye.