And now here they are, Nick and Sue on Chatterbox.
When the stars talk, they talk to Nick and Sue.
And welcome back to the Chatterbox Redux podcast
with Sue and Nick and today our special guest
is Gary Puckett of Gary Puckett and the Union
Gap. This is Nick and Sue with Chatterbox giving
you all you need to know about musical entertainment.
Oh yeah! Chatterbox! And now Chatterbox UK, we're
just lucky enough to welcome Gary Puckett. Gary,
welcome sir, how are you? I am very well, thank
you very much for having me on. Thank you for
coming. We'll talk a little bit about how you
got to being as famous as you are because we've
got a wonderful 60s gold tour you're on with
some other great groups. So how did Gary Puckett
get... known all over the world? I mean did you
get interested in singing, songwriting etc as
a kid? Was it a musical home? Can you put us
in a picture of how you got on your way? Started
when I was just a kid, you know my parents were
musical, they were both good singers and I'm
lucky to have inherited the qualities of their
voices. Mom was an accomplished pianist and dad
was a saxophonist. That's how they met. Way back
in their high school days and They probably would
have gone on to be in the music business if The
music business had been a little easier or more
like it is today like tour buses, you know They're
pretty incredible to travel in and in those days
They were just very cold and drafty situations
and they really wanted a little more normal life
But by the time I was six years old, they had
me sitting at a piano and learning how to play
a little bit. I wish I had continued, you know,
on the reading path and all that, but somehow
I got dragged away with the guitar, which I thought
was more, I don't know, romantic or something.
It's my word for the day. And, you know, it just,
I grew up with rock and roll and I always thought
I was gonna be a rock and roller, you know, back
to the day when people like Chuck Berry and Elvis
Presley and and Little Richard and the Everly
Brothers and Fats Domino and so many of that
era you know that were that were exciting to
me the coasters the platters you know and others
and um you know it was what I thought I was going
toward, my folks always said, Well, wait a minute,
you ought to go into higher education, you should
become a doctor or something like that. You know,
they wanted me to do better, of course, then,
then they did, though they did pretty well. But
they decided that I should be a dentist or something
like that, you know, which I really didn't want
to do. But I tried to who I tried to please them.
I went to a couple years of college and took
the required courses and all that kind of stuff.
And while I'm doing that, I'm learning to play
the guitar and I'm singing and I'm with bands
and we're working at nights and working in the
teen clubs and stuff like that. And as time went
by, I finally just quit school and I started
working in an automotive shop that had basic
engine parts for foreign cars. Now, in the early
60s, how many foreign cars did we have in America?
Not many. But I continued, you know, and it was
fun. I enjoyed working for them. But music was
really, you know, in my heart all the time. And
I was now working in the nightclubs and that
kind of thing. came a point where I thought I
don't want to work in nightclubs forever I want
to get out there and make some records you know
I want to go out and work with the popular groups
of the day on the road and things like that so
I found myself thinking trying to figure it out
how do I do this what is what's the path you
know and I had been in a really, really good
band, a trio, guitar, bass and drums. And I also
had a B3 organ. And we played all the music of
the day, you know, the Beatles and the Stones
and, you know, the R &B of the day and all that.
But two of the members, I wasn't one of the two,
the other two were always at odds. And finally,
I just said, I'm done with this. I want to move
on and try to make a success of this. So I quit
the band. and started looking around San Diego,
California, where I lived at the time, trying
to find the guys that might follow me. I didn't
know how to be a leader. So anyway, I found the
guys all around San Diego. I kept thinking, how
are we going to do this? You know, first of all,
we all had to make a living just like anybody
else. So we rehearsed in my garage in January
of 1967. And we put together enough material
that we could go back and work in the nightclubs
so we could all get a paycheck. So we did that.
And I went to Los Angeles and I found a small
agent. who in fact the guy that owned the agency
was an old time trombone player from the big
band era but he had a young guy and it was one
of his in -house agents and he said well I'll
send my guy down to hear you guys to see what
we can do so he came down and he heard us in
this old kind of funky club and he said well
let's see if I can get you some work so he sent
us on the road and I gotta tell you learning
the road without success is not easy, you know.
It's a very tough thing. But we went to Van Nuys,
California, and then we went to Seattle, and
then from there we went to Portland. Now while
we were in Seattle, the light bulb went on finally
with me thinking about how do I do this and get
this band noticed. So I thought that we had to
have that we should have a visual identity. And
so I think, and what is it we can wear that would
be different and yet the same? And I always had
this interest in the Civil War history for America.
So I, at one point went to a library and started
looking at all the pictures that were taken because
photography had become quite good by that point,
you know, so you can find photos that are just
truly amazing. And I said, hey, guys, here's
what we're going to do. We're going to wear Union
soldier outfits. And we're going to and union
was the word because I grew up in the Yakima
Valley in Washington state and Union Gap was
in the southeast corner of the valley. And I
said, this is it. We found it. It is the Union
soldier outfit. And the name of the band is the
Union Gap. they all laughed and thought that
was the dumbest thing they ever heard so we went
from Seattle we went to Portland and Portland
we went to Vallejo California and from Vallejo
I said okay here's what we're gonna do we're
gonna go to Los Angeles and we're gonna buy these
outfits that we So we went to a place called
Western Costume, which is where producers of
movies go. If they want to make a movie about,
you know, Roman times or war times or whatever,
that's where you get your outfits. And it turned
out that they were so expensive and we didn't
have enough money between us to buy one outfit.
So I said, can I rent one? They said, sure. So
I rented an outfit, took the guys and shortly
thereafter went to Tijuana, Mexico. Where you
could get really great upholstery and really
great tailoring and found a little tailor and
he made our first outfits So that's when I put
together a portfolio that had pictures of the
band It had lyrics that I had written it also
had a demo of me in the last group I was in but
it had me singing, you know, so And then I took
it around to all the record companies in Los
Angeles and I found a guy By the name of Jerry
Fuller who is an amazingly talented guy Has worked
through the years producing many many people
from Gary Puckett in the unigap to Johnny Mathis
to John Davidson to Al Wilson to many many others
and and He loved what he saw in the portfolio
So he came down to see us at a place called the
quad room in San Diego Took us by surprise. He
said he'd be there Saturday came on Friday We
sat out, it was in a bowling alley and we sat
in the bowling alley and talked about the possibility.
He said, no, we're going to go make a record.
And I thought, ooh, maybe we're on the path here.
So he said, I'll be back in a few weeks with
recording contracts and things like that. And
when he came back, four or five weeks later,
I think it was, we sat in that same booth in
the bowling alley and we signed contracts. And
he said, I'll be back in touch and we're going
to go in the studio. in August and do our first
recordings. So that's where it all began. And
this is August 1967, I believe. All in 1967,
yes. Well, that's pretty good because I can see
what's happened here. The songs that all these
people are coming to see you sing here in the
UK at the moment. I can see you were hitting
the top 50. in the UK as soon after as November
67 and then of course the big one came in 1968
with the Young Girl and Lady Willpower and all
of those so it happened rather quick didn't it
and and you hit both sides of the pond and Australia
I can see and it looks like it's pretty worldwide
so that was really quick I think two two months
after really yeah very good Yeah, yeah, it was
terrific. Actually, I mean, I worked a long time,
you know, in San Diego trying to get it all together.
But once it started moving, it was kind of like
an overnight success. And once that record got
out there and people noticed it, one of the interesting
facts to me about it is the fact that I dealt
with the record company before we recorded. And
I said, when we have a single record, you really
have to put a picture of this band. on that single
record because we don't look like anybody else.
We look unto ourselves. And they sort of argued
with me for some time and finally relented. And
we took a picture in a... It was in the auditorium
of a school that had been demolished by the wrecking
ball. Everything was crashed down around the
stage in the auditorium and we stood on that
stage or in front of it and they did the picture
in sepia tone, which is that old brown tone.
It was just a fantastic picture. So the record
went out and there was this jockey. program director
in Columbus, Ohio, that was a Civil War historian.
And he saw that record, that picture, and he
went, Oh, my gosh, this is a great, great photo.
I wonder what this record sounds like. So he
auditioned it, as they like to say, and he loved
the record. So he put it on his station, and
it went to number one in Columbus, Ohio. In Cleveland,
there was a regional office of Columbia Records.
And they saw that activity, of course, because
they service those records, those radio stations.
And they called me in San Diego, and they said,
Do you know what, you have a number one record
in Columbus, Ohio. So they said, We want to bring
you back here to Ohio and promote that record
by taking you out to the radio stations in different
cities and so forth. So we went back and we worked
in a club that was called Otto's Grotto and it
was in the basement of the Sheraton Hotel. That's
where it began in Ohio. And as the ball started
rolling, it just kept rolling. Well, I can say
I was thinking a good thing is to describe is
probably a roller coaster going out of control.
So number one in Ohio, before you know your number
two in the number four in the in the US, then
number two, number two. Or just two in Australia,
number one here in the UK, all at the same time.
So it must have all been coming in from all directions.
And you must have thought, it must have just
been surreal. It must have knocked you over.
It was incredibly fast and massive when it came,
wasn't it? It was overwhelming in a lot of ways.
It really was. The beginning had, you know, a
lot of, I don't want to say false starts, but
hard starts, you know, because we were just a
neophyte band as far as, you know, the professional
aspect of making the records and getting out
on the road and all that. We had to do all the
driving. We had to do all the carrying of the
equipment. We had to do all the setting up, all
the playing, then tearing down, then reloading
it, then getting in the car and driving. And
we ended up kind of sick with flus and colds
and stuff. But it was really quick that it all
came under control. And we just had a wild ride.
It was a lot of fun. Our very first date in a
big stadium was one of those radio promotion
dates that they did in, I think was Pittsburgh,
in the one of the arenas where they do sports.
And we only had one hit record. But you know,
we were opening up for people like Mitch Ryder
and the Detroit Wheels and Junior Walker and
the All Stars and whoever else was on the show.
But it was It was fascinating. It was overwhelming.
It was daunting sometimes, you know, but exciting
as could be. Did you get on to do Top of the
Pops here in the UK or did they just send a film
over of you? You know what, I don't know why
I never got here to do Top of the Pops. I do
not understand it. My management didn't get it,
I guess, you know, so didn't get here in that
time. well you obviously appeared on it like
like they must have played your record and showed
some photos of you at the time because they can't
avoid a record that's number one you're number
one it's something they can do about it so it
must have got played but somehow they found a
way around it what they were doing and i can't
remember the 60s too well because i was in in
nappies that's my excuse but in the 70s if somebody
didn't couldn't say somebody from the states
couldn't get over to do that. They had these
dance troupes, like Pan's people, Lex and Cohen,
a variety of dance troupes. And they used to
do the most weird choreography to a song where
the artist couldn't appear. And that's how they
got around it in the 70s. What they did in the
60s I couldn't say, but that's how they did it
later. Interesting. Yeah, so we have to have
to hunt and alter the pops from 60s 68 mark 68
and see what they were doing with young girl
see what they were doing on that edition if I
can find it I will send it to you I promise all
right interesting I'd love to see it. Okay, Gary,
that was fantastic, as I said, a roller coaster,
but let's start moving on. Can I ask you, if
it's not personal, when the union gap split up
and you went solo, was it you wanted to go solo,
was the group just naturally breaking up, or
what was that situation like? A couple of members,
Kerry Chader and Gary Witham, they were songwriting
partners. And Kerry was pretty disenchanted with
working on the road. He wanted to stay home.
They wanted to live in Los Angeles. They had
They had signed a publishing deal with Irving
Almo Publishing, which was the A &M Records publishing
wing. And so they really wanted to leave the
band and live in Los Angeles, write songs and
pursue songwriting, as opposed to being a musician
and working on the roads. So that's really what
broke the group up. At that time, we hired four
other people, a horn section, And how did it
work? At any rate, we then had a seven piece
band instead of five. So it was a good band.
But I always say that when you change the recipe
of the cake, it doesn't taste the same. And Sue
says, yes, that's absolutely the truth. Great,
great, great. OK, so I mean, ever so successful.
I'm looking at the albums obviously going fractally
back to the Union Gap days and you had five back
-to -back hit albums in the US and that was in
a period of two years. Yes. It's February 68
through to July 70, just over two years. That's
pretty good going as well. Let's look at the
solo stuff. As early as October 71, you got a
solo album out, a Gary Puckett album. It seems
a bit sporadic, if that's the right word in your
solo stuff. But in those years, were you continuously
touring? Were you still writing stuff anyway?
I'm assuming. Gary Puckett remained a musician
and you you carried on gigging and stuff, is
that right? Yeah, I carried on as much as possible.
But you see, we were going into a new era and
I think it had everything to do with the decline
of the group. Probably because there was just
a new attitude coming along. It was the 70s,
you know, there was. There was David Bowie and
the Spiders from Mars. There was, you know, not
the English Invasion anymore, but it was more
the T -Rex, Bang -A -Gong, a different show,
you know, and along would come Disco and so forth.
So I think that all of that played into the demise
of the 60s in general, which included Gary Pocket
and the Unigap. And from about 71 or 72, I didn't
work through the 70s because nobody wanted to
hear that music anymore. At least at the time,
they didn't want to. So I found myself studying
and studying dance and writing songs and being
productive in a quiet way. But I had decided
to take a year off, write songs, and I thought
that I'd be able to come back and everybody would
say, oh, come on, arms are open. welcome, let's
do this again, you know, but everything changed
so much that that wasn't the case. So it wasn't
really until the early, the early 80s, 81 82,
right in there. And I was working locally again
in San Diego. And just just playing club gigs
again, you know, and playing everything from
Bob Seeger to the Union Gap to the Everly Brothers
to Little River Band. You know, I was just doing
whatever I wanted to do, but trying to please
the people at the same time. And then I started
getting calls from people around the country
saying, hey, we're starting to hear from radio
stations that they are changing their formats
into what they're calling classic oldies. So
they were starting to play the music of our era
again. And so they were starting to invite me
out on the road and things like that, which I
did. It was a little sketchy for a while, but
then in 1983, I had been invited to do a concert.
It was called the Metal Lands, which is a big
sports complex and arena with a whole bunch of
acts. And somebody came to me at the dressing
room and said, my boss in the city would like
to meet with you. And I said, OK. So I went into
New York City the next day and met with this
guy in his office. And they said, we're working
with the Turtles and with the Association. And
we'd like to work with you. And I said, well,
let's discuss it. So we did. And we started working
together. And then I suggested that they put
us all out on the road as a tour. And they said,
great idea. Let's add somebody to it. So they
added Spanky and our gang. Remember Spanky and
our gang? Very popular in the U .S. Had several
big records. And so we went out in 1984 and did
the first classic tour. It was, it had never
been done before by any of the the 60s artists.
And nobody knew how to do it, really. So they
said, let's just go out there and by hook or
by crook, let's get it done. So we ended up working
eight months of that year 1984. Because of the
the popularity of the music coming back. And
all four of us together, the turtles had their
crowd. The association had their crowd, I had
my crowd, Spanky had hers and brought them all
together, you know. And the next thing you know,
we had worked eight to eight and a half months.
And so that was very significant. In 1986, for
two years now, the MTV had been playing The Monkey's
reruns. Yes, I remember when they started to
do that. Two years straight, in a row. Day and
night. And so, all the 15 -year -olds who were
now mothers at 35 had their own 15 -year -olds.
And they were still, you know, the older women
were still Monkeys fans. The younger girls were
now Monkeys fans. And I was invited on that tour.
We worked about seven months of that year. And
it was the tour of the year. set records for
attendance, set records for, and it was all,
all due to the monkeys. But I think that the
opening act had something to do with it, but,
uh, it was, um, Gary Puckett and it was the grassroots
and Herman's hermits. They didn't have Peter
noon, but it was a good opening act. And then
the monkeys did their thing and they set records
for attendance for merchandise. And, um, just
a great, great, it kind of got us all going again.
Yeah. This is Nick and Sue with Chatterbox giving
you all you need to know about musical entertainment.
Chatterbox. Chatterbox. Chatterbox. Chatterbox.
I think it's 1986. Yes, it was the most seen,
yeah, it was the tour, the concert that had,
yeah, it was the tour that had the most people
watch it. I already knew that as a record, yeah,
absolutely brilliant. Sue, have you got any questions
for Gary? Not at the moment, but I have a question
towards you. Cool, brilliant. Anyway, I see you
did an album in 2006 as well, Gary. This is love.
If I could ask, what were you doing? This tour
sounds great, and I remember the monkeys on MTV
and all that, and I have seen the monkeys actually
play here in the UK. And you're right, the mother
screaming against the door. It was surreal. to
see the generations all going screaming at Davey.
That's what happens. You've seen it yourself.
It was an amazing atmosphere. It really was.
But what were you doing yourself? Because you
said you took some time out when you started
writing the songs. But I mean, you still had
to eat and pay the bills. What was Gary Puckett
doing as a job in that gap before you started
touring again? What time period are you talking
about? i think the 70s more or less because oh
yeah yeah the 70s i i lived in la and i stayed
home there was nobody booking gary pocket in
the union gap um and we we we were not working
because there was no work to be done no no concert
promoters were hiring us so it was kind of a
lean time um And it was it was a little lonely
and a little frustrating but You know, like I
said, I studied acting I studied dance. I wrote
songs like crazy. We have a stack of songs from
back then many of them still very good but Into
the 80s then I started being invited up out on
the road again. So that's when I started going
out, you know Can we expect, because there is
a lot of material here, and you said yourself,
you did all that writing in the sort of more
lean years. Can we expect something, not about
greatest hits, I'm talking about, could we expect
an anthology at some point from you? Yeah, well,
I don't know. That's a good thought, a nice question.
I would like to do that. Lately I've been thinking
about Actually going back into the studio again.
It's it's it's time for me to Was the word I
want to say to add to my vocal legacy songwriting
legacy, whatever So yeah, there will be something
in the works. I Daily kind of study the guitar.
So I've I've learned a lot about guitar. I've
learned a lot about the old big band era learned
a lot about there's there's a fella out there
that I'm working with in relation to the Nelson
Riddle legacy. And Nelson's son, Christopher,
still directs the Nelson Riddle Orchestra, though
Nelson is no longer with us. And they have invited
me to come and be the vocalist for the centennial
celebration. Now the pandemic shut it down a
little bit but uh I'm meeting up with uh Jeffrey
Littlefield shortly uh when we get to where um
Basingstoke and we'll we'll finally be able to
be face to face have dinner together and maybe
discuss the uh the ongoing possibilities but
I look forward to that because I would love to
sing the songs that he did for Sinatra and and
Linda Ronstadt and whoever else you know Absolutely.
That's something great that if that comes off
too, please let us know. We're doing this a lot.
That's amazing. Very exciting. Sue? Stop beating
my mind. Have you or is there any plans for you
to do an autobiography? People have been after
me lately to do that very thing. I one day sat
down. My wife was after me. So I one day sat
down just at the kitchen table with my iPad.
And I think the words were, my wife thinks I
should write a book. And I said, I don't think
I can remember it all. But here goes. So I started,
you know, and there's a couple of people that
have invited me to join them as writers and finish
an actual book. So that may be in the offering
in the next year or so. That's very good. Very
good. So I'm looking forward to it. Let's hope
that really comes off because it is an interesting
life. It's been a very interesting career and
it's still going and there's still some new stuff.
I mean, that's brilliant. How does it feel though,
Gary? People like myself. They're not only talking
about what you were doing in the 60s and in the
very early 70s, but they're also talking to you
about what you're doing now and what you're doing.
Does it surprise you people are still interested
or did you expect it was going to happen back
in the 60s? Somebody would still want you 50
years later perhaps. Well, I had no idea that
I'd be doing this 50 years later. That's the
absolute truth. Maybe I didn't suspect either,
you know, the doing or the not doing. I'm not
even really sure, but I've been blessed, you
know, with the fans that I have, with the voice
that I have, with the work that I get being out
there in the world and having the fans come and...
I was on a tour called Happy Together in the
US. We did 56 cities throughout the US. And that
Happy Together tour was sold out everywhere we
went because it's the music of our era. And,
you know, we have XM radio. Do you have Sirius
over here? I don't think you do. No, I don't
know. Sirius XM is called. Well, it's a very
popular in the US. And they have their channels
are set up in a way that the fifties are on channel
five, the sixties are on channel six, the seventies,
seven, eighties, eight, nineties, nine, you know.
I think it comes through sky. Sorry, Gary. Sorry.
Carry on. That's right. I'm just saying, the
stations you mentioned, I think they come on
Sky here in the UK. So where you've got your
radio stations, you've got a Sky dish. I'm positive
we can receive it on that. I'm sure it is here.
Yeah. Yeah. Not on a proper radio, but it comes
from Sky. Yeah. Yeah. And fortunately with the
aspect of social media and things, email, you
know, they email me all the time saying, I love
their voice. I love the records. I just, you
know, it's nice to be able to... sit down with
a cup of tea and listen. So I'm blessed that
way. And I think it'll continue that way. I think
the music that we were fortunate to make along
with much of the rest of the music will always
be vital. Because with XM radio over there, they're
playing that music all day, every day, all night,
every night. And it's like it's... Actually,
that's brilliant. Looking at this current tour
you're doing, the 60s gold all -star lineup,
I see that there's yourself. Somebody else has
been on a few times, Jesse Hawkes who's now taking
his dad's place on the tremolos. I mean, we're
speaking tonight when you've got a gap of just
about two nights in the middle of it all, of
this massive tour which is going on. And you're
coming to us at Eastbourne on the second. We
might actually try and get tickets. Yeah, we
will actually come along on the second and see
it. It's 15 miles from where we live. So that's
really good. Come and say hello, please. Oh,
we'll do. That would be really nice. And I like
all these hermits, hermits, marmalade. It's a
fantastic tour, Gary, with all those people.
Let's say that Chesney Hawkes has been on...
a few times yeah lovely guy as well and i'm so
glad that when his dad got poorly that he steps
in and he doesn't do his own solo stuff that's
tremolo stuff he does and yeah what a lovely
guy you've got your website gary uh if you tell
people what your website is and all your social
media so they can have a look and get tickets
if they want to and whatever please so uh your
email your website first please gary The website
is garypucketmusic .com. Of course, there's a
www there, and we have a fan page. You just have
to look for the original Gary Puckett and the
Union Gap fan page, because there's about half
a dozen of them out there that have nothing to
do with us. But you'll find the original. You'll
see me and my band on the opening page. They
can also look me up on Cameo. Do you guys know
about Cameo? No, but I should be finding out
in a few minutes. No. Cameo is a great app where
the fans can go and they can find their favorite
artists who they can then invite to sing Happy
Birthday or Happy Anniversary or give a little
encouragement to somebody they love. And it's
an absolutely great fun thing to do. Cameo it's
called. Get the app and look me up. That is brilliant.
I should be doing that in a few minutes. That's
great. Has you got anything else for Gary? No,
I want to just wish it was the 2nd of November.
Gary, I'm absolutely thrilled to be able to chat
to you at last. Obviously, I've been into radio
since the 80s and it was that era when stations
started playing the oldies. So all the time I've
been a DJ, it's been normal and a big thing to
play. Do you know what, if I can have a pound,
every time I paid Young Girl or Lady Willpower,
I'd be a very rich man. You'd have to pay me
my royalty. Will you be singing those two songs
when you're on tour in Eastbourne? Yeah. What
songs? Lady Willpower? And Young Girls? Yes,
those are on the show. Yes. I'm sorry he's got
to he's got to he's got to do it because maybe
be watching an uncle until he does you know that
um I'm going to make sure he does the books the
tickets now once we finish talking yeah when
you know come back because we've left it on the
cliffhanger basically so uh it's brilliant that
there's you know something we can look forward
to and obviously you've got nausea too as well
so we're leaving it where it's you know left
wide open for uh you know an update but when
i say it's an update Gary i don't make you go
through all of your career again we literally
have an update until maybe a couple of stories
in the past so that's what it is if you come
back i won't make you go through it all over
again all right it's been so interesting thank
you Gary that's going to be amazing interview
Gary thank you uh yeah i mean you are a hero
that we've we could and the listeners are going
to love it because it is well over 200 stations
now so yeah look at what they're wearing congratulations
on your success thank you that has come out that
was one station until lockdown do you know that
and he's just that's our lockdown thing so yeah
and it's nice it's nice to give um artists from
previous decades that i know radio 2 here plays
a lot of it but it's restricted it's nice to
be able to get somebody on tour we're talking
about what they're doing not five minutes it's
nice to you know give that little bit of a platform
as well and that's what keeps our show going
so yeah uh gary it's been an absolute pleasure
good to meet you at last and uh yeah catch you
soon you'll see safe all the best take care all
right and all the best to you may god bless thank
you gary Bye bye. Bye bye. Catabox Redux podcast
with Sue and Nick, and today our special guest
was Gary Puckett of Gary Puckett and the Union
Gap. Our email address is nickelbum at myyahoo
.com. We have a postal address which is PO Box
26, the old Observer Building, Telford Road,
St. Leonard's -on -Sea, East Sussex, England,
TN38, 9LZ. Sue, Twinkle and myself, Nick, thank
you for your company this week and I look forward
to welcoming you again for another Chatterbox
Redux podcast soon. Take care, bye bye. This
is Nick and Sue with Chatterbox giving you all
you need to know about musical attainment. Oh
yeah! Chatterbox!