WEBVTT 00:00:05.390 --> 00:00:08.609 Chatterbox, when the stars talk, they talk to 00:00:08.609 --> 00:00:28.469 Nick and Sue. Welcome back to the Chatterbox 00:00:28.469 --> 00:00:31.739 Redux podcast with Nick and Sue. Our special 00:00:31.739 --> 00:00:34.640 guest on this edition is Phil Wright of Paper 00:00:34.640 --> 00:01:01.659 Lace. with Chatterbox giving you all you need 00:01:01.659 --> 00:01:08.939 to know about musical entertainment. Oh yeah! 00:01:09.299 --> 00:01:13.079 Chatterbox, the best interviews with Nick and 00:01:13.079 --> 00:01:25.319 Sue. Chatterbox, the best news And now we welcome 00:01:25.319 --> 00:01:27.840 Phil Wright from Paperlace. Phil, welcome. How 00:01:27.840 --> 00:01:30.159 are you? Hello, Phil. Hello. Nice to be here. 00:01:30.500 --> 00:01:35.040 Phil, it's been quite a journey for you. I remember 00:01:35.040 --> 00:01:38.200 back in the... You on top of the Pops ran about 00:01:38.200 --> 00:01:43.340 74 times. 74, definitely. That was the year. 00:01:44.439 --> 00:01:46.939 It was a long story. I mean, we were a band, 00:01:47.099 --> 00:01:49.560 a working band, working seven nights a week. 00:01:50.819 --> 00:01:54.969 We didn't... We were making records from about 00:01:54.969 --> 00:02:02.569 1968, something like that. Then we went on a 00:02:02.569 --> 00:02:06.090 TV talent show called Optimity Knocks. I remember 00:02:06.090 --> 00:02:09.750 it, yeah. That was when we did the audition in 00:02:09.750 --> 00:02:14.509 1970 and we got on the show in 1973. So they 00:02:14.509 --> 00:02:21.819 were very keen to see us. Yeah, I'm on that show 00:02:21.819 --> 00:02:25.000 as look would have it Peter calendar's wife. 00:02:25.000 --> 00:02:28.759 Well, I see so Peter calendar's wife Connie have 00:02:28.759 --> 00:02:31.580 to see the show She was a fan of opportunity 00:02:31.580 --> 00:02:34.080 knocks. She saw the show and she sort of said 00:02:34.080 --> 00:02:36.840 she knew that it should be had written this song 00:02:36.840 --> 00:02:40.500 and they were looking to what to do with it basically 00:02:40.500 --> 00:02:43.659 and She said oh, what about these guys? You know, 00:02:43.659 --> 00:02:46.719 why don't you them you can launch? and a band, 00:02:46.740 --> 00:02:50.960 you know, with this new song, why don't you get 00:02:50.960 --> 00:02:56.180 in touch with them?" And they did. And we recorded 00:02:56.180 --> 00:03:03.520 it in 73. And 74 February entered the charts 00:03:03.520 --> 00:03:07.340 about 38, I think, something like that. And, 00:03:07.340 --> 00:03:09.780 well, wages weigh all the way up to number one, 00:03:09.819 --> 00:03:12.199 not only in the UK, but Australia as well, and 00:03:12.199 --> 00:03:14.669 Lord knows where, really. Yeah, yeah, lots of 00:03:14.669 --> 00:03:17.409 places South Africa. You were loads of places. 00:03:17.409 --> 00:03:21.590 Yeah. Yeah What was it? So going from these sort 00:03:21.590 --> 00:03:24.909 of sort of Midlands Northern Workman's Club type 00:03:24.909 --> 00:03:28.050 type atmosphere places What was it like to then 00:03:28.050 --> 00:03:30.090 suddenly end up on top of the box? Was it a culture 00:03:30.090 --> 00:03:32.250 shock or is it just in your stride sort of thing? 00:03:32.310 --> 00:03:36.550 And it was all fine. Yeah, I mean Nobody when 00:03:36.550 --> 00:03:42.729 I started sort of age 13. I had no sort of No 00:03:42.729 --> 00:03:45.530 sort of aspirations to making it, you know, making 00:03:45.530 --> 00:03:47.889 it big and being famous and all the rest of it. 00:03:48.849 --> 00:03:51.030 Nothing, just wanted to be in a band. And it 00:03:51.030 --> 00:03:53.189 was a bit like that all the way along the line, 00:03:53.389 --> 00:03:55.430 really. Just wanted to be in a band. Didn't want 00:03:55.430 --> 00:03:59.849 to do anything else. And then, you know, you 00:03:59.849 --> 00:04:05.629 just, you're in contact with people who are successful 00:04:05.629 --> 00:04:11.009 people and successful writers. it was a culture 00:04:11.009 --> 00:04:14.409 shock but uh it was sort of turned everything 00:04:14.409 --> 00:04:18.170 on its head and uh the world went mad completely 00:04:18.170 --> 00:04:21.569 cool how was it though when you uh went from 00:04:21.569 --> 00:04:25.009 being real musicians as it were to having to 00:04:25.009 --> 00:04:29.509 mime how much awful yeah well on top of the pops 00:04:29.509 --> 00:04:33.029 we were in in the well in the early days at the 00:04:33.029 --> 00:04:36.920 top of the pops um we we used to uh re -record 00:04:36.920 --> 00:04:39.779 a track uh that was something like the record 00:04:39.779 --> 00:04:45.600 and then then we'd play to the to the backing 00:04:45.600 --> 00:04:50.279 track live most of the time yeah so it wasn't 00:04:50.279 --> 00:04:54.480 all mine it was uh you know not sort of lip syncing 00:04:54.480 --> 00:04:59.680 those days were yet to come okay so um looks 00:04:59.680 --> 00:05:02.970 like it's a Bit of a slower start in the U .S. 00:05:03.089 --> 00:05:04.850 though, wasn't it? Because Billy Don't Be a Hero, 00:05:05.250 --> 00:05:08.370 if these figures are right, you just made the 00:05:08.370 --> 00:05:12.829 Billboard Hot 100, got crawled in at 96. But 00:05:12.829 --> 00:05:15.430 the night Chicago died, that did something big 00:05:15.430 --> 00:05:17.470 for you, didn't it? I love that song, fantastic. 00:05:18.529 --> 00:05:20.589 In actual fact, Billy Don't Be a Hero got to 00:05:20.589 --> 00:05:23.910 number one with Bill Donaldson and the Haywoods 00:05:23.910 --> 00:05:27.790 in 74. Mitch, Murray and Peter Candler were trying 00:05:27.790 --> 00:05:30.649 to do a deal with Mercury and they were a bit 00:05:30.649 --> 00:05:35.790 sort of a bit edgy about it and not quite all 00:05:35.790 --> 00:05:40.870 the contracts and all the rest of it. There was 00:05:40.870 --> 00:05:45.750 a problem of some sort and while they were negotiating, 00:05:46.110 --> 00:05:48.569 Bo Donaldson picked the song up and recorded 00:05:48.569 --> 00:05:51.990 it and it got to number one but Mitch, Murray 00:05:51.990 --> 00:05:53.850 and Peter Candler obviously for them it was a 00:05:53.850 --> 00:05:56.379 number one so they weren't that bothered. said 00:05:56.379 --> 00:05:58.319 next time, you know, we're going to we're going 00:05:58.319 --> 00:06:03.019 to get there. And we released Chicago Diary, 00:06:03.040 --> 00:06:07.399 which was amazing, absolutely amazing in those 00:06:07.399 --> 00:06:09.540 days because the bands that were actually trying 00:06:09.540 --> 00:06:12.439 to get to number one was astronomical. You know, 00:06:13.120 --> 00:06:15.939 it was just a look, right place, right time. 00:06:16.480 --> 00:06:19.759 Sure. But I mean, Being number one in the UK 00:06:19.759 --> 00:06:21.879 is one thing and appearing on Top of the Horses 00:06:21.879 --> 00:06:24.740 is one thing, but getting to number one in the 00:06:24.740 --> 00:06:27.279 Billboard Top 100 and having to go halfway around, 00:06:27.399 --> 00:06:29.980 I mean, did you have to go there for, is there 00:06:29.980 --> 00:06:31.720 such a thing as you actually flew halfway around 00:06:31.720 --> 00:06:34.779 the world to do a TV thing and then half the 00:06:34.779 --> 00:06:37.800 way back? Did it work like that or didn't you 00:06:37.800 --> 00:06:40.720 appear on TV shows in the States at the time? 00:06:42.639 --> 00:06:45.720 We did a lot of promotional work, but we never 00:06:45.720 --> 00:06:48.509 actually did a tour. of the states. We've never 00:06:48.509 --> 00:06:50.829 toured the states. I'm negotiating at the moment 00:06:50.829 --> 00:06:54.250 because people are interested. But at the time 00:06:54.250 --> 00:06:59.529 it was such a massive affair to actually tour 00:06:59.529 --> 00:07:03.709 the states because in those days promoters didn't 00:07:03.709 --> 00:07:06.490 want to supply anything. You had to have support 00:07:06.490 --> 00:07:09.769 from your record company and Mercury weren't 00:07:09.769 --> 00:07:12.569 interested in supporting us because they said 00:07:12.569 --> 00:07:14.470 basically we can get number one without the band 00:07:14.470 --> 00:07:21.600 being here. And they were right. Okay, so I see 00:07:21.600 --> 00:07:25.439 that we had a third hit in 1974, Black Eyed Boys. 00:07:25.839 --> 00:07:28.120 Seems like you have quite a big following in 00:07:28.120 --> 00:07:30.420 Australia all the way through. I mean, did you 00:07:30.420 --> 00:07:33.879 actually get around to touring Australia? Yeah, 00:07:34.339 --> 00:07:40.220 we toured Australia in 1975. And in actual fact... 00:07:40.220 --> 00:07:43.439 our album paper lays a little bit of material 00:07:43.439 --> 00:07:46.240 that went gold over there so we got a gold album 00:07:46.240 --> 00:07:49.899 from australia fantastic um so going out there 00:07:49.899 --> 00:07:54.319 um in 75 it was well it was like like the Beatles 00:07:54.319 --> 00:07:58.000 been on tour all the airport when we landed ah 00:07:58.000 --> 00:08:00.980 i couldn't believe it you know the the the sort 00:08:00.980 --> 00:08:07.230 of top um sort of roof garden bit was lined with 00:08:07.230 --> 00:08:11.569 fans and they were going mad and limousines picked 00:08:11.569 --> 00:08:15.410 us up and all the rest of it and we had a great 00:08:15.410 --> 00:08:18.870 tour and in actual fact we went back slightly 00:08:18.870 --> 00:08:21.589 different lineup but two of the originals myself 00:08:21.589 --> 00:08:24.529 and Cliff Fish the bass player and we went back 00:08:24.529 --> 00:08:31.100 in 2017 and we had just as terrific a time. There 00:08:31.100 --> 00:08:32.899 was lots of people there that had actually come 00:08:32.899 --> 00:08:35.919 in 75, but they brought the kids with them. Some 00:08:35.919 --> 00:08:38.259 of them brought the grandkids with them. But 00:08:38.259 --> 00:08:42.480 yeah, it was good. It was a really nice time. 00:08:42.620 --> 00:08:45.220 I mean, they are terrific audiences. There's 00:08:45.220 --> 00:08:48.179 no two ways about it. Australia are a great audience 00:08:48.179 --> 00:08:51.149 to play to. Excellent, excellent. Now I mean 00:08:51.149 --> 00:08:53.669 obviously your origins are Nottingham and have 00:08:53.669 --> 00:08:56.909 you always stayed in that sort of area? You're 00:08:56.909 --> 00:09:00.309 still sort of like a bit big as far as gigging 00:09:00.309 --> 00:09:03.610 around Nottingham is concerned as well? We don't 00:09:03.610 --> 00:09:06.029 gig around Nottingham at all really. Everything's 00:09:06.029 --> 00:09:09.490 done away from Nottingham. But I still live here 00:09:09.490 --> 00:09:12.269 and yeah I've lived here all my life. I was born 00:09:12.269 --> 00:09:16.070 here. What's happened since though, Phil? Because 00:09:16.070 --> 00:09:19.769 obviously you're talking about touring and maybe 00:09:19.769 --> 00:09:22.070 the States and things. Let's talk about that 00:09:22.070 --> 00:09:25.409 at the end. But in the meantime, after that small 00:09:25.409 --> 00:09:29.049 hit in 1978, has it been almost non -stop touring? 00:09:30.789 --> 00:09:35.590 How's it been for you? No, not at all. We generally 00:09:35.590 --> 00:09:40.440 do, possibly... 15 gigs a year. Now we've managed 00:09:40.440 --> 00:09:43.480 to get some recording done. We re -recorded a 00:09:43.480 --> 00:09:47.039 couple of the album tracks that we're gonna, 00:09:47.580 --> 00:09:51.220 well, when we tour, we're gonna sell a CD, that 00:09:51.220 --> 00:09:54.379 sort of thing, and there's a couple of tracks. 00:09:54.740 --> 00:09:57.320 All the stuff that we actually play in the set 00:09:57.320 --> 00:10:00.639 is all paperless material. It's either off the 00:10:00.639 --> 00:10:04.200 album or it's the singles. Okay, yeah, sure. 00:10:04.340 --> 00:10:07.620 And I see you've had some stuff brought out on 00:10:07.620 --> 00:10:11.700 Cherry Red Records as well. Yeah, good company. 00:10:12.039 --> 00:10:14.039 So you've got some back catalogue on there as 00:10:14.039 --> 00:10:26.639 well, which is great. So what can we really look 00:10:26.639 --> 00:10:28.620 for? I mean, what's going to be next? To get 00:10:28.620 --> 00:10:32.059 back into gigging. That's the main thing, really. 00:10:32.139 --> 00:10:35.100 I think it would be nice. I've got some gigs 00:10:35.100 --> 00:10:39.039 in. We generally, we do a lot of the 70s things 00:10:39.039 --> 00:10:41.899 at the holiday camps, that sort of thing. So, 00:10:41.899 --> 00:10:47.299 Bucklins, you know, they're on board and we'll 00:10:47.299 --> 00:10:50.159 be doing some, I think there's a couple of festivals, 00:10:50.320 --> 00:10:52.379 one in Worcester, summertime festival, that's 00:10:52.379 --> 00:10:56.580 coming up. I mean, I do a thing with the tremolotes. 00:10:58.419 --> 00:11:03.500 I play drums. I joined when Dave Mundan, God 00:11:03.500 --> 00:11:08.080 rest his soul, he was gigging but he had to have 00:11:08.080 --> 00:11:11.399 two operations on his knees. I did a few gigs 00:11:11.399 --> 00:11:13.500 and Dave decided that he wasn't going to play 00:11:13.500 --> 00:11:15.840 drums again, he was going to sing on the front. 00:11:16.320 --> 00:11:18.440 So he said, would you like to become a permanent 00:11:18.440 --> 00:11:21.120 member? And I said, yeah, terrific. I know I 00:11:21.120 --> 00:11:24.899 grew up with the Tremolo's catalogue, so fine. 00:11:25.549 --> 00:11:29.950 So we go out now because of Chip and one or two, 00:11:29.950 --> 00:11:32.330 one or two sort of contractual things, we go 00:11:32.330 --> 00:11:36.250 out as the Trems. Cool, lovely, wonderful. When 00:11:36.250 --> 00:11:43.509 you go out as Paper Lace, how many, are you the 00:11:43.509 --> 00:11:45.429 only original member or do you have, is there 00:11:45.429 --> 00:11:48.210 more than just you as an original member? No, 00:11:48.309 --> 00:11:50.429 there's two of us. Two of you, brilliant, perfect. 00:11:50.600 --> 00:11:53.820 two of us the uh as i say cliff fish oh he's 00:11:53.820 --> 00:11:56.740 a bass player you did so yeah and um he's uh 00:11:56.740 --> 00:11:58.740 so we've got the rhythm section basically is 00:11:58.740 --> 00:12:01.419 there and we've got two new guys dave major on 00:12:01.419 --> 00:12:05.799 keys and uh phil hendricks on uh on uh guitar 00:12:05.799 --> 00:12:10.269 cool no wonderful Okay, so we're looking forward 00:12:10.269 --> 00:12:13.110 to seeing where your next movie is. What I'd 00:12:13.110 --> 00:12:15.870 really like to do, if it's okay with you Phil, 00:12:16.350 --> 00:12:20.029 if you do pull off that American tour or when 00:12:20.029 --> 00:12:22.549 you're... Do chuck us an email and we can always 00:12:22.549 --> 00:12:25.269 come and have a chat about it and it'd be really 00:12:25.269 --> 00:12:28.570 good because that to me is... Not just that, 00:12:28.789 --> 00:12:30.470 but if we're going to Europe or around the UK 00:12:30.470 --> 00:12:33.389 or festivals, getting active again is a very 00:12:33.389 --> 00:12:36.149 big step, especially for a group that, like Paper 00:12:36.149 --> 00:12:40.389 Lace, is still in existence. So you are one of 00:12:40.389 --> 00:12:43.830 the guys from the era that, you know, very good 00:12:43.830 --> 00:12:46.230 era it was in music too. So if you could have 00:12:46.230 --> 00:12:49.570 done anything different, what would it have been 00:12:49.570 --> 00:12:53.110 in anything in your life? I think anything in 00:12:53.110 --> 00:13:00.539 my life. I've got very few regrets. So yeah, 00:13:00.840 --> 00:13:03.840 I think I would do everything exactly the same 00:13:03.840 --> 00:13:07.200 again, but this time I'd make sure that all the 00:13:07.200 --> 00:13:09.659 contracts were right and the deals were better. 00:13:10.399 --> 00:13:12.879 Sure, sure. No, that's very good. Very good, 00:13:12.980 --> 00:13:20.759 very good. Let's take ourselves into a year's 00:13:20.759 --> 00:13:22.340 time where you've basically done that. Let's 00:13:22.340 --> 00:13:26.019 go two years. Are you just literally happy with 00:13:26.019 --> 00:13:27.960 gigging now? Is that how it's going to be, do 00:13:27.960 --> 00:13:30.059 you think? I am gigging and recording. We've 00:13:30.059 --> 00:13:32.059 done a bit of writing as well. So there's one 00:13:32.059 --> 00:13:36.379 or two things that we're not sort of completely 00:13:36.379 --> 00:13:39.360 retired. But there's plenty of oldies still doing 00:13:39.360 --> 00:13:42.860 it. So I'm blessed in actual fact because my 00:13:42.860 --> 00:13:46.220 voice... my singing voice hasn't changed. And 00:13:46.220 --> 00:13:48.860 we sing everything in the same key that we recorded 00:13:48.860 --> 00:13:53.700 it in. So it sounds very like the original. And 00:13:53.700 --> 00:13:57.820 I think that's why people are dear to us, really. 00:13:58.399 --> 00:14:00.980 Sue says you really don't look your age. Oh, 00:14:00.980 --> 00:14:03.059 thank you. And the other thing, Phil, of course, 00:14:03.340 --> 00:14:07.179 is a true musician doesn't retire. They drop 00:14:07.179 --> 00:14:10.039 in the end, but they don't retire. That's right. 00:14:11.689 --> 00:14:14.009 Sue's got a question for you. I've got two questions 00:14:14.009 --> 00:14:15.950 for you Phil. How did you come up with the name 00:14:15.950 --> 00:14:23.330 Paperlace? The band that I joined in 67 that 00:14:23.330 --> 00:14:25.309 eventually became Paperlace was a band called 00:14:25.309 --> 00:14:31.809 Music Box and we did a couple of... bits of recording 00:14:31.809 --> 00:14:34.750 and all the rest of it as Music Box. But we did 00:14:34.750 --> 00:14:39.110 in 1969, we went professional because I was an 00:14:39.110 --> 00:14:42.870 apprentice at the time. We went professional. 00:14:43.230 --> 00:14:47.850 We went into a residency in Rochdale, a Mecca 00:14:47.850 --> 00:14:50.730 dance hall called Tiffany's in Rochdale. And 00:14:50.730 --> 00:14:53.470 we got six months in there. And what we decided 00:14:53.470 --> 00:14:57.149 was we will come out of Rochdale with a new name 00:14:57.149 --> 00:15:03.620 and a new attitude. will do everything and we 00:15:03.620 --> 00:15:05.840 were looking we were looking actually we were 00:15:05.840 --> 00:15:09.460 looking sports pages at racehorses because some 00:15:09.460 --> 00:15:12.179 of the names of racehorses make really good band 00:15:12.179 --> 00:15:17.159 names really good and and then one of the guys 00:15:17.159 --> 00:15:20.639 picked up this book of things to make and he 00:15:20.639 --> 00:15:23.259 said oh look at this he was looking through it 00:15:23.259 --> 00:15:24.840 looking through the index he said what's that 00:15:24.840 --> 00:15:28.340 and and it's where you fold a piece of paper 00:15:28.340 --> 00:15:30.259 tear little bits out of it and when you undo 00:15:30.259 --> 00:15:33.600 it when you open it out it's a doily and he said 00:15:33.600 --> 00:15:36.220 oh paper lace and we all looked at one another 00:15:36.220 --> 00:15:40.440 and said paper lace what a great name yeah i 00:15:40.440 --> 00:15:44.120 like that and phil have you got an autobiography 00:15:44.120 --> 00:15:48.120 sort of yes i'm i decided to write uh i decided 00:15:48.120 --> 00:15:51.580 to write a book i started it about 18 months 00:15:51.580 --> 00:15:56.470 ago 18 months two years ago and uh i'm in about 00:15:56.470 --> 00:16:00.110 150 pages cool but it but it was going to be 00:16:00.110 --> 00:16:06.490 my life as a drummer but uh but i talked to my 00:16:06.490 --> 00:16:11.309 wife and she said uh well 13 years up to that 00:16:11.309 --> 00:16:14.070 point why don't you it'll it'll sort of give 00:16:14.070 --> 00:16:16.750 people an insight if you start and it'd be good 00:16:16.750 --> 00:16:19.230 for the family so it's from my first memories 00:16:19.230 --> 00:16:22.269 i'm about three and uh and it carries on from 00:16:22.269 --> 00:16:26.019 there Elton John in actual fact uh he's a He 00:16:26.019 --> 00:16:30.759 keeps his eye on sort of upcoming talent and 00:16:30.759 --> 00:16:32.500 stuff like that. He likes to be associated with 00:16:32.500 --> 00:16:34.720 it, likes to help people wherever they can. But 00:16:34.720 --> 00:16:39.580 in 1974, when we were on Top of the Pops, I was 00:16:39.580 --> 00:16:43.480 sort of standing around, we were waiting, which 00:16:43.480 --> 00:16:45.559 you do for most of the time at Top of the Pops. 00:16:47.080 --> 00:16:49.820 At the core of my eye, I saw John coming over 00:16:49.820 --> 00:16:52.720 to me and bear in mind, at this point, I'm a 00:16:52.720 --> 00:16:55.799 massive fan that he's a, you know, not worthy 00:16:55.799 --> 00:17:03.039 sort of thing. He's just unbeatable. He came 00:17:03.039 --> 00:17:05.920 over and his arm went out and he shook hands 00:17:05.920 --> 00:17:08.500 and he said, congratulations on your number one 00:17:08.500 --> 00:17:15.740 in the States. Wow. I nearly fainted and I uttered 00:17:15.740 --> 00:17:19.640 something. unintelligible it was just uh just 00:17:19.640 --> 00:17:24.140 and i thought cracking Elton John what a great 00:17:24.140 --> 00:17:29.039 thing nice very nice very nice yeah brilliant 00:17:29.039 --> 00:17:33.319 uh phil is there perhaps anybody that you dead 00:17:33.319 --> 00:17:37.180 or alive that you uh would perhaps like to have 00:17:37.180 --> 00:17:42.799 performed with over the years Elton John for 00:17:42.799 --> 00:17:47.160 a musician that's that's oh it's almost Yeah, 00:17:47.160 --> 00:17:52.759 it's an endless list. There are people that I 00:17:52.759 --> 00:17:57.660 admire, that I would love to play with, and yeah, 00:17:58.039 --> 00:18:00.839 just too numerous to mention really. I can't 00:18:00.839 --> 00:18:04.819 think of any one person. Okay, okay. Phil, do 00:18:04.819 --> 00:18:09.000 tell our listeners about a website that you might 00:18:09.000 --> 00:18:11.640 have, Facebook groups, Facebook, anything you've 00:18:11.640 --> 00:18:13.119 got. If you're chucking at the listeners now, 00:18:13.160 --> 00:18:16.680 please, Phil. Yeah, yeah, well we're on Facebook 00:18:16.680 --> 00:18:21.799 if you look at the original 70s paper lace and 00:18:21.799 --> 00:18:29.079 our website is www .originalpaperlace .com and 00:18:29.079 --> 00:18:30.579 there's things on there, there's photographs 00:18:30.579 --> 00:18:35.200 on there, there's new videos on there, lots of 00:18:35.200 --> 00:18:39.559 pictures and sort of the discography of paper 00:18:39.559 --> 00:18:45.730 lace and if there's any gigs coming up That end 00:18:45.730 --> 00:18:49.390 of it has been empty for a long time, but I intend 00:18:49.390 --> 00:18:56.109 to update that and let the fans know that there's 00:18:56.109 --> 00:18:58.750 things coming on. That's great, Phil. Sounds 00:18:58.750 --> 00:19:02.369 like we've got a very exciting period ahead of 00:19:02.369 --> 00:19:04.309 you in paper lace and we're looking forward to 00:19:04.309 --> 00:19:07.309 it. Like I say, do keep in touch and do let us 00:19:07.309 --> 00:19:09.029 know what you're doing next, Phil. We'll have 00:19:09.029 --> 00:19:10.930 you back on for a chat some other time. It's 00:19:10.930 --> 00:19:12.670 been an absolute pleasure, Phil. Thank you very 00:19:12.670 --> 00:19:14.670 much, Phil. Take care. Cheers, Phil. Thank you. 00:19:14.690 --> 00:19:50.190 Take care. This edition of the Chatterbox Redux 00:19:50.190 --> 00:19:53.349 podcast was presented by Nick and Sue and our 00:19:53.349 --> 00:19:56.549 special guest was Phil Wright of Paper Lace. 00:19:57.470 --> 00:20:01.910 All inquiries please to nickelbum at myyahoo 00:20:01.910 --> 00:20:05.099 .com Alternatively, you could write to us or 00:20:05.099 --> 00:20:07.440 send press releases or whatever you'd like to. 00:20:07.539 --> 00:20:11.940 P .O. Box 26, The Old Observer Building, Telford 00:20:11.940 --> 00:20:15.660 Road, St. Leonard's -on -Sea, East Sussex, England, 00:20:16.079 --> 00:20:21.079 TN 38, 9LZ. We thank you very much for your company 00:20:21.079 --> 00:20:22.960 and look forward to welcoming you again next 00:20:22.960 --> 00:20:26.539 time for another Chatterbox Redux podcast when 00:20:26.539 --> 00:20:30.180 our special guest will be former Radio 1 DJ... 00:20:30.410 --> 00:20:33.849 television presenter and co -founder and presenter 00:20:33.849 --> 00:20:36.869 of the Heritage Chart, Mike Reid. Catch you then. 00:20:37.109 --> 00:20:37.529 Bye bye.