WEBVTT

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This edition of the Chatterbox Redux podcast

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is brought to you in association with the Old

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Glory iconic music and sports fan merch superstore.

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More from them in a bit. Chatterbox. When the

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stars talk, they talk to Nick and Sue. And welcome

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back to the Chatterbox Redux podcast with Nick

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and Sue and today our special guest is Ella Clayton.

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This is Nick and Sue with Chatterbox giving you

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all you need to know about musical entertainment.

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Oh, yeah! Chatterbox! And now in Chatterbox,

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we're just lucky enough to welcome Ella Clayton.

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Ella, how are you? Welcome. Hello. Thank you

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for having me. I'm very well. Great to meet you.

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You're welcome. Great to meet you. Right, we've

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got a single, As You Are, and an album, Could

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It Be You? Yeah. Well, we've both listened to

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the single. I've heard it a few times. You've

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just heard it for the first time, so haven't

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you? So that all sounds good. So we'll chat about

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them in a minute. Wonderful launch at the hundred

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club, but before we do tell us a little bit about

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yourself I mean, there's a page and a half here

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of press release, but let's let's do have it

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in your own words How you got here what you listen

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to as a kid what's been played at home? Just

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some of that stuff just to give us an idea of

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what your influences might have been the makings

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of. Yeah, so I grew up in a music loving household.

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Both my parents play music, not professionally,

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but we all, my brother and sister included, played

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together in a very sort of on trap way as children.

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And I think my parents put me on stage in a pub

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when I was eight years old. And I was singing

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at school without realising, getting into trouble.

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It's just like in my bones. And then started

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playing open mics and small gigs in my sort of

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late teens, early 20s. And then I met my producer,

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Lester Duvall, and we made my first album together,

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Murmurations, which came out in 2022. That led

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to sort of festivals and some of the songs were

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placed in films and things like that. And then

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I made my second album with Lester and that came

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out Friday, just passed. And yeah, it's been

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really exciting. I've got a tour. Coming up,

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starting this Friday, I'm going to Leeds, Manchester,

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Nottingham, Norwich, and then we end in London,

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in my hometown, with the biggest headline show

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I've ever done. I'm really nervous and excited,

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but yeah, it's at the 100 Club in Solo. Why is

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it called the 100 Club? Excuse me, I don't know.

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It's been called it ever since I can remember.

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Why is it called the 100 Club? Do you know why?

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Oh, why? I have no idea. Okay, I think we're

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about to find out. Why is he called the 100 Club?

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Well, it won't be that. Why are you looking that

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up, Ella? Are you ready for this, Ella? I'm ready.

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It's called the 100 Club simply because it's

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located at number 100 Oxford Street. Well there

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you go. Originally known as the Feldman Swing

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Club and live music began there in 1942, renamed

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the 100 Club in 1964 by Roger Horton. So it's

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been called the 100 Club 62 years anyway so it's

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got quite a history. Yeah it does, it's got such

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an iconic history. And now you know, that's brilliant,

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you'd be telling everyone, and please do. On

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stage, first thing you say. Anyway, back to you.

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Yeah, if you could go on tour, what band or artist

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or duo would you like to go on tour with? Oh,

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there's so many. Big Thief. Do you know the band

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Big Thief? No, but I will do an interview. Yeah,

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they're one of my favorite bands making music

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at the moment. Adrian Lenker is their songwriter

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and she's absolutely prolific. She's released

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something like four solo albums and the band,

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I think they might have just released their sixth

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studio album. So I think her songwriting is absolutely

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like she's going to be remembered as one of the

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best of our generation. I'd love to support them.

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Do you know, I'm really manifesting a support

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tour and within reason I'd go on the road with

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anyone. Do you know what I mean? I just really

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want the experience. I'd love to tour outside

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of the UK as well, in Europe. But yeah, Big Thief

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would be my number one. That's good. I'll just

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read you some of these things here about some

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of the shows you've been in. There was some Netflix

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series here, you had something rather to do with

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that. My song was featured on a game called Dead

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Man's Phone and it's like a Netflix interactive

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game and then it was also on a film soundtrack.

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called Sweetheart. The film is a beautiful sort

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of coming -of -age narrative. Yeah, my song was

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in there. Don't you go underselling yourself

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here, will you? You know, it's pretty good, some

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of this. How do you feel that your song's been

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played in a film? Oh, it's wonderful. It's, yeah,

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it's absolutely amazing. I'd like to do a lot

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more of it. Yeah, I mean, I was... Speaking to

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someone earlier and just talking about sort of

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musical influences, I think a lot of my music

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tastes that sort of didn't come from my parents,

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from what they were playing, the stuff that I

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discovered myself was a large part down to movie

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soundtracks. And it can sort of totally elevate

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a film. So to have my music in... you know, to

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accompany the visuals of a film would be amazing

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to reach new audiences. Yeah, absolutely. So

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got to eat somehow, you know. So got this lead

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single from the album. So the album could it

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be you and lead single as you are. So I got the

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date of 24th of April, which was just gone, isn't

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it? Yeah. So already available kind of thing.

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Is that right? Yeah, it came out on Friday. yeah

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uh the 100 club tell us a bit more about that

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the date on the 100 club uh when when you're

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doing the the big like thing there so yeah so

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that's on the 28th of may Yeah. I'm glad you

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said that because I will get confused because

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we've got 28 to make 28. I'll just get all over

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the place though. Thank you. 28 to make. Brilliant.

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What can we expect next from you? I mean, yeah,

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she's just got the album out, but what can we

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expect now? What's planned? Because you obviously

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don't... I mean, your third album, is it? Something

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like that. So is there another album already?

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Are you one of those people, seeing the songwriters,

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that's always writing something, you think, oh,

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I'll get that down and then... Are you one of

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those people? Yeah definitely, it's like a sort

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of compulsion in my mind, it's like an overdrive

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all the time. I definitely have periods where

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I'm, you know, you need to sort of like top up

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your experiences so that you can then write about

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them but I'm always writing things down and I

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try and practice songwriting as a sort of muscle.

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So could you be sat on a train and then there's

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this so a couple of sentences come to you and

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you just have to be writing down. Yeah I do or

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if I hear some interesting conversation on the

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train and someone says something quite juicy

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I'm like oh write that down or yeah all sorts

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of things dreams conversations with friends you

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know landscapes nature all sorts of things. Cool

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cool you've already been Talk about venues, is

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there a venue where you, the 100 Club's pretty

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nice for this launch thing. What venues have

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you got in mind as part of your musical career

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you'd like to play at? Is there any places you'd

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think, oh I'd love to play there? Albert Hall?

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Yeah, but you're not the artist here. Albert

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Hall is iconic, it's an amazing venue. I think

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for me, my... One of my dream venues is the Roundhouse.

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I saw Alice Phoebe Lou play there last year and

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it was absolutely electrifying. I also love the

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Union Chapel. It's another North London venue.

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It's a church but I've seen some amazing gigs

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there and I have played there but only as a support.

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I'd love to come back and do a headline there.

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Oh, there's so many. I mean, I'd love to. I'd

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love to play. I'd love to play in New York. Yeah,

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I just. Well, we wish you every success with

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this, of course. Tell us about some of the other

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album tracks, because we want the whole album

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here. Perhaps we'll stick one or two more in

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when we edit and put the thing on the Chatterbox

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radio show. Tell us about some more of the tracks

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and maybe some stories behind them. I miss strangers.

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I wrote that one in lockdown and I didn't have

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the chance to sort of sit on trains and spy on

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people and I really missed that and there's a

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line in it about like looking at a beat -up pair

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of trainers and you know wondering at the multitude

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of lives that they may contain and Yeah, just

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that sort of, you know, the sort of interactions

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you can have with strangers that totally transform

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your day. And while like, you know, spending

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time, I was lucky enough to sort of spend that

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lockdown with people I really loved, but there

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was like something missing for me in that sort

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of, you know, unexpected opportunities that come

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from meeting strangers. And I loved the way we

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ended up recording it in the studio. It was a

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total surprise. Alex Crawford, the guitar player,

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ended up coming up with this. Oh, who's that?

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It's Twinkle. She's been rubbing around my legs

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and she has to say hello to everybody. Hello

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Twinkle. Yeah, she's fine now. But yeah, now

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she's met you. Now she's met me. She's chill.

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Yeah, so that song in the studio we ended up

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recording in a completely unexpected way and

00:12:36.500 --> 00:12:43.120
it was really exciting and brilliant. This edition

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of the Chatterbox Redux podcast is brought to

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remove CO2 from the atmosphere. It takes two

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to tangle And two to present a radio show So

00:15:13.169 --> 00:15:20.850
here's Nick and Sue Your musical duo This is

00:15:20.850 --> 00:15:23.129
Nick and Sue with Cheddar Box Giving you all

00:15:23.129 --> 00:15:25.429
you need to know about musical entertainment

00:15:25.429 --> 00:15:36.320
Cheddar Box Cheddar Box Which other song shall

00:15:36.320 --> 00:15:41.340
I choose? Please Me is the opening track and

00:15:41.340 --> 00:15:45.679
it's one of the more soulful songs on the record

00:15:45.679 --> 00:15:50.639
and I guess it's it's a sort of love song for

00:15:50.639 --> 00:15:54.000
people with anxious avoidant attachment styles

00:15:54.000 --> 00:15:59.789
and Yeah, it starts off quite sort of guarded

00:15:59.789 --> 00:16:05.950
and spiky. And then the sort of turning point

00:16:05.950 --> 00:16:08.470
in the song is in the chorus when you sort of

00:16:08.470 --> 00:16:12.889
realize like maybe you're not so choosy and,

00:16:12.889 --> 00:16:16.309
you know, avoidant, maybe you're just holding

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out for something that's really good. Are the

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songs that you write, I appreciate you, you get

00:16:21.289 --> 00:16:22.730
things out when you hear them, you get ideas,

00:16:22.909 --> 00:16:25.830
whatever, I get that totally. But your songs

00:16:25.830 --> 00:16:29.190
generally... True stories with a connection to

00:16:29.190 --> 00:16:31.409
you. Are you telling a story yourself or something

00:16:31.409 --> 00:16:34.590
that's happened to you? Or you just get those

00:16:34.590 --> 00:16:36.549
ideas down and you could do a song that way.

00:16:37.990 --> 00:16:43.750
Yeah, it's a mix. It's a whole mix. Most of the

00:16:43.750 --> 00:16:50.750
time the spark of inspiration is related to myself.

00:16:51.169 --> 00:16:54.509
Like something that's happened to me. or a feeling

00:16:54.509 --> 00:17:00.090
I'm trying to work out or, you know, something

00:17:00.090 --> 00:17:03.309
that's happened in real life around me, whether

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or not it's directly me or someone else or whatever.

00:17:06.690 --> 00:17:10.190
But then I think the process of songwriting for

00:17:10.190 --> 00:17:14.690
me is almost trying to get out the way of myself

00:17:14.690 --> 00:17:19.289
and just let it be whatever it wants to be. And

00:17:19.289 --> 00:17:22.569
sometimes that means kind of removing myself

00:17:22.569 --> 00:17:25.609
as as much as possible and other times it means

00:17:25.609 --> 00:17:30.150
like tapping into you know excavating the sort

00:17:30.150 --> 00:17:33.470
of deepest darkest bits of myself that I'm I'm

00:17:33.470 --> 00:17:39.289
trying to hide um so it can vary yeah these song

00:17:39.289 --> 00:17:42.269
as you are I think in all sorts here what's the

00:17:42.269 --> 00:17:45.650
song about what do you what did you take from

00:17:45.650 --> 00:17:51.730
it what was the You just take it away with you.

00:17:51.730 --> 00:17:54.549
You just get away. It's a male's perspective

00:17:54.549 --> 00:17:58.130
perspective and it's the female that's doing

00:17:58.130 --> 00:18:02.769
the song and It's to do with a male. I can't

00:18:02.769 --> 00:18:05.970
explain it. Is that correct or wrong? Oh No,

00:18:05.970 --> 00:18:08.750
I mean, it's there's no incorrect. I love hearing

00:18:08.750 --> 00:18:11.130
Different people's sort of interpretations of

00:18:11.130 --> 00:18:14.390
it. I think of this song as a sort of friendship

00:18:14.390 --> 00:18:23.000
love song and just about this sort of, like,

00:18:23.440 --> 00:18:26.940
marvelling at the chances of crossing paths with

00:18:26.940 --> 00:18:31.160
someone that you end up valuing and loving so

00:18:31.160 --> 00:18:37.059
much. It's just like, yeah, those moments with

00:18:37.059 --> 00:18:40.339
friends, I don't know, in the second verse, it's

00:18:40.339 --> 00:18:44.059
all like, you're rollerblading in the park and

00:18:44.059 --> 00:18:49.420
just having a laugh and it's like... can't believe

00:18:49.420 --> 00:18:51.980
that we met and that this is, you know, in this

00:18:51.980 --> 00:18:53.880
lifetime we get to spend all this lovely time

00:18:53.880 --> 00:18:58.259
together. It's a bit cheesy, but that's what

00:18:58.259 --> 00:19:01.279
the lyrics are about. There's that thing I used

00:19:01.279 --> 00:19:03.380
to say a lot in interviews, wasn't it, about

00:19:03.380 --> 00:19:06.119
songwriting, this saying that's like going to...

00:19:06.900 --> 00:19:08.680
a song's like, it's a bit like going to an art

00:19:08.680 --> 00:19:10.740
gallery and you look at someone's painting and

00:19:10.740 --> 00:19:12.359
there's, you've got a hundred people there and

00:19:12.359 --> 00:19:13.920
they've got a hundred different interpretations

00:19:13.920 --> 00:19:16.440
as to what the painting is about. A song could

00:19:16.440 --> 00:19:18.259
be the same as it's on your frame of mind, how

00:19:18.259 --> 00:19:21.720
you feel. Totally, totally. That's the beauty

00:19:21.720 --> 00:19:23.359
of it, you know, that's the... And you're the

00:19:23.359 --> 00:19:25.319
first person that's asked me what I thought of

00:19:25.319 --> 00:19:29.980
that song. Really? Brilliant, yes. Well, you

00:19:29.980 --> 00:19:35.279
know, because I have my reasons, obviously, and

00:19:35.279 --> 00:19:40.839
like, ideas about what it is. But then when I

00:19:40.839 --> 00:19:43.000
release it, it's not mine anymore, you know,

00:19:43.220 --> 00:19:48.180
it's like, pass on and then it's whatever you

00:19:48.180 --> 00:19:51.079
feel is. It's not a really good way of looking

00:19:51.079 --> 00:19:54.859
at it. I see also among the venues you've already

00:19:54.859 --> 00:19:57.799
played in London, the St Pancras Old Church,

00:19:58.539 --> 00:20:00.700
to speak to a lot of people that have played

00:20:00.700 --> 00:20:02.740
there on the way up, which is brilliant. It sounds

00:20:02.740 --> 00:20:06.200
like a must -go. It's not exactly far from a

00:20:06.200 --> 00:20:09.099
railway station for us to get off and go to.

00:20:09.519 --> 00:20:10.779
That's pretty obvious it's in the name, dear.

00:20:11.220 --> 00:20:17.400
Yes dear, thank you for that. Even you'll find

00:20:17.400 --> 00:20:22.220
that one. so uh no it's just it keeps cropping

00:20:22.220 --> 00:20:24.200
up that one it seems to be like one of the places

00:20:24.200 --> 00:20:26.720
to be in london is you know making your name

00:20:26.720 --> 00:20:28.720
being heard there there's some pancreas old church

00:20:28.720 --> 00:20:30.440
and they're they're people each of you they're

00:20:30.440 --> 00:20:33.140
people that are like like you know having a big

00:20:33.140 --> 00:20:35.240
launch or they're supporting somebody or whatever

00:20:35.240 --> 00:20:37.519
so yeah it sounds like it's one of the venues

00:20:37.519 --> 00:20:40.460
to be in london anyway so uh yeah it's brilliant

00:20:40.460 --> 00:20:44.200
it's a gorgeous church um right next to some

00:20:44.200 --> 00:20:48.650
pancreas station and um And I played there like

00:20:48.650 --> 00:20:50.990
three years ago, did my headline, but then I've

00:20:50.990 --> 00:20:54.750
played there since as a support act. Okay. Yeah.

00:20:55.869 --> 00:20:59.569
Where's the venue we're going to next week? Oh,

00:20:59.730 --> 00:21:05.329
that's right up high up Victoria. It's two stops,

00:21:05.349 --> 00:21:06.990
two stops away from there actually. Yeah, it

00:21:06.990 --> 00:21:09.750
is. We would change, get on probably Euston,

00:21:09.829 --> 00:21:13.009
get on the... Probably Victoria Line there. Two

00:21:13.009 --> 00:21:14.950
stops after that. So it's close, but not close

00:21:14.950 --> 00:21:16.349
enough for what we want to be doing. What's the

00:21:16.349 --> 00:21:18.910
venue? I'm going to have to look it up now. We're

00:21:18.910 --> 00:21:21.430
seeing Bobo in at their record launch next Friday.

00:21:22.789 --> 00:21:25.710
And do, do, do, do. The pub anyway, but it does

00:21:25.710 --> 00:21:30.170
lots of music out there. Bobo. Good guy. Must

00:21:30.170 --> 00:21:32.430
mean it to be a hall or? Better than a hall,

00:21:32.690 --> 00:21:35.549
darling. Like a cathedral. it's cathedral yes

00:21:35.549 --> 00:21:38.609
it's st paul's cathedral dear all right it's

00:21:38.609 --> 00:21:42.029
all part of it open anchor it's actually islington

00:21:42.029 --> 00:21:44.809
yeah oh the open anchor i know yeah you know

00:21:44.809 --> 00:21:46.410
brilliant yeah it just sounds like there's a

00:21:46.410 --> 00:21:47.970
whole like floor bath or something there's a

00:21:47.970 --> 00:21:50.309
whole area which is done for the music so it

00:21:50.309 --> 00:21:51.970
sounds like a really good music venue that's

00:21:51.970 --> 00:21:53.970
what they're one of three acts so we've interviewed

00:21:53.970 --> 00:21:55.710
them a few so sometime you'll be seeing us come

00:21:55.710 --> 00:21:59.049
to you as well so there you go we will we will

00:21:59.049 --> 00:22:00.329
we've been talking to them for a while we got

00:22:00.329 --> 00:22:03.329
to they like become music friends so yeah we've

00:22:03.339 --> 00:22:05.440
We're actually going to their launch. So there

00:22:05.440 --> 00:22:09.460
you go. If you could write a song, who would

00:22:09.460 --> 00:22:12.299
you write the song for? Would you like the person

00:22:12.299 --> 00:22:16.000
to sing it? Oh, okay. Like a musician to sing

00:22:16.000 --> 00:22:20.500
one of my songs. But you could also write a song

00:22:20.500 --> 00:22:24.079
for that person. Yeah. Who would I write a song

00:22:24.079 --> 00:22:34.539
for to sing? I'm now blanking on every single

00:22:34.539 --> 00:22:37.359
artist I've ever listened to in my life. How

00:22:37.359 --> 00:22:40.019
about going dead or alive? Dead or alive? That

00:22:40.019 --> 00:22:41.380
sounds good, doesn't it? Let me find a way of

00:22:41.380 --> 00:22:53.920
getting them. Dead or alive. So... I think it

00:22:53.920 --> 00:22:59.200
would have to be... I'm gonna go with Alice Phoebe

00:22:59.200 --> 00:23:03.410
Lou. She's an amazing... singer, songwriter herself,

00:23:03.509 --> 00:23:08.250
and she has covered songs in a really cool way.

00:23:08.630 --> 00:23:11.089
So whether I wrote something for her or whether

00:23:11.089 --> 00:23:13.369
she covered one of my songs, I feel like she'd

00:23:13.369 --> 00:23:16.609
do it in a really interesting way. Okay. Is your

00:23:16.609 --> 00:23:18.430
next interview four o 'clock? We've got no one

00:23:18.430 --> 00:23:21.410
at four? Yeah. Okay, right. Because I could chat

00:23:21.410 --> 00:23:23.670
for ages to you, but we do it again sometimes.

00:23:23.970 --> 00:23:28.750
It's fascinating. We ask if you can keep us updated

00:23:28.750 --> 00:23:31.269
with your new songs when they come out. This

00:23:31.269 --> 00:23:32.549
is where we're going next, because we're going

00:23:32.549 --> 00:23:34.710
to do the social media bit. So if you've got

00:23:34.710 --> 00:23:38.049
a website, then I just get the press releases

00:23:38.049 --> 00:23:40.670
off that. So social media time, Ella. So what

00:23:40.670 --> 00:23:42.569
social media have you got, and how can our listeners

00:23:42.569 --> 00:23:45.269
take a look and, yeah, find a bit more about

00:23:45.269 --> 00:23:51.849
you? So I'm on Instagram, TikTok, Substack. Substack

00:23:51.849 --> 00:23:55.990
is my favorite sort of mode of communication.

00:23:56.130 --> 00:23:58.700
I write newsletters, and you can sign up. through

00:23:58.700 --> 00:24:02.700
my website, but I'm on Instagram, Ella Clayton,

00:24:02.940 --> 00:24:07.420
TikTok, YouTube. My website is www .ellaclayton

00:24:07.420 --> 00:24:10.359
.com and you can find my tour dates there and

00:24:10.359 --> 00:24:14.940
a link to buy my vinyl. I've got the new record

00:24:14.940 --> 00:24:20.200
on 12 inch eco mix vinyl and it's on Bandcamp

00:24:20.200 --> 00:24:22.480
as well. And basically if you can think of a

00:24:22.480 --> 00:24:25.500
social media, I'm on it and you can just search

00:24:25.500 --> 00:24:28.529
Ella Clayton and you should find me. Okay, I'm

00:24:28.529 --> 00:24:30.769
far too well for TikTok, but I'm sure most of

00:24:30.769 --> 00:24:34.529
our listeners are on that. There was one I haven't

00:24:34.529 --> 00:24:36.130
heard of. There was one, I'll write that down,

00:24:36.529 --> 00:24:38.049
substack, never heard of that, I've written that

00:24:38.049 --> 00:24:41.150
one down. Oh yeah, well, it's like a newsletter

00:24:41.150 --> 00:24:44.130
thing, so you don't have to have the app to,

00:24:44.490 --> 00:24:47.250
it goes straight to your email, basically. Okay.

00:24:47.430 --> 00:24:49.490
So you'd get like an email with like a little

00:24:49.490 --> 00:24:54.940
letter from me and some information. Nice, well,

00:24:55.019 --> 00:24:59.220
it's been great meeting you, so wishing you every

00:24:59.220 --> 00:25:01.400
success, especially with that launch at the 100

00:25:01.400 --> 00:25:04.819
Club on the 28th of March, which in case people

00:25:04.819 --> 00:25:07.359
forget where it is, it's at number 100 Oxford

00:25:07.359 --> 00:25:10.259
Street. It's a great little fact to know, isn't

00:25:10.259 --> 00:25:13.119
it? It's a great little fact. When did you say

00:25:13.119 --> 00:25:17.140
it was open? 1947 or something? 1942 we've got

00:25:17.140 --> 00:25:20.539
here, and now it's saying as the Feldman Jazz

00:25:20.539 --> 00:25:25.650
Club Wait for this. It's the world's oldest continuously

00:25:25.650 --> 00:25:29.990
running independent music venue. Yay. Wow. There

00:25:29.990 --> 00:25:33.990
you go. And the 100 Club in 1964. There you go.

00:25:34.210 --> 00:25:38.009
And now welcome Ella Clayton's album launch of

00:25:38.009 --> 00:25:41.069
Could It Be You with the full band. That's brilliant.

00:25:41.309 --> 00:25:44.390
There you go. Ella, I really enjoyed chatting

00:25:44.390 --> 00:25:46.529
to you and I hope we can do it again some time.

00:25:47.450 --> 00:25:51.910
Good luck with everything and the whole lot of

00:25:51.910 --> 00:25:54.009
it and all the rest of the interviews for launch.

00:25:55.269 --> 00:25:57.009
Now we've chatted, we'll be looking out for some

00:25:57.009 --> 00:25:58.890
more stuff from you anyway, so there you go.

00:25:59.309 --> 00:26:01.089
We know who you are now. All right, Ella, thanks

00:26:01.089 --> 00:26:03.730
a lot. Cheers. Thanks so much. Enjoy your change

00:26:03.730 --> 00:26:06.230
this week as well. Bye. Thank you. Bye -bye.

00:26:32.549 --> 00:26:34.650
You've been listening to the Chatterbox Redux

00:26:34.650 --> 00:26:37.349
podcast with Sue and Nick and today our special

00:26:37.349 --> 00:26:40.329
guest was Ella Clayton If you're interested in

00:26:40.329 --> 00:26:43.029
becoming a future guest on the Chatterbox Redux

00:26:43.029 --> 00:26:46.009
podcast, or the radio show Chatterbox UK, you're

00:26:46.009 --> 00:26:48.690
welcome to submit songs, books, or whatever it

00:26:48.690 --> 00:26:52.390
is you do, and send us a CV, synopsis, or press

00:26:52.390 --> 00:26:55.289
release. However, we receive several thousand

00:26:55.289 --> 00:26:58.049
such press releases every week, and it's impossible

00:26:58.049 --> 00:27:01.589
to reply to each one individually. Why not email

00:27:01.589 --> 00:27:03.869
us or leave a comment, because we'd love to know

00:27:03.869 --> 00:27:06.369
what you think of the podcast. Our email address

00:27:06.369 --> 00:27:25.809
is... And wherever it is you choose to listen

00:27:25.809 --> 00:27:28.789
to the Chatterbox Redux podcast, don't forget

00:27:28.789 --> 00:27:31.970
to give us a like, a follow, a favorite or whatever

00:27:31.970 --> 00:27:35.029
it is on that platform. just so you don't miss

00:27:35.029 --> 00:27:39.069
a future episode. Sue, myself Nick and Twinkle

00:27:39.069 --> 00:27:42.009
the tuxedo cat. Thank you very much for your

00:27:42.009 --> 00:27:44.029
company and we look forward to welcoming you

00:27:44.029 --> 00:27:46.670
again next time for another Chatterbox Redux

00:27:46.670 --> 00:27:49.430
podcast. In the meantime, take care, we thank

00:27:49.430 --> 00:27:52.210
you for your company and we catch you then. Bye

00:27:52.210 --> 00:28:18.849
bye. This is Nick and Sue with Chatterbox giving

00:28:18.849 --> 00:28:24.049
you all you need to know about musical attainment.

00:28:24.930 --> 00:28:34.079
Oh yeah! Chatterbox, the best innovation. The

00:28:34.079 --> 00:28:34.779
best news