WEBVTT

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Nick and Sue. This edition of the Chatterbox

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Redux podcast is brought to you in association

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with the Old Glory Iconic Music and Sports Superstore.

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More from them in a bit. Welcome back to the

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Chatterbox Redux podcast with Sue and Nick and

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today our special guest is Graham Lepe Lee. This

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is Nick and Sue with Chatterbox giving you all

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you need to know about musical entertainment.

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Oh yeah! Chatterbox, the best interviews with

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Nick and Sue. Chatterbox, the best news We're

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just lucky enough to welcome Lee P. Lee. Lee,

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welcome. How are you, sir? Hello, Lee. Well,

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I look well. Thank you, Nick. Yes, I'm fine.

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How are you? We're good, thank you. And I see

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that you were born just along the coast from

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us. We're based in St. Leonard's, and you were

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born along the Sunshine Coast, so... It was.

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How did you get into singing? Did you like singing

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as a child, or how did you actually get into

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it to start with? Well, I used to like Saturday

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morning pictures in those days, you know, and

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I used to love the cowboys sitting on their horses

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with guitars, Gene Auctor and people like that.

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I actually had the pleasure of meeting Gene Auctor

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many, many, many years later when I did the Grand

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Old Opry, but, um, them, and they were my heroes,

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and I liked the look of the guitar. So I started

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to save up for my paper round, round Eastbourne,

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and there was a guitar in the window at one of

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the music shops, there was a fiver, and I was

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trying to save up for my seven and six a week.

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ukulele next to it and it had only 30 volts so

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I bought the ukulele and I started on a ukulele

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and then we started getting a couple of friends

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around my uncle knew how to make a t -chest bass

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so he made a t -chest bass for us you know we

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were actually pre skipple before skipple really

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started about a year or so before skipple really

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kicked off so we were well ready Brilliant. So

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what was the next move? Did you sort of get to

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play around pubs, bars or halls or whatever?

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We played in hotels and things in Eastbourne.

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We were very popular at the Espresso Lounge and

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that because there wasn't anything like it. It

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was all new. We were packed. People had come

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for miles to see it because it was just new.

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It was a novelty. I'm not sure if music was that

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good, but it was a novelty. a front a group in

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1958 I got off the off at all a front a group

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as somebody came down to see us at the London

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Palladium. Wow. So I actually started off at

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the London Palladium. Although we did go and

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do them at Edgeware Road with the Urchin as my

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group was called. Urchin? So I fronted a band

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that made up a session musician because there

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still were rock and roll patterns even then in

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58, not really in America, they were not really

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in the UK. They were just beginning down to two

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highs and everything. And then so I found it

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in a group which went on to become, oh god, Hootsmon

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and the Moose Loose, I don't know who's from

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that one. Lord Rockingham's 11. Lord Rockingham's

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11, that's right. Yeah, that's it. I sort of

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started at the top and worked down. And when

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it sort of finished, I know all the boys went

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back to their various sessions and their various

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jazz, they were all jazzmen, you know. And Rex

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went off to perform, they were rocking. And I

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sort of finished up sort of wallowing a little

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bit, but I always actually wanted to be an actor.

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I didn't want to be a... just the music business

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just came along, you know, with acting I wanted

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to do. So I went into... shows but they all folded

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so I was in trouble so I started doing other

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things through her money for some time. A shop

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in the Portobello Road and a few stalls around,

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you know, that sort of thing. And I'm in the

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East End called the Bongo Club where I used to

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book the tremolos and give me pays, and all before

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they start it's thirty -five a week, thirty -five

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a night. I mean you were sort of playing him,

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you don't sort of get much bigger than that.

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But do you perhaps feel if you weren't, because

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Eastbourne, a little bit off the beaten track

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if you like, as I look upon Hastings as being

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a bit like that, but do you think if you were,

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it's difficult to say if you were in Liverpool,

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but you say you were pre -Skiffles though, that's

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pre -Enquiremen sort of thing. Do you think if

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you were in one of the big cities when you first

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started, you might have led the way? with like

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some skiffle movements, or was it just set the

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way it became? Well, I could have led the way

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actually, because when I went up to England in

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1958, it was just kicking off down the Two Eyes

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and everything. But actually, in my days, I was

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with Bruce and Hank from Shadow, you know, and

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I knew Cliff there as well. But anyway, and they

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were all going to the Two Eyes, and Lanny Parnes,

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I don't know if you know, Lanny Parnes was the

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big role manager at the time. people up right

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left and centre, Billy Fury and Matthew Wild

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and Wildcats and what, but I was on the podium

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you see, so I was already at the top wasn't I?

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What I should have done was gone under two eyes,

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that's really it, because that was where it was

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all really beginning you know, and I just jumped

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the gun slightly and of course I was out of sight

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out of mind for those two years. but not me.

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Well at the time I can see why you thought that

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was the gig to be at because you know name -wise

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that is that is the the top of the uh well it

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was absolutely you know and um unfortunately

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the producer was a real old -time theatre man

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and he had the director who absolutely hated

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the new rock and roll they did music through

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the ages and they started off with to rock and

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roll and we went from about five numbers and

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he'd cut us right down to one. We were only actually

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doing one song and that was a whole lot of women.

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We only did the one song in the end. We used

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to bring a house down in my head. Of course it

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wasn't much of a showcase for me just singing

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one song you know. So I didn't have to get discovered

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from there. No, well, I get that. I mean, was

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there any early offers of record deals and things

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like that, or was it literally... Oh, yes, yes,

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I did. I sent a demo to Tony Hatch. Oh, yes,

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yes. Yeah, I remember. And Tony listened to it,

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and he loved it, and I went and recorded with

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Tony Hatch, and it was a relief. It was a record

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for what was all happening, which I'd written

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in East Byron. in a way, but, you know, I still

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dig it out sometimes. I'll play on my radio program

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because I've got a radio show as well, you know,

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so I like it. And I have a good time. And it's

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a hard thing about that because many years later

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we had a phone call come through from America

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and they were making a film called The Hatton.

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to whether my It's All Happening was available.

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What took them so long? Anyway, of course I said

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yes. They put Diana Ross and The Supremes, The

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Happening. That one, they used that and said

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it was far better anyway. So I missed out there.

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But yes, I recorded then. I don't remember doing

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anything else with Tony Hatch actually. He was

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very busy at the time. Oh he was wasn't he? Yeah.

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Yeah, I broke Coronation Street, didn't I, the

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theme and all that, you know, with his wife.

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Jackie Trent. Jackie Trent, absolutely right,

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yeah, Jackie Trent, yeah. And, no, I really,

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I had to earn money because I had a family then.

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Sure. You see, I've had my best baby when I was

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quite young. I met Mary in Eastbourne, my wife,

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when I was 15. And I went up to London when I

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was 18, so, and I knew. because I wanted to be

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an actor, all the auditions were in London. Anyway,

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so when I had the excuse to go to be at the Palladium,

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that was a double bubble, you know, after I went.

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But yeah, good times, bad times, you know, I

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didn't mop auctions, as I said, I had the club

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in the East End, you know, I booked the boys

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and everything. Screaming, Lord such, we willy.

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You mentioned, you know, about maybe being ahead

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of your time and things like that, and we talked

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about the Palladium a bit, and of course, you

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know, as I said, that is the top of the pile,

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isn't it? The Palladium. But of course, looking

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back, hindsight for any of us is a great thing,

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isn't it? It could have so easily been the other

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way, couldn't it? Well, it normally is the other

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way. Well, yes, yes. Anyway, so it's all happening

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in 1962. You told us a great story about that.

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I see you've brought another song out, King of

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the Whole Wide World. Yeah, I did that with Ray

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Davis. OK. Well, he wrote it or you sang it with

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him? Well, I was with the same management as

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Ray Davis and Robert Ways and Granville Collins

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were his managers and I was with the same management

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and they asked Ray to write me a song and he

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wrote me and I said, wow, yeah, that's the one

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for me, hearing the demo, you know? But they

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decided that the demo had turned out so well

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that the Kings were going to release it anyway.

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And that's with a couple of others, too, with

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Matt, Randy, and all that, anyway. And then he

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wrote King of the Whole Wide World, and I did

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it with him. And, oh, we had Goldie and the Gingerbreads

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singing, Madeline Bell singing, Bachbell and

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three bells. And when you listen to it, you're

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going to hear the Kings, you know, you're going

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to hear it. It's a Kings song, that's what it

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was, wasn't it? Nick and Sue. Supporting the

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show means supporting the brands that keep the

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lights on and today I'm thrilled to talk about

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Don't forget CBUKRDUX. So here's Nick and Sue

00:14:12.399 --> 00:14:19.100
Your musical duo This is Nick and Sue with Chatterbox

00:14:19.100 --> 00:14:21.399
Giving you all you need to know about musical

00:14:21.399 --> 00:14:27.220
entertainment Chatterbox Chatterbox Chatterbox

00:14:27.220 --> 00:14:45.539
Chatterbox Chatterbox Chatterbox Chatterbox you

00:14:45.539 --> 00:14:49.019
know but the kings never did you know the only

00:14:49.019 --> 00:14:51.779
one they ever they ever recorded with so that's

00:14:51.779 --> 00:14:55.879
nice that's a very proud fact isn't it uh what

00:14:55.879 --> 00:15:01.059
a record by the way and it's worth 150 quid if

00:15:01.059 --> 00:15:05.210
you've got one wow unfortunately I just thought,

00:15:05.289 --> 00:15:11.169
oh, she hasn't got any. Around what time did

00:15:11.169 --> 00:15:15.250
you decide on the name Leepy Lee? Was that at

00:15:15.250 --> 00:15:18.289
the beginning in 62 or was it when you were...

00:15:18.289 --> 00:15:20.850
Yeah, I got that. I unfortunately got lumbered

00:15:20.850 --> 00:15:23.429
with that name, which I've had to live with all

00:15:23.429 --> 00:15:26.590
my life. I think it's a great name. See, you've

00:15:26.590 --> 00:15:29.129
got to ask... With a name like that, you never

00:15:29.129 --> 00:15:31.490
get taken seriously, you see. So when I try to

00:15:31.490 --> 00:15:40.070
do a serious thing, do they... I didn't know

00:15:40.070 --> 00:15:41.950
if it was sort of a nickname when you were growing

00:15:41.950 --> 00:15:43.690
up around Eastbourne or something. But I'll tell

00:15:43.690 --> 00:15:46.690
you something, it's memorable. It's very memorable.

00:15:47.269 --> 00:15:49.409
It's catchy and it goes well with the song. Yeah.

00:15:50.629 --> 00:15:52.610
Well, we'll talk about your songs in a bit, but

00:15:52.610 --> 00:15:55.289
Sue, you've got a question for Lee about his

00:15:55.289 --> 00:15:56.830
name, haven't you? Yeah, how did you come up

00:15:56.830 --> 00:16:02.509
with Leepy Lee? Well, when things died down a

00:16:02.509 --> 00:16:04.500
bit with the palatial and everything... and I

00:16:04.500 --> 00:16:06.340
needed to get money because I already have one

00:16:06.340 --> 00:16:09.460
child and another one on the way. I had a family,

00:16:09.659 --> 00:16:11.659
a lot of those lads were young and they didn't

00:16:11.659 --> 00:16:16.720
have any, you know, they had no responsibilities

00:16:16.720 --> 00:16:18.820
or anything, you know, but I did, I had a family

00:16:18.820 --> 00:16:21.759
so I had to do other things. So I had a bingo

00:16:21.759 --> 00:16:24.539
hall in, just started that bingo at the time,

00:16:25.080 --> 00:16:27.320
in Shepherd's Bush and I had another one in East

00:16:27.320 --> 00:16:29.480
End and Canning Town and I had the club there

00:16:29.480 --> 00:16:33.139
and I had a stall in the Portobello Road and

00:16:33.139 --> 00:16:35.100
the shop in in the Portobello Road, little shop,

00:16:35.700 --> 00:16:38.200
and I would leap in from one job to the next.

00:16:39.000 --> 00:16:40.720
And that's literally how it happened. Before

00:16:40.720 --> 00:16:44.840
leaping in again, you know, that was stuck. And

00:16:44.840 --> 00:16:48.259
I've been lumbered with since. Brilliant, brilliant,

00:16:48.299 --> 00:16:51.700
brilliant. I'm now coming on 83 and still leaping.

00:16:53.980 --> 00:16:56.679
Oh, brilliant story. Well, you know, there's

00:16:56.679 --> 00:16:59.629
always great, nice bit of history there. Anyway,

00:17:00.049 --> 00:17:02.429
we need to get into, because we had quite a run

00:17:02.429 --> 00:17:05.769
and I don't know what happened to you in Australia

00:17:05.769 --> 00:17:08.490
with all those hits. It looks like you were the

00:17:08.490 --> 00:17:13.349
second coming almost. But we get to 1968 and,

00:17:13.430 --> 00:17:15.029
obvious, we were going to talk about this at

00:17:15.029 --> 00:17:17.910
some point, Little Arrows, were you still with?

00:17:18.509 --> 00:17:21.490
It's an amazing song and I'm glad there's some

00:17:21.490 --> 00:17:23.470
clips of you singing it on YouTube and that.

00:17:24.210 --> 00:17:26.569
But how did that come about? How did you choose

00:17:26.569 --> 00:17:30.170
that song? Well, like all singers, you need writers,

00:17:30.170 --> 00:17:34.589
you know. Nowadays there's more writers, they

00:17:34.589 --> 00:17:36.690
write their own stuff about them, but in those

00:17:36.690 --> 00:17:38.910
days you didn't. You were a singer and then you

00:17:38.910 --> 00:17:41.890
went to a writer for a song, you know. But then

00:17:41.890 --> 00:17:44.130
the writers had to sell their songs to the publishers.

00:17:44.930 --> 00:17:47.490
And so to find songs, I would go round to all

00:17:47.490 --> 00:17:50.089
the publishers, you know, on a regular basis,

00:17:50.230 --> 00:17:52.740
you know, just looking for songs, you know. and

00:17:52.740 --> 00:17:54.259
they'd play you everything they got and you'd

00:17:54.259 --> 00:17:55.740
say, well, I like that, I don't. And one day

00:17:55.740 --> 00:17:58.579
I walked into a chapel, I think it was. Oh, yeah,

00:17:58.720 --> 00:18:00.680
chapel music, yeah. And there were these young

00:18:00.680 --> 00:18:04.119
lads standing there, you know. Young lads standing

00:18:04.119 --> 00:18:07.200
there, and a nice enough guy, you know, he was

00:18:07.200 --> 00:18:09.359
there to sell some songs, and it was lunchtime,

00:18:09.779 --> 00:18:10.960
so he was waiting for everybody to come back

00:18:10.960 --> 00:18:12.740
from lunch. I said, well, let's hear them. I

00:18:12.740 --> 00:18:14.420
said, because I've got a friend of mine, Gordon

00:18:14.420 --> 00:18:17.960
Mills. I knew Gordon Mills. He'd just got Tom

00:18:17.960 --> 00:18:20.460
Jones at the time, you know, just got him. But

00:18:20.460 --> 00:18:36.579
he was a... Anyway, so Albert said, it was Albert

00:18:36.579 --> 00:18:39.539
Hammond, Albert Hammond, so he said, because

00:18:39.539 --> 00:18:41.900
he'd only had one little nibble with his pre

00:18:41.900 --> 00:18:46.000
and after electric band or something, and I said,

00:18:46.140 --> 00:18:47.519
well, let's hear him, you know, I said, because

00:18:47.519 --> 00:18:50.619
I know Gordon Mills, you know, just got Tom Jones

00:18:50.619 --> 00:18:52.420
to sing out, you know, so I might be able to

00:18:52.420 --> 00:19:02.099
get your songs to him. Sure, yes. Anyway, so

00:19:02.099 --> 00:19:04.220
he played it, he played two or three to me and

00:19:04.220 --> 00:19:06.779
that came up and I said, I like that. I said,

00:19:07.259 --> 00:19:09.420
can I take that? He said, well I only got one

00:19:09.420 --> 00:19:11.799
copy of it and I said, I will get that to Gordon

00:19:11.799 --> 00:19:38.519
Mills. had learnt it. And about a fortnight later

00:19:38.519 --> 00:19:41.180
when Gordon came round to play some poker at

00:19:41.180 --> 00:19:44.900
Dawes' house, I wouldn't play it, it was too

00:19:44.900 --> 00:19:47.759
rich for my blood, but I called him at the door,

00:19:47.819 --> 00:19:49.440
he was going out and I said, I want you to hear

00:19:49.440 --> 00:19:52.039
this song over the guitar. I don't want to hear

00:19:52.039 --> 00:19:54.940
that song, he said, I just lost 400 pounds, he

00:19:54.940 --> 00:19:56.859
said, I've not come here. There was a lot of

00:19:56.859 --> 00:20:00.119
money in those days. I said, listen, listen,

00:20:00.220 --> 00:20:02.539
and I blocked him at the door and I started playing,

00:20:02.680 --> 00:20:08.900
I played it. And he listened and he said, I like

00:20:08.900 --> 00:20:12.720
that. He said, we'll do that next week. And of

00:20:12.720 --> 00:20:15.640
course, next week we went in and we did it. And

00:20:15.640 --> 00:20:36.140
that was it, really. but you'll know it when

00:20:36.140 --> 00:21:21.960
they hit you cause they Did you have some inkling

00:21:21.960 --> 00:21:25.299
or feed it in your water or whatever? That was

00:21:25.299 --> 00:21:27.819
the hit, that was it. Did you know straight away?

00:21:28.019 --> 00:21:32.500
Did you have a sense it would be? The record?

00:21:32.740 --> 00:21:35.220
Yeah, he had little arrows. Did you feel it was

00:21:35.220 --> 00:21:36.640
going? I thought it was a hit. That's why I picked

00:21:36.640 --> 00:21:39.180
it. I thought it was a hit. Perfect. There was

00:21:39.180 --> 00:21:41.099
no question in my mind that it was a hit. Well,

00:21:41.099 --> 00:21:43.140
of course it was a question. You're not actually

00:21:43.140 --> 00:21:46.920
100 % but I've got a good ear for hits and things.

00:21:47.079 --> 00:21:51.259
I had it at that time. that's a hit. Well, you

00:21:51.259 --> 00:21:52.660
made it... One of the people on the airplane

00:21:52.660 --> 00:21:56.519
as well. Sure. And later on I wanted to do Sweet

00:21:56.519 --> 00:21:59.319
Caroline when I had it at least a year out in

00:21:59.319 --> 00:22:01.980
the UK and that he wouldn't let me do it. Oh.

00:22:02.319 --> 00:22:05.960
Gordon made a few bad decisions as well as good,

00:22:06.140 --> 00:22:08.500
you know, he wasn't... I know it was infallible,

00:22:08.680 --> 00:22:13.140
I suppose. Well done. Anyway, I knew that, I'm

00:22:13.140 --> 00:22:15.779
absolutely certain that was a go. Yeah. Gordon

00:22:15.779 --> 00:22:18.440
made a wonderful job of it. Big Jim Sullivan,

00:22:18.819 --> 00:22:21.400
Tom's guitarist on the intro, you know, da -da

00:22:21.400 --> 00:22:23.099
-da -da -da -da -da -da -da -da -da -da -da -da

00:22:23.099 --> 00:22:24.119
-da -da -da -da -da -da -da -da -da -da -da -da

00:22:24.119 --> 00:22:25.359
-da -da -da -da -da -da -da -da -da -da -da -da

00:22:25.359 --> 00:22:26.880
-da -da -da -da -da -da -da -da -da -da -da -da

00:22:26.880 --> 00:22:28.039
-da -da -da -da -da -da -da -da -da -da -da -da

00:22:28.039 --> 00:22:28.960
-da -da -da -da -da -da -da -da -da -da -da -da

00:22:28.960 --> 00:22:31.220
-da -da -da -da -da -da -da -da -da -da -da -da

00:22:31.220 --> 00:22:33.579
-da -da -da -da -da -da -da -da -da -da -da -da

00:22:33.579 --> 00:23:07.509
-da -da -da -da -da -da -da -da -da -da Yeah

00:23:07.509 --> 00:23:10.470
Little arrows, I mean it did rather well around

00:23:10.470 --> 00:23:14.690
the world UK number two Australia to Canada eight

00:23:24.099 --> 00:23:27.640
I was going to say the actual billboard hot 100

00:23:27.640 --> 00:23:31.059
you did rather well there and even better in

00:23:31.059 --> 00:23:34.680
the US country chart so that that's pretty good

00:23:36.250 --> 00:23:37.950
Which is a weird thing, because I love country,

00:23:38.009 --> 00:23:40.190
but I never look on it as a country song at all.

00:23:40.509 --> 00:23:42.150
Nor have I. I was surprised to see it there.

00:23:44.069 --> 00:23:47.609
We're not arguing about it. A lot of the die

00:23:47.609 --> 00:23:49.410
-hard country people don't like me, because they

00:23:49.410 --> 00:23:55.619
think that I try to make country pop. Well, you

00:23:55.619 --> 00:23:57.299
didn't put yourself in the chart, they had to

00:23:57.299 --> 00:24:00.299
talk to whoever did. Anyway, I'm glad you made

00:24:00.299 --> 00:24:03.319
it there. Now, Little Arrows, you did an album

00:24:03.319 --> 00:24:09.539
of that, which did quite well as well. Wow, that's

00:24:09.539 --> 00:24:12.220
amazing. Before we move on from Little Arrows,

00:24:12.440 --> 00:24:15.480
I haven't asked this question to anyone for ages

00:24:15.480 --> 00:24:19.319
and ages. What was it like? Was it surreal? What

00:24:19.319 --> 00:24:21.240
was it like going on top of the pops and all

00:24:21.240 --> 00:24:23.279
these things when you'd actually made it, yeah?

00:24:44.419 --> 00:24:47.299
Yeah, I just wonder if I wonder if it's a bit

00:24:47.299 --> 00:24:49.279
surreal or something but no that's that's that's

00:24:49.279 --> 00:24:55.140
brilliant Nothing, literally, literally nothing.

00:24:55.420 --> 00:24:58.039
I had to borrow half a clown to go to the music,

00:24:58.380 --> 00:25:04.480
to the record company. I walked into the record

00:25:04.480 --> 00:25:07.400
company and they said, um, where have you been,

00:25:07.599 --> 00:25:10.039
Leapy? And I thought, yeah, I've been anywhere,

00:25:10.259 --> 00:25:13.680
really. I didn't have a foe, you see. Because

00:25:13.680 --> 00:25:19.059
we were absolutely on the floor. And, um, I looked

00:25:19.059 --> 00:25:23.329
in the paper, Daily Mirror or something that

00:25:23.329 --> 00:25:25.109
morning and I looked and I saw little arrows

00:25:25.109 --> 00:25:29.490
number 13 in a jar. That's when I went down there

00:25:29.490 --> 00:25:31.250
and they said we've been looking for you, it's

00:25:31.250 --> 00:25:34.589
selling like hotcakes you know. It got mad you

00:25:34.589 --> 00:25:38.750
know, the boss of MCA danced on his desk. Here

00:25:38.750 --> 00:25:44.150
we go. He said how much do you want? I said well

00:25:44.150 --> 00:25:46.670
about 500 quid would be alright. Oh no problem

00:25:46.670 --> 00:25:49.569
at all, he wrote me a check for 500. So I went

00:25:49.569 --> 00:25:52.720
down there. agency and they said how much you

00:25:52.720 --> 00:25:56.319
want we give us 300 something 800 pounds which

00:25:56.319 --> 00:25:59.220
in 1968 was a lot of money I mean you could buy

00:25:59.220 --> 00:26:02.400
a house for two and a half grand yes yeah yeah

00:26:02.400 --> 00:26:04.700
yeah it was a lot of no so and that was wonderful

00:26:04.700 --> 00:26:07.720
yeah that's brilliant yeah I've got a question

00:26:07.720 --> 00:26:09.559
regarding Little Arrows when you were singing

00:26:09.559 --> 00:26:12.319
the song you've got like these high pitch singing

00:26:12.319 --> 00:26:15.579
part did you have to train your yes darling perfect

00:26:15.579 --> 00:26:18.359
did you have to train your voice to do that train

00:26:18.359 --> 00:26:22.599
yourself to strangle them slightly Brilliant.

00:26:23.819 --> 00:26:27.420
Brilliant. I could yodel, you see. I was an old

00:26:27.420 --> 00:26:29.900
country boy, you know. I could do a bit of yodeling.

00:26:30.039 --> 00:26:32.500
No, again, it wasn't that difficult for me. It

00:26:32.500 --> 00:26:37.059
is now. Oh, OK. Brilliant. We won't ask you,

00:26:37.059 --> 00:26:39.579
I promise. Of course, after Little Arrows, there

00:26:39.579 --> 00:26:43.740
was obviously the task was to find a follow -up

00:26:43.740 --> 00:26:46.640
song, and I see Here Comes the Rain was the next

00:26:46.640 --> 00:27:01.180
one. which was another smack, and normally you

00:27:01.180 --> 00:27:05.180
give the writer the second, the follow -up piece,

00:27:05.299 --> 00:27:09.019
and it makes sense, you know, coming in the same

00:27:09.019 --> 00:27:11.859
idiom, same ilk, you know, not the same ilk.

00:27:13.200 --> 00:27:17.039
But Gordon wanted a piece of Leicester -Belle

00:27:17.039 --> 00:27:20.599
size for Engelpert, because he had Engelpert

00:27:20.599 --> 00:27:24.480
as well as Tom, and he wanted a piece of Leicester

00:27:24.480 --> 00:27:26.660
-Belle size from Barry Mason and Les Reed who

00:27:26.660 --> 00:27:33.000
wrote it. and he wanted it for Engelbert and

00:27:33.000 --> 00:27:35.900
they said to Gordon, we'll give you Bruce Clifton

00:27:35.900 --> 00:27:38.940
Bell's sign for Engelbert as long as we get the

00:27:38.940 --> 00:27:42.920
follow up for Leopold Lee. Uh huh, yes. So that

00:27:42.920 --> 00:27:44.920
and there was murders. Albert didn't speak to

00:27:44.920 --> 00:27:48.579
me for years. He thought it was me! Oh dear,

00:27:48.720 --> 00:28:07.230
oh dear, okay. Tom was the most important to

00:28:07.230 --> 00:28:11.390
Gordon, and Engelberg was a far away second really,

00:28:11.390 --> 00:28:13.089
up in the way on the phone for hours while he

00:28:13.089 --> 00:28:18.549
talked to Tom on the other phone. And I was like,

00:28:18.609 --> 00:28:22.049
you know, I needed a different manager really.

00:28:22.190 --> 00:28:25.569
I needed a manager that just had me, you know.

00:28:25.750 --> 00:28:29.109
So anyway, I got the second one, which was Here

00:28:29.109 --> 00:28:34.309
Comes the Rain, which I did in Cannes. stormed

00:28:34.309 --> 00:28:36.450
because it was a great big orchestra and it was

00:28:36.450 --> 00:28:38.670
a great big theatre, a beautiful, mighty hand,

00:28:39.089 --> 00:28:41.730
an acting, a 40 -feet orchestra and everybody

00:28:41.730 --> 00:28:43.569
said they would release it because all the agents

00:28:43.569 --> 00:28:45.849
from all over the world are there, you see, and

00:28:45.849 --> 00:28:48.630
they all said that they would put it out because

00:28:48.630 --> 00:28:51.410
when it came out on the disc it was really, it

00:28:51.410 --> 00:28:53.569
was, it wasn't mine, it was a big song, you know,

00:28:53.670 --> 00:28:56.150
a big waltz. He called it one in Germany because

00:28:56.150 --> 00:28:59.789
it was un papa, un papa, un papa, but died on

00:28:59.789 --> 00:29:02.750
his behind. I think, what was the name that did

00:29:02.750 --> 00:29:07.170
it? what she said and she still would make a

00:29:07.170 --> 00:29:10.190
good ashtray which was about right actually you

00:29:10.190 --> 00:29:11.970
could make ashtrays out of them and you melt

00:29:11.970 --> 00:29:15.549
them down you could you could and is it any nightingale

00:29:15.549 --> 00:29:18.069
you're thinking of any nightingale yes first

00:29:18.069 --> 00:29:19.289
female DJ legend she would talk about me after

00:29:19.289 --> 00:29:22.549
that always because when I got on her show I

00:29:22.549 --> 00:29:24.809
went near her she thought I was going to say

00:29:24.809 --> 00:29:30.839
something over the air about her Oh, dear. Anyway,

00:29:31.680 --> 00:29:35.559
the album Leepy Lee, you've got some quite good

00:29:35.559 --> 00:29:39.700
sort of Australian hits came out of that, like

00:29:39.700 --> 00:29:44.539
we followed with Little Yellow Aeroplane. South

00:29:44.539 --> 00:29:48.640
Africa, actually. OK. And a wonderful song. And

00:29:48.640 --> 00:29:51.619
how it only got to number 29 in the UK, I will

00:29:51.619 --> 00:29:56.000
never know. Good morning. Nick and Sue, if you're

00:29:56.000 --> 00:29:58.140
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00:30:58.000 --> 00:31:00.559
do some good to the planet and show your true

00:31:00.559 --> 00:31:10.299
colours. It takes two to tangle And two to present

00:31:10.299 --> 00:31:18.460
a radio show So here's Nick and Sue Your musical

00:31:18.460 --> 00:31:38.940
duo What a great song! I know, yeah. What a great

00:31:38.940 --> 00:31:42.819
song. Yeah, I still do that in the act. Sure

00:31:42.819 --> 00:31:45.900
you do? I do in the act, yeah, and it goes down

00:31:45.900 --> 00:31:49.559
quite well. Brilliant. It did quite well in Germany.

00:31:49.759 --> 00:31:52.019
Another one did quite well in Germany. Good Morgan,

00:31:52.180 --> 00:31:54.880
you see. Ah, yes, yes, of course, of course.

00:31:57.000 --> 00:31:59.200
You know, when and what? This and perhaps. God

00:31:59.200 --> 00:32:02.769
knows. Who knows? Well, yes. I'd say it's hindsight

00:32:02.769 --> 00:32:06.750
again, isn't it? 1974, no, I didn't know about

00:32:06.750 --> 00:32:10.710
this one. A minor UK hit, actually. Every Road

00:32:10.710 --> 00:32:13.170
Leads You Back, and it came from an album of

00:32:13.170 --> 00:32:15.710
the same name. Every Road Leads Back to You.

00:32:15.730 --> 00:32:18.490
Well, that was from an album I did in 72 or 73.

00:32:18.609 --> 00:32:21.109
That was going to be my big comeback. And that

00:32:21.109 --> 00:32:23.690
was written and produced, the whole thing, by

00:32:23.690 --> 00:32:26.309
Keith Pocker of The Seekers. Oh, yes, yes. Yes,

00:32:26.569 --> 00:32:29.319
absolutely. Love The Seekers, yeah. Well, Keith

00:32:29.319 --> 00:32:32.180
is a very good producer as well. He's Australian,

00:32:32.220 --> 00:32:37.000
of course. And we did that, and the company,

00:32:37.160 --> 00:32:40.240
which was Bell Records, often thought it was

00:32:40.240 --> 00:32:41.960
going to be a smash. They thought it was going

00:32:41.960 --> 00:32:44.900
to be an absolute smash. Another number one.

00:32:45.259 --> 00:32:47.400
Everybody was rambling. They had a big convention,

00:32:47.480 --> 00:32:49.880
and they played it all the time during this convention

00:32:49.880 --> 00:32:51.599
of all their people from all over the world.

00:32:52.079 --> 00:32:54.400
And we really thought, I thought I'm going to

00:32:54.400 --> 00:32:59.990
pay the mortgage and everything. The problem

00:32:59.990 --> 00:33:03.210
is... Leave his law, you know. You know about

00:33:03.210 --> 00:33:08.549
leave his law? Go on, I didn't... No. Yeah, leave

00:33:08.549 --> 00:33:11.609
his law there. No, yeah, every road leads back

00:33:11.609 --> 00:33:16.650
to you. In those days, those days, they used

00:33:16.650 --> 00:33:20.269
to put the chaffer made up from particular shops

00:33:20.269 --> 00:33:32.160
all over the country. Oh yes, yes, yes. average,

00:33:32.259 --> 00:33:34.799
and then they would create the charts from that,

00:33:34.880 --> 00:33:37.480
let them know it was done, without all the internet

00:33:37.480 --> 00:33:44.539
and everything, of course. So the shopkeepers

00:33:44.539 --> 00:33:46.700
would order in the ones that were doing well.

00:33:48.299 --> 00:33:51.319
Well, mine were doing very well, and we went

00:33:51.319 --> 00:33:57.980
to 54, I think, and the base 50 rollers were

00:33:57.980 --> 00:34:53.829
also with battle. Okay. The next week only went

00:34:53.829 --> 00:34:57.130
up to 51. In actual fact, if we had had 30 Friday

00:34:57.130 --> 00:34:59.730
Saturday sales, we'd have gone into the top 30,

00:34:59.949 --> 00:35:03.789
easy. But it only went into 51, so it didn't

00:35:03.789 --> 00:35:05.989
even crack the 50. Well, the shopkeepers then

00:35:05.989 --> 00:35:08.869
look at it and say, oh my God, that's only gone

00:35:08.869 --> 00:35:11.269
up to 51, it's only gone up two or three places.

00:35:11.710 --> 00:35:15.010
Don't order me any more of those. They didn't

00:35:15.010 --> 00:35:21.280
bother to order it. I hear various stories from

00:35:21.280 --> 00:35:24.780
people from that era and all I can say is that

00:35:24.780 --> 00:35:26.960
the record industry certainly did stink, didn't

00:35:26.960 --> 00:35:29.179
it, at the time. That's a very polite way of

00:35:29.179 --> 00:35:50.090
wording it. okay now um i i i understand somewhere

00:35:50.090 --> 00:35:53.329
around 40 years ago you decided to leave the

00:35:53.329 --> 00:35:56.250
uk and go out to the med and uh i don't blame

00:35:56.250 --> 00:35:58.610
you to have warm sun it just looks nice here

00:35:58.610 --> 00:36:00.909
but i'd rather have i'd rather have your temperature

00:36:00.909 --> 00:36:02.809
in a bit of a tan to be honest with you yeah

00:36:02.809 --> 00:36:05.730
i was just gonna ask you where you were sorry

00:36:05.730 --> 00:36:08.849
oh i'm on my yorker oh wow i couldn't remember

00:36:08.849 --> 00:36:15.980
which one it was yeah lovely yeah opening up

00:36:15.980 --> 00:36:23.880
a little bit now that's cool absolutely Lee question

00:36:23.880 --> 00:36:26.119
this now you almost well you did basically answer

00:36:26.119 --> 00:36:30.000
one of my questions earlier on and that was do

00:36:30.000 --> 00:36:32.239
you still play and sing and that and you've already

00:36:32.239 --> 00:36:45.449
mentioned that you do still The Spanish authorities

00:36:45.449 --> 00:36:49.650
are still a bit firm with everything. Anyway,

00:36:49.829 --> 00:36:51.590
we're just waiting what happens over the next

00:36:51.590 --> 00:36:53.190
couple of months because the season doesn't start

00:36:53.190 --> 00:36:57.829
in April anyway. No, no, fingers crossed. Now,

00:36:57.849 --> 00:37:03.389
when you do play around Mallorca, is your audience

00:37:03.389 --> 00:37:06.670
mainly expats or Brits on holiday or locals?

00:37:07.250 --> 00:37:10.170
Mainly Brits on holiday. Brilliant. That's fantastic.

00:37:13.480 --> 00:37:17.119
it's on holiday no that's nice really nice i'm

00:37:17.119 --> 00:37:19.400
glad to hear that you're still still uh still

00:37:19.400 --> 00:37:22.119
active there and i'm sure sure the sunshine helps

00:37:22.119 --> 00:37:29.380
i'm sure the i'm sure the sunshine uh helps helps

00:37:29.380 --> 00:37:32.099
you feel good because i know it with me uh lee

00:37:32.099 --> 00:37:35.460
is there uh any do you have any presence on social

00:37:35.460 --> 00:37:38.639
media is on any website or is there a facebook

00:37:38.639 --> 00:37:41.420
page or anywhere where people can find you maybe

00:37:46.539 --> 00:37:48.539
Well, I've got, there is a Leafy League website

00:37:48.539 --> 00:37:50.500
which is not very well kept up to tell you the

00:37:50.500 --> 00:37:53.639
truth. It's there somewhere, I haven't been there

00:37:53.639 --> 00:38:00.579
for ages. I'm definitely on Facebook. Lee, thank

00:38:00.579 --> 00:38:02.420
you for coming on Chatterbox. Lee, it's been

00:38:02.420 --> 00:38:06.119
amazing to chat to you at last and thank you

00:38:06.119 --> 00:38:08.760
for coming on Chatterbox UK. Thank you sir. Take

00:38:08.760 --> 00:38:42.639
care, bye bye. You've been listening to the Chatterbox

00:38:42.639 --> 00:38:45.610
Redux podcast with Sue Nick And today, our special

00:38:45.610 --> 00:38:50.250
guest was Graham Leapy Lee. If you're interested

00:38:50.250 --> 00:38:52.769
in becoming a future guest on the Chatterbox

00:38:52.769 --> 00:38:55.869
Redux podcast or the radio show Chatterbox UK,

00:38:56.030 --> 00:38:58.650
you're welcome to submit songs, books or whatever

00:38:58.650 --> 00:39:02.550
it is you do and send us a CV, synopsis or press

00:39:02.550 --> 00:39:05.460
release. However, we receive several thousand

00:39:05.460 --> 00:39:08.199
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00:39:08.199 --> 00:39:11.760
to reply to each one individually. Why not email

00:39:11.760 --> 00:39:14.059
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00:39:14.059 --> 00:39:16.559
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00:39:16.559 --> 00:39:20.860
is nickelbum at myyahoo .com. Alternatively,

00:39:21.079 --> 00:39:24.900
you could write to us. at P .O. Box 26, the Old

00:39:24.900 --> 00:39:28.199
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00:39:28.199 --> 00:39:34.219
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00:39:34.219 --> 00:39:36.920
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00:39:36.920 --> 00:39:40.059
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00:39:43.280 --> 00:39:46.460
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00:39:46.920 --> 00:39:50.440
Sue, myself Nick, and Twinkle the Tuxedo Cat.

00:39:50.809 --> 00:39:53.269
Thank you very much for your company and we look

00:39:53.269 --> 00:39:55.590
forward to welcome you again next time for another

00:39:55.590 --> 00:39:58.949
Chatterbox Redux podcast. In the meantime, take

00:39:58.949 --> 00:40:01.630
care, we thank you for your company and we catch

00:40:01.630 --> 00:40:33.750
you then. This is Nick and Sue with Chatterbox

00:40:33.750 --> 00:40:37.289
giving you all you need to know about musical

00:40:37.289 --> 00:40:44.969
entertainment. Oh yeah! Chatterbox, the best

00:40:44.969 --> 00:40:49.389
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