WEBVTT 00:00:02.030 --> 00:00:04.910 This edition of the Chatterbox Redux podcast 00:00:04.910 --> 00:00:06.990 is brought to you in association with the Strong 00:00:06.990 --> 00:00:14.830 Coffee Company. More from them in a bit. Chatterbox. 00:00:14.890 --> 00:00:18.269 When the stars talk, they talk to Nick and Sue. 00:00:30.440 --> 00:00:33.020 Welcome back to the Chatterbox Redux podcast 00:00:33.020 --> 00:00:35.539 with Sue and Nick and today our special guest 00:00:35.539 --> 00:01:12.170 is Carol Fialca This is Nick and Sue with Chatterbox 00:01:12.170 --> 00:01:15.790 giving you all you need to know about musical 00:01:15.790 --> 00:01:24.030 entertainment. Chatterbox, the best interviews 00:01:24.030 --> 00:01:28.590 with Nick and Sue. Chatterbox, the best news 00:01:37.040 --> 00:01:39.819 Now on Chatterbooks UK, we're just lucky enough 00:01:39.819 --> 00:01:42.920 to welcome Carol Fialke. Carol, how are you? 00:01:43.459 --> 00:01:46.629 Welcome. Hello, Carol. Hi, hi, both of you. I'm 00:01:46.629 --> 00:01:48.769 fine, thank you. Nice to talk with you. And thanks 00:01:48.769 --> 00:01:51.790 for coming on Chatterbox. Fantastic. Right, Carol, 00:01:52.230 --> 00:01:57.450 I see that you had your first hit here in 1980, 00:01:57.609 --> 00:02:02.069 but how did you actually get there? I mean, was 00:02:02.069 --> 00:02:05.150 it a musical home? Was it at school? How did 00:02:05.150 --> 00:02:08.389 it come about to get in the charts in the first 00:02:08.389 --> 00:02:12.150 place? Same thing as most other people, I guess. 00:02:12.150 --> 00:02:15.919 A bit of luck. You know, I did not come from 00:02:15.919 --> 00:02:19.080 a musical home. I was into pop music all my life. 00:02:20.180 --> 00:02:22.419 But pop music, when I was a kid, meant everything. 00:02:23.240 --> 00:02:27.120 As I said, it ran the gamut from Petula Clarke 00:02:27.120 --> 00:02:30.300 to Johnny and the Hurricanes or Little Richard, 00:02:30.699 --> 00:02:32.099 because those were the people who were around 00:02:32.099 --> 00:02:34.319 at the time. So you just took whatever you got. 00:02:35.919 --> 00:02:38.199 And I picked up a lot of musical influences because 00:02:38.199 --> 00:02:40.599 I was born abroad and lived abroad for the first 00:02:40.599 --> 00:02:45.289 15 years of my life. both in India and Africa, 00:02:45.789 --> 00:02:48.750 Pakistan. So, you know, all that sort of filtered 00:02:48.750 --> 00:02:51.330 through one way or another, I guess. But curious 00:02:51.330 --> 00:02:55.090 enough, I had my... When I finished school, I 00:02:55.090 --> 00:02:57.349 actually... I went to film school. That's really 00:02:57.349 --> 00:03:00.870 what I wanted to do, was to make films in London. 00:03:02.590 --> 00:03:05.610 And when I left film school... Well, in those 00:03:05.610 --> 00:03:08.490 days, the film industry was still high bound 00:03:08.490 --> 00:03:13.370 by the unions. And so you couldn't get a job 00:03:13.370 --> 00:03:15.870 in the film industry unless you had a union card. 00:03:16.389 --> 00:03:18.110 You couldn't get a union card unless you had 00:03:18.110 --> 00:03:22.229 a job in the film industry. One of those things, 00:03:22.250 --> 00:03:26.150 you know. And so I was lucky enough to get a... 00:03:26.439 --> 00:03:29.819 job doing what's called release scripting because 00:03:29.819 --> 00:03:33.659 I can speak in a bit of French and stuff so there's 00:03:33.659 --> 00:03:36.439 a lady called May Harris who had an office on 00:03:36.439 --> 00:03:40.039 Wardall Street and she release scripted. In other 00:03:40.039 --> 00:03:42.599 words when you got a foreign movie that needed 00:03:42.599 --> 00:03:46.460 to be translated into English you did the English 00:03:46.460 --> 00:03:49.319 translation and typed in the subtitles over the 00:03:49.319 --> 00:03:52.120 subtitles or vice versa because obviously in 00:03:52.120 --> 00:03:54.990 every language you know you say look In English 00:03:54.990 --> 00:03:57.490 you say, I'm going out of the door. In another 00:03:57.490 --> 00:03:59.729 language you say, the door I'm going out of. 00:04:00.409 --> 00:04:02.990 So you don't want to give the gamer win. Anyway, 00:04:02.990 --> 00:04:07.009 so that's what I was into. And then some friends 00:04:07.009 --> 00:04:11.270 of mine started the band. And I got involved 00:04:11.270 --> 00:04:16.709 as a lyric writer, also to be frank. As it turned 00:04:16.709 --> 00:04:19.490 out, my lyrics were totally unnecessary because 00:04:19.490 --> 00:04:21.370 basically they wrote great lyrics themselves 00:04:21.370 --> 00:04:32.740 anyway. But they had an element of success and 00:04:32.740 --> 00:04:37.600 Pete Townsend very kindly lent us his studio 00:04:37.600 --> 00:04:41.120 workshop flat at the end of Wardle Street, top 00:04:41.120 --> 00:04:44.279 floor. He lent it to us as a writing room so 00:04:44.279 --> 00:04:46.779 we used to go up there and hang out and do things. 00:04:47.779 --> 00:04:49.699 I think that came through track records if I 00:04:49.699 --> 00:04:53.000 can remember. Oh yes, I remember, yes. Yeah, 00:04:53.160 --> 00:04:56.459 either Chris Stamp or the other guy. I've forgotten 00:04:56.459 --> 00:05:02.740 that. I was quite keen on my friend's band, which 00:05:02.740 --> 00:05:06.579 was called Dreamland Express. Anyway, yeah, so 00:05:06.579 --> 00:05:09.420 that was it really. Then there was a sort of 00:05:09.420 --> 00:05:12.079 hiatus for a few years where I did other things 00:05:12.079 --> 00:05:17.139 until somewhere around the mid -70s and came 00:05:17.139 --> 00:05:21.910 back from... I came back from summer in Spain, 00:05:21.970 --> 00:05:24.670 mostly in Ibiza. Sounds like I was having a great 00:05:24.670 --> 00:05:27.370 time, but, you know, when you're young, things 00:05:27.370 --> 00:05:32.029 sort of happen. Sure. And I was really a bit 00:05:32.029 --> 00:05:34.589 of a loose end. There were two friends who quite 00:05:34.589 --> 00:05:36.290 specifically said, look, Carl, you know, you're 00:05:36.290 --> 00:05:39.149 so into music and you, you know, by this time, 00:05:39.649 --> 00:05:42.449 at this stage, I was writing my own songs. And 00:05:42.449 --> 00:05:45.550 they said, you know, you should just do your 00:05:45.550 --> 00:05:47.529 songs, record them and, you know, try and get 00:05:47.529 --> 00:05:51.610 some action. And so I did. One of those guys 00:05:51.610 --> 00:05:54.769 was the original drummer for Motorhead, a guy 00:05:54.769 --> 00:05:58.790 called Lucas Fox. And there was a guy who worked 00:05:58.790 --> 00:06:01.949 with a friend of mine from Scotland from a long 00:06:01.949 --> 00:06:06.230 time ago, Michael Mike Smith, who worked with 00:06:06.230 --> 00:06:13.769 a merchandising company that sold gear at gigs 00:06:13.769 --> 00:06:16.370 and things. So that's how that came about, really. 00:06:17.930 --> 00:06:26.050 That's cool. I went around, I found one little 00:06:26.050 --> 00:06:32.689 four -track studio and I recorded a version of 00:06:32.689 --> 00:06:35.870 one of the first songs I'd written, a song called 00:06:35.870 --> 00:06:42.069 Armband. I talked about my ideas about it and 00:06:42.069 --> 00:06:47.110 the guy who, the engineer in the studio, I liked. 00:06:47.449 --> 00:06:50.189 I mean, you know, frankly his ideas now, because 00:06:50.189 --> 00:06:52.329 everything's so much more complicated and complex 00:06:52.329 --> 00:06:56.230 and sophisticated now. In those days, if you 00:06:56.230 --> 00:06:58.490 had a kazoo, it felt like a synthesizer almost. 00:07:00.370 --> 00:07:02.629 That's a joke, by the way. You got a laugh. Oh 00:07:02.629 --> 00:07:05.990 yes, you did. Did you get a slight one there? 00:07:07.230 --> 00:07:12.279 I promise you. Yeah. Anyway, so yeah, so I followed 00:07:12.279 --> 00:07:18.920 up on band and I wanted to record properly And 00:07:18.920 --> 00:07:23.699 found the money to access a an eight track studio 00:07:23.699 --> 00:07:28.779 out in somebody's garage in Hounslow and Recorded 00:07:28.779 --> 00:07:33.199 this version of armband out there With since 00:07:33.199 --> 00:07:36.480 because I'd gotten into since by this time I 00:07:36.480 --> 00:07:42.759 I'd been I'd been coming back from I'd been out 00:07:42.759 --> 00:07:45.759 in the country. I'd been working out there some 00:07:45.759 --> 00:07:48.300 stuff and I was coming back into around Christmas 00:07:48.300 --> 00:07:50.699 time to meet up or just after Christmas to meet 00:07:50.699 --> 00:07:53.040 up with my girlfriend who was in London. Yeah. 00:07:53.920 --> 00:07:57.860 And this absolutely stunning girl got onto the 00:07:57.860 --> 00:08:00.060 train with a wonderful dog and I just had to 00:08:00.060 --> 00:08:02.980 go and say hello and talk to them. And it turned 00:08:02.980 --> 00:08:06.300 out that she was a lady French girl called Miquette 00:08:06.300 --> 00:08:11.209 Giraudy who was the girlfriend of a guitarist 00:08:11.209 --> 00:08:17.209 called Steve Hillage who played in Gone. He had 00:08:17.209 --> 00:08:20.629 a couple of bands of his own. Curious enough, 00:08:20.750 --> 00:08:23.089 a fellow who'd worked for me said before that 00:08:23.089 --> 00:08:26.029 he used to rate Steve really highly. He said 00:08:26.029 --> 00:08:31.290 for him, Steve was the most cosmic guitarist 00:08:31.290 --> 00:08:36.090 after Hendrix. It's pretty good. Anyway, you 00:08:36.090 --> 00:08:38.490 know, we started talking, Miquet, and Trane, 00:08:38.490 --> 00:08:40.149 you know, asked what she did, and she said, I 00:08:40.149 --> 00:08:42.549 played synthesizer with this band, and I said, 00:08:43.090 --> 00:08:44.850 oh, I've seen the name synthesizer, and said, 00:08:44.990 --> 00:08:47.990 I'd quite like to know a bit more about it. And 00:08:47.990 --> 00:08:50.710 she said, well, tonight we are going to see, 00:08:50.909 --> 00:08:53.090 to meet her at Ms. Midori, and why don't you 00:08:53.090 --> 00:08:56.289 join us? So, by the way, please excuse my accent, 00:08:56.350 --> 00:08:58.940 and Miquet, if you ever hear this. Please really 00:08:58.940 --> 00:09:02.980 excuse my accent because you speak far more winningly 00:09:02.980 --> 00:09:06.500 than I do with your French accent. Anyway, so 00:09:06.500 --> 00:09:10.379 I went along and it was quite fascinating because 00:09:10.379 --> 00:09:13.220 they could really point out to me all the things 00:09:13.220 --> 00:09:18.940 that the synths were doing. And so this is all 00:09:18.940 --> 00:09:22.759 about a year, 18 months before I started recording 00:09:22.759 --> 00:09:27.159 Armband. Anyway, that's where the synth thing 00:09:27.159 --> 00:09:29.799 really took hold with me and I got really into 00:09:29.799 --> 00:09:32.120 it because it seemed to me like it was a huge 00:09:32.120 --> 00:09:36.399 possibility with new sounds and things, you know. 00:09:37.960 --> 00:09:40.860 So it was a combination of synths and also punk 00:09:40.860 --> 00:09:43.159 was happening and punk was great because punk 00:09:43.159 --> 00:09:45.740 was very liberating and you could do things, 00:09:46.159 --> 00:09:48.179 felt you could do things with two or three chords. 00:09:50.059 --> 00:09:52.879 Whereas prior to that, frankly, and I was really 00:09:52.879 --> 00:09:57.019 into some quite sophisticated music, and also 00:09:57.019 --> 00:09:59.059 high production values, but prior to that I was 00:09:59.059 --> 00:10:01.019 beginning to feel that you needed a PhD in music 00:10:01.019 --> 00:10:03.480 before you could pick up a guitar. So punk liberated 00:10:03.480 --> 00:10:06.799 me. It just said, you know, just go and do it. 00:10:07.019 --> 00:10:10.120 So punk and my two friends were the starting 00:10:10.120 --> 00:10:14.539 point. So that was that, and then I did the eight 00:10:14.539 --> 00:10:18.129 -track version of Arnband. and took that around 00:10:18.129 --> 00:10:22.610 a few record companies as everybody does just 00:10:22.610 --> 00:10:26.429 got rejected or as most people do just got rejected 00:10:26.429 --> 00:10:29.750 time after time and I thought well this is you 00:10:29.750 --> 00:10:33.129 know I think you guys are wrong because I think 00:10:33.129 --> 00:10:38.970 the track is good and so being willful I decided 00:10:38.970 --> 00:10:42.899 to go the self -publishing route and And press 00:10:42.899 --> 00:10:45.259 it up myself ahead of your time then weren't 00:10:45.259 --> 00:10:47.059 you really it's done a lot now, but you went 00:10:47.059 --> 00:10:49.019 ahead of your time But anyway, sorry Carol carry 00:10:49.019 --> 00:10:51.539 on that's right. Well, there's a lot of people 00:10:51.539 --> 00:10:53.200 doing the same sort of thing, but you know press 00:10:53.200 --> 00:10:58.080 it up under redship records and So that locally 00:10:58.080 --> 00:10:59.960 and sent it out to a couple of radio stations 00:10:59.960 --> 00:11:02.740 and then John Peele picked it up and played it 00:11:02.740 --> 00:11:06.480 a couple of times and it achieves some some success 00:11:06.480 --> 00:11:09.769 when I say something decent enough success over 00:11:09.769 --> 00:11:14.830 in Europe and Holland and Belgium places. It's 00:11:14.830 --> 00:11:18.330 a period in the, you know, in the top 20 of the 00:11:18.330 --> 00:11:21.490 indie singles of the year. And then I had the 00:11:21.490 --> 00:11:24.629 great... And this is the Ice Havage, is that 00:11:24.629 --> 00:11:28.750 right? No, this is Arnband. Oh, carry on. Wow, 00:11:28.970 --> 00:11:32.750 carry on. No, this is Arnband. This is a 70, 00:11:32.889 --> 00:11:34.769 I can't remember, 78 maybe somewhere around there. 00:11:35.169 --> 00:11:40.879 Fascinating. Wow, carry on. Anyway, yes, so I 00:11:40.879 --> 00:11:43.720 had the great pleasure of coming back and finding 00:11:43.720 --> 00:11:48.620 some A &R men from record companies that had 00:11:48.620 --> 00:11:56.259 rejected the track parked outside my flat in 00:11:56.259 --> 00:12:00.700 Redcliffe Gardens in Earl's Court and wanting 00:12:00.700 --> 00:12:04.360 to sign me. But by this stage it was too late 00:12:04.360 --> 00:12:09.120 because by then I'd signed up to a DJ called 00:12:09.120 --> 00:12:16.460 Charlie Gillett. I liked Charlie's radio shows 00:12:16.460 --> 00:12:20.120 in Radio London on Sundays a lot. It was a great 00:12:20.120 --> 00:12:22.779 radio show and I didn't go to him looking for 00:12:22.779 --> 00:12:24.740 any deal. I went to him looking for advice because 00:12:24.740 --> 00:12:27.399 I figured he might be helpful. As it turned out, 00:12:27.620 --> 00:12:32.259 that time his main thing was world music and 00:12:32.259 --> 00:12:34.919 more specifically also Dire Straits. because 00:12:34.919 --> 00:12:37.460 Dark Straits hadn't happened at that stage. But 00:12:37.460 --> 00:12:40.600 by the by, Charlie decided that he'd like to 00:12:40.600 --> 00:12:44.419 sign me to his record label. It's called Oval 00:12:44.419 --> 00:12:47.559 Records, which had a few other people who were 00:12:47.559 --> 00:12:51.200 quite interesting on. So I signed to Charlie, 00:12:52.259 --> 00:12:56.480 and he financed a more sophisticated version 00:12:56.480 --> 00:13:01.820 of Armband in a 16 -track studio. And we went 00:13:01.820 --> 00:13:04.539 and did that, but he didn't like the... he didn't 00:13:04.539 --> 00:13:07.740 like the sophistication of the end result of 00:13:07.740 --> 00:13:10.379 that and so you know because Charlie was really 00:13:10.379 --> 00:13:29.139 into at that stage. We're taking a quick break 00:13:29.139 --> 00:13:31.600 to talk about the fuel behind today's episode. 00:13:32.139 --> 00:13:34.440 If you're like me, coffee isn't just a morning 00:13:34.440 --> 00:13:37.240 ritual, it's a necessity. But let's be honest, 00:13:37.460 --> 00:13:39.639 the traditional coffee cycle usually ends up 00:13:39.639 --> 00:13:43.120 in a mid afternoon crash. or those caffeine jitters 00:13:43.120 --> 00:13:46.350 that actually make it harder to focus. That's 00:13:46.350 --> 00:13:48.809 why I'm so excited to share that this show is 00:13:48.809 --> 00:13:50.669 brought to you in association with the Strong 00:13:50.669 --> 00:13:53.269 Coffee Company. 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This is 00:16:10.490 --> 00:16:12.710 Nick and Sue with Chatterbox, giving you all 00:16:12.710 --> 00:16:14.909 you need to know about musical entertainment. 00:16:20.729 --> 00:16:25.330 And I was then signed up by a label called Blueprint, 00:16:25.769 --> 00:16:29.809 which was part of PRT, which had been Pi records 00:16:29.809 --> 00:16:35.129 and tapes. But they were trying to break into 00:16:35.129 --> 00:16:41.820 the viable market because Pi really... was pretty 00:16:41.820 --> 00:16:44.379 much apart from people apart from some outstanding 00:16:44.379 --> 00:16:47.000 bands like the kinks etc it's pretty much started 00:16:47.000 --> 00:16:50.700 being uh middle of the road entertained by petunia 00:16:50.700 --> 00:16:52.960 clark or literoso any of those people you know 00:16:52.960 --> 00:16:55.740 absolutely yeah yeah so blueprint i was signed 00:16:55.740 --> 00:17:02.179 to blueprint and uh uh the armband i went into 00:17:02.179 --> 00:17:08.319 studio down in battle um near battle in sussex 00:17:08.319 --> 00:17:11.180 oh we're near there Sorry, I said we're near 00:17:11.180 --> 00:17:13.819 there. We're in Hastings. How are you? Yeah, 00:17:13.819 --> 00:17:15.339 that's good. Yeah, that's cool. I wonder where 00:17:15.339 --> 00:17:18.500 you were I should have asked sorry I cut that 00:17:18.500 --> 00:17:20.160 when I'm talking over you anyway, don't worry, 00:17:20.160 --> 00:17:24.420 but I Just sounds like it. I'm telling you stuff 00:17:24.420 --> 00:17:27.240 carry on Thank you. So you should because you 00:17:27.240 --> 00:17:29.339 know conversations are two -way street. Otherwise, 00:17:29.339 --> 00:17:32.019 it's just it's just in judges Anyway, yeah, so 00:17:32.019 --> 00:17:34.960 we were done. We went down to Parkgate studio 00:17:34.960 --> 00:17:37.819 battle it was which I believe shortly after that 00:17:37.819 --> 00:17:40.579 was bought by Paul McCartney as his own studio 00:17:40.579 --> 00:17:44.279 that at that time it was still being built pretty 00:17:44.279 --> 00:17:46.240 much being built we had you know the the live 00:17:46.240 --> 00:17:50.119 room so has joined us etc in it which is why 00:17:50.119 --> 00:17:54.259 I won the tracks on the album had features singing 00:17:54.259 --> 00:17:57.380 soul because Derek The joiner said, I can play 00:17:57.380 --> 00:17:59.619 the singing saw. And we were doing an experimental 00:17:59.619 --> 00:18:02.180 track and said, right, Derek, you can go in there 00:18:02.180 --> 00:18:05.859 and make your saw sing. And it's there, you know, 00:18:05.859 --> 00:18:08.880 it's his bending saw going, ooh, rolled like 00:18:08.880 --> 00:18:12.779 a theremin. So, yeah, we recorded that album 00:18:12.779 --> 00:18:19.200 there. And while I was doing that, Armband got 00:18:19.200 --> 00:18:24.319 released the 16 track, which Blueprint had inherited 00:18:24.319 --> 00:18:31.920 from. Charlie Gillett was released, and nothing 00:18:31.920 --> 00:18:34.640 much happened with it, but in those days also, 00:18:34.940 --> 00:18:37.440 you needed to get quite a lot of backing from 00:18:37.440 --> 00:18:40.859 your record company, and I don't think they committed 00:18:40.859 --> 00:18:44.599 themselves to the backing of it. I know I started 00:18:44.599 --> 00:18:49.079 filming what would now be called a video. I filmed 00:18:49.079 --> 00:18:52.140 a clip to go with it, which really just involved 00:18:52.140 --> 00:18:54.829 an e -dress and some kind of... trendy urban 00:18:54.829 --> 00:18:58.410 gear running around a demolition site in East 00:18:58.410 --> 00:19:03.450 London, waving a Sten gun. But I saw some of 00:19:03.450 --> 00:19:06.970 the rushes, but I never saw a finished one of, 00:19:07.069 --> 00:19:08.970 you know, so I don't know if it was ever finished. 00:19:11.490 --> 00:19:15.529 Yeah, so that was that. And then the second single, 00:19:15.849 --> 00:19:19.309 by the time we finished recording the album, 00:19:19.970 --> 00:19:22.309 it was quite obvious that the eyes of it was 00:19:22.309 --> 00:19:24.549 going to be the single. yeah and so that was 00:19:24.549 --> 00:19:28.190 released in the second single and uh i have to 00:19:28.190 --> 00:19:30.710 say that uh you know the first time i uh the 00:19:30.710 --> 00:19:34.309 first my first hearing of that on radio i was 00:19:34.309 --> 00:19:37.289 on radio one and i was coming in from driving 00:19:37.289 --> 00:19:39.710 in from south london i was coming down brxton's 00:19:39.710 --> 00:19:44.089 hill you know you know the corrugated iron citrine 00:19:44.089 --> 00:19:49.859 vans remember the ones i do yeah i do yeah I 00:19:49.859 --> 00:19:51.640 was in the passenger seat with my feet up on 00:19:51.640 --> 00:19:54.200 the dashboard and then as we were coming down, 00:19:54.619 --> 00:19:57.859 we were actually heading up towards Marble Arch 00:19:57.859 --> 00:20:02.740 to the record company, and along came... I said, 00:20:02.859 --> 00:20:05.019 wow, what a buzz that was. That was amazing. 00:20:05.359 --> 00:20:10.059 Just hearing your record on national radio for 00:20:10.059 --> 00:20:15.339 the first time, it was just very exciting. Absolutely. 00:20:16.140 --> 00:20:18.980 you know so that was it how that went with that 00:20:18.980 --> 00:20:21.460 and uh well you got in the charts with it as 00:20:21.460 --> 00:20:26.559 well of course yes that's right uh i you know 00:20:26.559 --> 00:20:31.619 i mean it's curious situation there uh i don't 00:20:31.619 --> 00:20:33.640 know how much you want to get into this sort 00:20:33.640 --> 00:20:36.980 of thing but type of pipe pie has been sick tie 00:20:36.980 --> 00:20:41.900 records uh pie records or prt as it was uh was 00:20:42.519 --> 00:20:46.119 I can't remember which one, there were two showbiz 00:20:46.119 --> 00:20:48.960 brothers, there was Bernard Delfonta and his 00:20:48.960 --> 00:20:50.880 brother, and I can't remember who had which one, 00:20:51.259 --> 00:20:56.099 but one of them owned Pi Records, or PRT to be 00:20:56.099 --> 00:20:58.220 more accurate, and that branch, and the other 00:20:58.220 --> 00:21:04.480 one owned the film studios. The one that owned 00:21:04.480 --> 00:21:07.180 the film studios had invested virtually all his 00:21:07.180 --> 00:21:11.119 money in something. Call raise the Titanic which 00:21:11.119 --> 00:21:17.660 actually sank his company Irony at its best. 00:21:17.700 --> 00:21:23.940 Yeah But in the meantime, unfortunately my promotion 00:21:23.940 --> 00:21:28.799 budget for the eyes of it was withdrawn and unbelievably 00:21:28.799 --> 00:21:32.680 withdrawn On the week of doing top of the pops 00:21:32.680 --> 00:21:35.299 which you know, frankly, you know, it's ridiculous 00:21:35.299 --> 00:21:37.259 now people I'm sure we don't know about promotion 00:21:37.259 --> 00:21:39.019 these days because everything's available all 00:21:39.019 --> 00:21:42.599 over the place. Yeah through so many ways of 00:21:42.599 --> 00:21:45.660 dissemination but in those days, you know promotion 00:21:45.660 --> 00:21:48.599 meant that basically records were in shops and 00:21:48.599 --> 00:21:52.859 they were taken to shops and You know, they would 00:21:52.859 --> 00:21:55.519 hopefully be put up front so that when you went 00:21:55.519 --> 00:21:59.220 in with your 50 pence or whatever it was pocket 00:21:59.220 --> 00:22:01.839 money to spend on a single it was one of the 00:22:01.839 --> 00:22:03.960 first things that would catch your eye and You 00:22:03.960 --> 00:22:06.599 know the thing is with anything whatever it is 00:22:06.599 --> 00:22:09.920 doesn't make any difference if it's yeah Music 00:22:09.920 --> 00:22:12.640 muesli or politicians you can't buy what you're 00:22:12.640 --> 00:22:14.779 not sold if it ain't in front of you. You can't 00:22:14.779 --> 00:22:20.150 buy it So anyway, that was that was it with the 00:22:20.150 --> 00:22:22.089 eyes of it didn't didn't really go any further 00:22:22.089 --> 00:22:25.890 and then there was a third single with PRT which 00:22:25.890 --> 00:22:31.750 was an abbreviated version of a sort of reggae 00:22:31.750 --> 00:22:36.730 Reggae ish very electronic reggae track called 00:22:36.730 --> 00:22:41.670 a file in forget and they've been so music concrete 00:22:41.670 --> 00:22:43.970 sounding so it sounds terribly grand, but you 00:22:43.970 --> 00:22:50.420 know just an amalgam of of office sounds which 00:22:50.420 --> 00:22:53.140 was put into the middle as a long section that 00:22:53.140 --> 00:22:56.519 was taken out to shorten to make the make phone 00:22:56.519 --> 00:22:59.019 forget more punchy and that was released but 00:22:59.019 --> 00:23:02.119 frankly that was just a formality because at 00:23:02.119 --> 00:23:04.400 exactly that time that was being released it 00:23:04.400 --> 00:23:10.799 was no more than within the release schedule 00:23:10.799 --> 00:23:14.859 and as it was being released PRT was folding 00:23:14.859 --> 00:23:21.039 as a company you know It was quite interesting 00:23:21.039 --> 00:23:25.680 watching a record company folding from the inside, 00:23:25.680 --> 00:23:29.980 you know? So that's that, that takes you up to 00:23:29.980 --> 00:23:31.859 the eyes of it, or that version of the eyes of 00:23:31.859 --> 00:23:34.180 it, which unfortunately you can't hear that anymore, 00:23:34.299 --> 00:23:37.660 because anybody who goes to Spotify, which is 00:23:37.660 --> 00:23:39.660 the way most people seem to hear things, they 00:23:39.660 --> 00:23:42.839 only get the version which is done for a later 00:23:42.839 --> 00:23:46.579 album. you know 10 years later or whatever it 00:23:46.579 --> 00:23:50.240 was that came out that had A Matthew on it and 00:23:50.240 --> 00:23:53.359 that was a recording in a wholly different way 00:23:53.359 --> 00:23:57.740 and I have to say that the early eyes of it is 00:23:57.740 --> 00:24:02.480 you know much better. Just seeing if we've got 00:24:02.480 --> 00:24:04.880 it somewhere. Yeah, that's cool. Now one thing 00:24:04.880 --> 00:24:11.859 I'd I have seen Carol is Hold on her you're being 00:24:11.859 --> 00:24:16.119 like I've seen you being referred to as the street 00:24:16.119 --> 00:24:21.559 poet of the 1980s is that an official title or 00:24:21.559 --> 00:24:24.440 You know, is it something a record company's 00:24:24.440 --> 00:24:27.279 made up because that's quite a nice title Street 00:24:27.279 --> 00:24:34.579 Poet of the 1980s Well, I was... I had the temerity 00:24:34.579 --> 00:24:39.000 to regard myself as a poet, and the record company 00:24:39.000 --> 00:24:46.519 pretty much hung that title over me. I was pretty 00:24:46.519 --> 00:24:51.799 good, but, you know... Street was a... Well, 00:24:51.900 --> 00:24:55.619 I guess it still is in many levels. It's a very... 00:24:57.190 --> 00:25:01.369 a fashionable word to give you credibility. At 00:25:01.369 --> 00:25:04.869 that stage, poetry had no credibility. Poetry 00:25:04.869 --> 00:25:09.670 these days has a whole lot of different cachet 00:25:09.670 --> 00:25:12.579 which it didn't have in those days. absolutely 00:25:12.579 --> 00:25:15.519 yeah yeah with the various people are doing anyway 00:25:15.519 --> 00:25:18.720 yeah so that was it street street poet of 1980s 00:25:18.720 --> 00:25:26.440 but um 30 years later i like it though i like 00:25:26.440 --> 00:25:28.240 it we would keep that or 40 even for goodness 00:25:28.240 --> 00:25:36.339 sake 40 caro stop adding the years on i honestly 00:25:36.339 --> 00:25:38.759 i honestly don't know because you know i i genuinely 00:25:38.920 --> 00:25:41.940 Genuinely don't know. I mean, you know you I 00:25:41.940 --> 00:25:44.339 should know since today's my birthday and now 00:25:44.339 --> 00:25:48.859 I think about it. Yes, I do know The rest of 00:25:48.859 --> 00:25:50.680 the rest of time like everybody else and still 00:25:50.680 --> 00:25:55.000 think that you're 18. Oh Well, yeah, I feel like 00:25:55.000 --> 00:25:57.079 that till I get out of bed then that's the end 00:25:57.079 --> 00:26:00.480 of that, you know, okay I ate some pains in places. 00:26:00.480 --> 00:26:05.500 You don't know you had till then. Yeah I think 00:26:05.500 --> 00:26:07.720 Leonard Cohen says in one of his songs, you know, 00:26:07.859 --> 00:26:12.059 I ache in the places that I used to play. Indeed, 00:26:13.039 --> 00:26:16.900 indeed. The good news is, Carol, we do, in the 00:26:16.900 --> 00:26:19.400 library, got a good library here, we do have 00:26:19.400 --> 00:26:21.380 the Ice Havit. So how about that? That's good, 00:26:21.400 --> 00:26:24.279 isn't it? That's fantastic. Is that on Blueprint? 00:26:25.279 --> 00:26:28.579 It is the Blueprint version. It is. So that's 00:26:28.579 --> 00:26:31.039 quite good, really, isn't it? That's fantastic. 00:26:31.119 --> 00:26:33.019 Honestly, I think that's wonderful. Thank you. 00:26:33.160 --> 00:26:35.069 I'm so pleased you got that. I'll send it to 00:26:35.069 --> 00:26:38.170 you. There you go. You got it, haven't you? No, 00:26:38.269 --> 00:26:40.529 no, I've got it. Oh, you have a copy anyway. 00:26:40.609 --> 00:26:44.549 Perfect. Yeah, I just mean that if anybody searches 00:26:44.549 --> 00:26:47.130 for it online, they're just shifted to Spotify, 00:26:47.289 --> 00:26:49.210 where they hear the one from the human animal. 00:26:49.440 --> 00:26:52.799 album which was a you know i mean most probably 00:26:52.799 --> 00:26:55.539 suffered a bit from being a little bit too too 00:26:55.539 --> 00:26:59.619 brightly in the late 80s oh nick and sue we're 00:26:59.619 --> 00:27:01.920 taking a quick break to talk about the fuel behind 00:27:01.920 --> 00:27:04.920 today's episode if you're like me coffee isn't 00:27:04.920 --> 00:27:08.059 just a morning ritual it's a necessity but let's 00:27:08.059 --> 00:27:10.420 be honest the traditional coffee cycle usually 00:27:10.420 --> 00:27:13.960 ends up in a mid -afternoon crash or those caffeine 00:27:13.960 --> 00:27:16.539 jitters that actually make it harder to focus 00:27:17.180 --> 00:27:19.539 That's why I'm so excited to share that this 00:27:19.539 --> 00:27:21.720 show is brought to you in association with the 00:27:21.720 --> 00:27:24.319 Strong Coffee Company. 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Just head to thestrongcoffeecompany 00:29:13.789 --> 00:29:17.190 .com or simply go to the show notes below and 00:29:17.190 --> 00:29:22.430 click on the link there. That's CBUKRDUX to guarantee 00:29:22.430 --> 00:29:26.339 your 20 % discount. By buying this product, you're 00:29:26.339 --> 00:29:28.440 not only supporting the companies that work with 00:29:28.440 --> 00:29:31.460 us, or just supporting the channel, you're also 00:29:31.460 --> 00:29:33.720 joining the Chatterbox community's commitment 00:29:33.720 --> 00:29:36.619 to the environment. 1 % of all commissions are 00:29:36.619 --> 00:29:39.359 donated to the Stripe Climate Program to help 00:29:39.359 --> 00:29:54.200 remove CO2 from the atmosphere. Got a release 00:29:54.200 --> 00:29:58.839 I can see, a single release, 1984. Eat, drink, 00:29:59.079 --> 00:30:03.720 dance, relax. What inspired that one? I was doing 00:30:03.720 --> 00:30:05.619 a lot of writing when my friend Dean at that 00:30:05.619 --> 00:30:09.460 stage, an American guy, came over who curious 00:30:09.460 --> 00:30:11.779 enough to be in a protege while he was over in 00:30:11.779 --> 00:30:15.259 the States. a fellow called Kim Foley, who you 00:30:15.259 --> 00:30:17.140 may or may not have heard of, but who's quite 00:30:17.140 --> 00:30:20.859 the character on the West Coast. One of the resident 00:30:20.859 --> 00:30:26.279 Mad Men musical gurus, a bit like Phil Spector, 00:30:26.380 --> 00:30:33.779 but not as successful. So Dean came over because 00:30:33.779 --> 00:30:40.670 he was madly in love with British pop. I'd met 00:30:40.670 --> 00:30:44.349 him when he was playing with him and Tom Dolby 00:30:44.349 --> 00:30:49.549 were the keyboard players, which got, I guess, 00:30:50.089 --> 00:30:53.990 Leonard Lubbich in the first instance. And then 00:30:53.990 --> 00:30:57.849 after that, Joan Armatrading. So we did a bit 00:30:57.849 --> 00:31:00.130 of writing and we just got into the song Eat, 00:31:00.170 --> 00:31:02.569 Drink, Dance, Relax. And to be frank with you, 00:31:02.789 --> 00:31:05.589 I have no idea. I mean, that came out in career 00:31:05.589 --> 00:31:09.900 records, which was sort of a... I guess, you 00:31:09.900 --> 00:31:15.380 know, you've got his disco label, and nothing 00:31:15.380 --> 00:31:17.259 against disco labels because I'm really into 00:31:17.259 --> 00:31:20.680 disco, but I really can't remember how it got 00:31:20.680 --> 00:31:23.220 to Carrera because I can only assume the Dean 00:31:23.220 --> 00:31:25.700 must have had something to do with it, but I 00:31:25.700 --> 00:31:31.579 have no idea how it got there. And also, 1983 00:31:31.579 --> 00:31:36.400 I think it was. You've also got songwriting and 00:31:36.400 --> 00:31:40.240 production credits for other people and among 00:31:40.240 --> 00:31:42.920 them is of course Cliff Richard who you worked 00:31:42.920 --> 00:31:47.500 with in 1983. So there's that other side to your 00:31:47.500 --> 00:31:50.559 career as well, which I think many probably weren't 00:31:50.559 --> 00:31:53.720 aware of. Yeah, that was another song that was 00:31:53.720 --> 00:32:04.339 co -written with Dean. That was good. The arrangement 00:32:04.339 --> 00:32:08.880 of that is, I think, LSO or the LPO, London Symphony 00:32:08.880 --> 00:32:14.000 Orchestra. But the arrangement pretty much follows 00:32:14.000 --> 00:32:20.980 our synth arrangement, which we recorded the... 00:32:20.910 --> 00:32:25.150 demo on a four -track Porta Studio down in the 00:32:25.150 --> 00:32:29.730 basement of Chrysalis and Colin Blunstone from 00:32:29.730 --> 00:32:33.150 the Zombies came along and very kindly did a 00:32:33.150 --> 00:32:35.789 demo vocal and so you know the arrangement's 00:32:35.789 --> 00:32:38.750 pretty much there and Cliff's version as well, 00:32:38.849 --> 00:32:41.650 it's Cliff's voice obviously and it has its own 00:32:41.650 --> 00:32:44.289 character and does its own thing but you know 00:32:44.289 --> 00:32:47.029 follows the melody very strongly so that was 00:32:47.029 --> 00:32:51.890 good. Well, that's a pretty nice accolade to 00:32:51.890 --> 00:32:58.190 add to your CV or your career, whichever we wish 00:32:58.190 --> 00:33:03.809 to describe it. Now, obviously, 1987 comes, and 00:33:03.809 --> 00:33:08.369 hey, Matthew. I read somewhere, hey, Matthew 00:33:08.369 --> 00:33:12.109 was actually, it's a real story and he was your 00:33:12.109 --> 00:33:15.140 stepson, is that right? Well, he's my stepson 00:33:15.140 --> 00:33:18.099 as much as not, you know, he's stepson, but Matthew 00:33:18.099 --> 00:33:23.319 is my son as far as I'm concerned, you know And 00:33:23.319 --> 00:33:28.420 yeah, I did I wrote it I had Curious enough. 00:33:28.740 --> 00:33:31.259 Hey Matthew was another song which rather like 00:33:31.259 --> 00:33:33.839 armband I mean I actually had hey Matthew exactly 00:33:33.839 --> 00:33:37.079 as it is and finished Sitting in my pocket for 00:33:37.079 --> 00:33:39.799 about a year and a half and being being rejected 00:33:39.799 --> 00:33:43.140 by record companies Saying it's just not good 00:33:43.140 --> 00:33:45.720 enough something you're not right with this and 00:33:45.720 --> 00:33:49.799 Then the suddenly out of the blue two companies 00:33:49.799 --> 00:33:53.279 Got interested one was a guy called Derek Green 00:33:53.279 --> 00:33:56.920 who used to run A &M and it's set up his own 00:33:56.920 --> 00:34:01.539 A &M in Britain and set up his own label and 00:34:01.539 --> 00:34:07.420 He was keen he was tossing up between hey Matthew 00:34:07.420 --> 00:34:12.300 and lab you see free What was that song? Something 00:34:12.300 --> 00:34:19.619 inside the strong. And he opted for Labby, I 00:34:19.619 --> 00:34:22.380 guess, partly because he'd worked with Labby 00:34:22.380 --> 00:34:26.789 before on A &M. And also frankly, because at 00:34:26.789 --> 00:34:30.889 that time I smoked very heavily and I just chain 00:34:30.889 --> 00:34:33.150 -smoked in his lovely flat and it probably stank. 00:34:36.030 --> 00:34:40.579 I just don't want to work with this guy. I don't 00:34:40.579 --> 00:34:43.199 know, but that's as good a reason as any. Anyway, 00:34:43.480 --> 00:34:46.000 so it didn't go with A &M, but at the same time, 00:34:46.199 --> 00:34:48.320 Miles Copeland, who'd been the police manager, 00:34:48.380 --> 00:34:49.800 and obviously, as you know, the police were with 00:34:49.800 --> 00:34:53.360 A &M as well, so it seemed a good A &M orientation, 00:34:53.500 --> 00:34:57.719 saying Miles had heard the track, and he said, 00:34:57.719 --> 00:35:03.340 hey, Carol, that's a hit. He wanted it. And basically, 00:35:03.460 --> 00:35:07.900 at that stage, 15, 18 months down the line with 00:35:07.900 --> 00:35:12.590 this... track burning in my pocket uh must go 00:35:12.590 --> 00:35:15.150 with this you know it's at this stage let's not 00:35:15.150 --> 00:35:16.809 beat around the bush let's go with the only game 00:35:16.809 --> 00:35:22.010 in town let's go that's how i went this and that 00:35:22.010 --> 00:35:24.750 was good you know i i you know i i'm people say 00:35:24.750 --> 00:35:26.110 a lot of different things about miles but i mean 00:35:26.110 --> 00:35:29.570 i actually you know i call i call it miles partly 00:35:29.570 --> 00:35:32.570 because he created his own record company and 00:35:32.570 --> 00:35:35.590 his tour and you know he's an enthusiast which 00:35:35.590 --> 00:35:37.869 is a lot of people in the music business aren't 00:35:37.869 --> 00:35:42.590 particularly enthusiasts. I get that and of course 00:35:42.590 --> 00:35:49.010 um Hey Matthew as a song it is absolutely amazing 00:35:49.010 --> 00:35:51.570 but when one gets played as well doesn't it we 00:35:51.570 --> 00:35:53.429 get we get requested a lot on the 80 show and 00:35:53.429 --> 00:35:56.289 other shows don't we um this stuff has been featured 00:35:56.289 --> 00:35:58.730 about three times in four shows or something 00:35:58.730 --> 00:36:04.239 it's quite good uh now with Hey Matthew Probably 00:36:04.239 --> 00:36:07.039 soon hasn't even realized this the actual and 00:36:07.039 --> 00:36:09.860 it sounds amazing and you've perfected it but 00:36:09.860 --> 00:36:13.940 not so did you know so that Hey, Matthew only 00:36:13.940 --> 00:36:16.500 had synthesizer and a drum machine on it. There's 00:36:16.500 --> 00:36:18.699 no other instruments. Really? Yeah, isn't that 00:36:18.699 --> 00:36:21.860 right Carol? Yeah, very few parts. Yeah, and 00:36:21.860 --> 00:36:24.300 it sounds amazing doesn't it you hit perfect? 00:36:24.300 --> 00:36:27.539 So you did very very very very well with that 00:36:27.539 --> 00:36:31.099 one I'll send you a PDF of the track sheet. I 00:36:31.099 --> 00:36:32.320 don't know if tracksheets mean an individual 00:36:32.320 --> 00:36:34.699 see her. Oh few parts are actually on there too 00:36:34.699 --> 00:36:37.340 to make it work That would be absolutely amazing. 00:36:37.559 --> 00:36:39.579 Thank you as soon as before we move on Sue's 00:36:39.579 --> 00:36:42.380 got a question or two, haven't you? What was 00:36:42.380 --> 00:36:45.059 it like doing the video to the song because the 00:36:45.059 --> 00:36:50.639 video is amazing? Oh, yes. Yeah It was good fun. 00:36:50.800 --> 00:36:53.099 The idea was obviously to make it like a home 00:36:53.099 --> 00:36:57.860 thing. That actually was Miles' house in London 00:36:57.860 --> 00:37:01.380 at the time. Not mine, I'm sad to say. I suppose 00:37:01.380 --> 00:37:03.199 from Matthew's point of view, the best thing 00:37:03.199 --> 00:37:07.000 about doing the video was that, because he was 00:37:07.000 --> 00:37:10.099 heavily into Ninja Turtles and all that at the 00:37:10.099 --> 00:37:12.860 time, the best thing about doing the video was 00:37:12.860 --> 00:37:16.329 that for us and for the crew, there was a never 00:37:16.329 --> 00:37:20.429 -ending supply of pizzas. Oh yeah, turtles and 00:37:20.429 --> 00:37:27.679 pizzas, of course! Very good. The the lady in 00:37:27.679 --> 00:37:30.400 in the video is Jenny who's my wife and Matthew's 00:37:30.400 --> 00:37:32.900 mother as well. So it was a real family affair 00:37:32.900 --> 00:37:39.900 Yeah, what's Matthew doing now if we can ask 00:37:39.900 --> 00:37:45.019 yeah, please Yeah, no, no fine. No Matt Matt's 00:37:45.019 --> 00:37:50.849 a father she's got two great kids one is just 00:37:50.849 --> 00:37:52.909 coming to the end of the terrible twos. It's 00:37:52.909 --> 00:37:58.070 a boy. Coming to the four rising five. In fact, 00:37:58.090 --> 00:38:00.530 it should be five in a couple of weeks time. 00:38:01.190 --> 00:38:04.570 And he's turned out to be, frankly, you know, 00:38:04.909 --> 00:38:06.989 hats off. He's an amazing father. I mean, frankly, 00:38:06.989 --> 00:38:10.389 I wish I'd been as good a father to our children 00:38:10.389 --> 00:38:14.329 as he's to them. He's amazing. He's just got 00:38:14.329 --> 00:38:15.989 all the kind of patience that you really need 00:38:15.989 --> 00:38:23.429 to have with kids. He had a change of direction 00:38:23.429 --> 00:38:25.730 in his life and he moved from what he was doing. 00:38:26.389 --> 00:38:28.250 He got deeply involved. He realized that what 00:38:28.250 --> 00:38:29.989 he liked to do was to actually work with his 00:38:29.989 --> 00:38:36.989 hands. He did a course of restoration of antique 00:38:36.989 --> 00:38:42.590 furniture in a college up here. College is the 00:38:42.590 --> 00:38:47.050 wrong thing. It's a school. He's now an expert 00:38:47.050 --> 00:38:50.300 in... restoring antique furniture. Brilliant. 00:38:50.320 --> 00:38:53.719 That's nice. Well that is a very good career 00:38:53.719 --> 00:38:55.159 isn't it Sue? You've got another one I think. 00:38:55.300 --> 00:38:58.219 No, it's a comment. When the children go up he 00:38:58.219 --> 00:39:00.920 can actually show them in the video that he was 00:39:00.920 --> 00:39:03.380 a child in that song. Absolutely, absolutely. 00:39:04.139 --> 00:39:11.360 Have you done any of the questions? There's an 00:39:11.360 --> 00:39:15.190 Italian man who runs a a website in the company 00:39:15.190 --> 00:39:23.889 and plays music, sort of like DJ, and I had to 00:39:23.889 --> 00:39:27.190 do an online interview with him, and as he said, 00:39:27.710 --> 00:39:29.289 you know, you must tell, I'm not going to do 00:39:29.289 --> 00:39:30.750 an accent, all right, I'm not going to do an 00:39:30.750 --> 00:39:33.429 accent, he said you must tell Matthew, he's one 00:39:33.429 --> 00:39:38.010 of the few people who's actually got a home video 00:39:38.010 --> 00:39:44.949 as a chart -topping video. I was going to say 00:39:44.949 --> 00:39:47.449 one last question before we move on and I'm intrigued 00:39:47.449 --> 00:39:51.329 by this. When Matthew says his favourite TV shows 00:39:51.329 --> 00:39:54.110 and what he wants to be when he grows up, did 00:39:54.110 --> 00:39:56.530 he have input in that or was that already in 00:39:56.530 --> 00:40:00.320 the song when he wrote it? No, 50 -50. Oh, wonderful. 00:40:00.579 --> 00:40:03.900 That's nice. I like it. We did a lot of that 00:40:03.900 --> 00:40:07.420 recording, you know, I mean, literally at home 00:40:07.420 --> 00:40:11.239 in the basics of it. But just finally, because 00:40:11.239 --> 00:40:13.739 we can get off, hey, Matthew, but, you know, 00:40:14.119 --> 00:40:16.000 interesting, there were a couple of points. One 00:40:16.000 --> 00:40:23.500 is that it had a very different viewpoint, perceived 00:40:23.500 --> 00:40:26.719 differently. in Europe as opposed to Britain. 00:40:28.099 --> 00:40:32.219 In essence, in Britain a lot of it was the A 00:40:32.219 --> 00:40:35.739 team, the A team, and in Europe a lot of it was 00:40:35.739 --> 00:40:37.780 I hope, I hope, which is quite interesting as 00:40:37.780 --> 00:40:40.900 a sort of thing. Okay, okay. You know, where 00:40:40.900 --> 00:40:46.820 different nations come to a thing from. Interesting, 00:40:47.039 --> 00:40:50.159 wonderful. I wasn't aware of that, no. So it's 00:40:50.159 --> 00:40:52.460 great to actually know the story behind that 00:40:52.460 --> 00:40:56.260 because that is a classic and it's in its time. 00:40:57.719 --> 00:40:59.619 Nick and Sue. We're taking a quick break to talk 00:40:59.619 --> 00:41:02.619 about the fuel behind today's episode. 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That's C -B -U -K -R 00:43:19.059 --> 00:43:24.070 -D -U -X to guarantee your 20 % discount. By 00:43:24.070 --> 00:43:26.070 buying this product, you're not only supporting 00:43:26.070 --> 00:43:28.769 the companies that work with us, or just supporting 00:43:28.769 --> 00:43:31.269 the channel, you're also joining the Chatterbox 00:43:31.269 --> 00:43:34.070 community's commitment to the environment. One 00:43:34.070 --> 00:43:36.329 percent of all commissions are donated to the 00:43:36.329 --> 00:43:39.449 Stripe Climate Program to help remove CO2 from 00:43:39.449 --> 00:43:51.000 the atmosphere. Shutterbox! Shutterbox! Shutterbox! 00:43:51.420 --> 00:43:55.800 Shutterbox! And right, move on to... There was 00:43:55.800 --> 00:43:59.159 a remix of Eat, Drink, Dance, Relax in 1988, 00:43:59.239 --> 00:44:03.849 I believe, and you be the judge as well. Yeah, 00:44:04.070 --> 00:44:05.650 that's right. Well, the remix, curious enough, 00:44:06.250 --> 00:44:09.889 again, because I'd written a song with Dean, 00:44:10.570 --> 00:44:13.590 him and I went down to Saunton Heath somewhere, 00:44:13.670 --> 00:44:16.150 I think it was, a studio down in Saunton Heath 00:44:16.150 --> 00:44:19.829 in South London to do the remix. And we booked 00:44:19.829 --> 00:44:23.690 it for whatever day it was, and we got up to 00:44:23.690 --> 00:44:26.989 get down there, and we met up, and traveling 00:44:26.989 --> 00:44:31.239 down from... I think I was living in Fulham at 00:44:31.239 --> 00:44:32.980 the time and he was living in North London and 00:44:32.980 --> 00:44:37.340 we were traveling down in a cab and it was like 00:44:37.340 --> 00:44:40.539 a war zone because everything was uprooted. The 00:44:40.539 --> 00:44:43.219 night before had been the night of the hurricane 00:44:43.219 --> 00:44:46.059 so all the trees were down as you went through 00:44:46.059 --> 00:44:49.800 the parks and as we came to a junction somewhere 00:44:49.800 --> 00:44:53.519 south end of Wandsworth or south end of Clapham 00:44:53.519 --> 00:44:58.239 or something like that in our cab, somebody t 00:44:58.239 --> 00:45:00.480 -burned us, and a car came to slap into the side 00:45:00.480 --> 00:45:04.400 of us on the way down to the remix. Luckily enough, 00:45:04.400 --> 00:45:07.679 you know, it was an Fx4, you know, there's really 00:45:07.679 --> 00:45:11.500 solid black London cabs. So the car came off 00:45:11.500 --> 00:45:14.159 worse, and we were okay, and so was our synth, 00:45:14.280 --> 00:45:16.139 which we were taking down for a couple of bits, 00:45:16.840 --> 00:45:19.280 overdubs and things. And we did the mix down 00:45:19.280 --> 00:45:23.699 there. Wonderful. And now it's that. That's great, 00:45:23.960 --> 00:45:28.500 absolutely great. Now, you've remained in the 00:45:28.500 --> 00:45:31.519 music industry as I see and I'm just scrolling 00:45:31.519 --> 00:45:37.719 down here. The things I saw and what else have 00:45:37.719 --> 00:45:42.599 we got here? Yeah, October 2007, the name of 00:45:42.599 --> 00:45:47.159 the album is Booker's Shade. Yeah, Booker's Shade. 00:45:47.539 --> 00:45:52.512 They're a couple of Berlin DJs and they did... 00:45:52.510 --> 00:45:54.949 Bunch of things and one and one of the tracks 00:45:54.949 --> 00:45:58.329 that that they did a remix of oh There was a 00:45:58.329 --> 00:46:01.789 bit of a mashup of one of my tracks called things 00:46:01.789 --> 00:46:05.250 I saw which in fact was the b -side of hey Matthew 00:46:05.250 --> 00:46:09.889 and Gosh, I forgot what's the name of the there's 00:46:09.889 --> 00:46:16.929 a girl as well her and she she's very She's very 00:46:16.929 --> 00:46:25.920 minimal and you know I've got a name here. Akiko 00:46:25.920 --> 00:46:28.800 Kiyama. Yeah, that sounds about right to me. 00:46:29.599 --> 00:46:31.619 That's good enough. Yeah, that's fine. Thank 00:46:31.619 --> 00:46:36.940 you. 2009 album called Film. By the way, I like 00:46:36.940 --> 00:46:39.000 what she does. I'm sorry. I didn't mean to dismiss 00:46:39.000 --> 00:46:41.320 her. I've listened to some other stuff and I 00:46:41.320 --> 00:46:44.139 really like what she does. Just obviously, you 00:46:44.139 --> 00:46:47.500 can't remember everything at the time. So sorry, 00:46:47.659 --> 00:46:52.400 Akiko. Not at all, we like getting things in 00:46:52.400 --> 00:46:54.320 the right order as we're jumping every note. 00:46:54.579 --> 00:46:57.699 Absolutely perfect, not a problem. And then I've, 00:46:57.699 --> 00:47:01.079 with interest, you released an album called Film 00:47:01.079 --> 00:47:05.320 Noir, and guest artist, absolutely amazing, Tilda 00:47:05.320 --> 00:47:08.019 Swinton, well there's the name to get on the 00:47:08.019 --> 00:47:12.539 record, and also Paul Roberts' Sniffing the Tears. 00:47:12.820 --> 00:47:15.519 So yeah, I think getting Tilda was sort of like 00:47:15.519 --> 00:47:19.280 a... Going back to but not your film roots what 00:47:19.280 --> 00:47:21.440 what you wanted to be and what is that how film 00:47:21.440 --> 00:47:25.699 noir came about? No, film noir certainly goes 00:47:25.699 --> 00:47:30.420 back to my film roots in a way as much The visual 00:47:30.420 --> 00:47:33.059 aspects of film noir, but as it says in the in 00:47:33.059 --> 00:47:34.820 the sleeve notes for the album You know, this 00:47:34.820 --> 00:47:40.960 is not sort of in the sort of dramatic Netherworld 00:47:40.960 --> 00:47:45.699 thing of film noir. This is more like the daily 00:47:45.699 --> 00:47:49.539 grind that people go through, which is a film 00:47:49.539 --> 00:47:52.300 noir itself, actually. Indeed, indeed. It's wonderful. 00:47:53.099 --> 00:47:57.800 The quotidian, I think, as it says. And, I mean, 00:47:58.000 --> 00:48:01.110 Tilda happened, actually, just because... She 00:48:01.110 --> 00:48:06.670 and John Byrne, I think she was married to John 00:48:06.670 --> 00:48:09.510 Byrne, the Scottish artist who also wrote Tutti 00:48:09.510 --> 00:48:12.449 Frutti and all those other stage things. They 00:48:12.449 --> 00:48:14.030 have a couple of children together and she was 00:48:14.030 --> 00:48:19.030 living. She and John were renting a farmhouse 00:48:19.030 --> 00:48:23.710 that belonged to a friend of mine just outside 00:48:23.710 --> 00:48:26.329 of the village that I lived in up in the Highlands. 00:48:29.280 --> 00:48:33.559 John was also showing some paintings at a local 00:48:33.559 --> 00:48:38.579 gallery up there and we met at a barbecue just 00:48:38.579 --> 00:48:41.000 across the road from me and down a little alley 00:48:41.000 --> 00:48:45.719 where she and John were very kindly being the 00:48:45.719 --> 00:48:52.960 cooks. I like a lot of what Tilda's voice does. 00:48:54.909 --> 00:48:56.929 I asked her if she'd come along and do it and 00:48:56.929 --> 00:49:01.929 she said sure and came by and did the thing and 00:49:01.929 --> 00:49:04.710 the praise I remember her saying, do you like 00:49:04.710 --> 00:49:07.190 that? Is that okay? And I said yes, great. She 00:49:07.190 --> 00:49:09.389 said you sure? Because I can put a bit more graphite 00:49:09.389 --> 00:49:12.650 into it. I think there's enough graphite in it. 00:49:15.789 --> 00:49:17.869 And Paul actually goes back a long way because 00:49:17.869 --> 00:49:20.349 actually it was the band that Paul and Michael 00:49:20.349 --> 00:49:24.280 Nigel that I was theoretically going to be writing 00:49:24.280 --> 00:49:27.480 lyrics for in the very beginning of things. We 00:49:27.480 --> 00:49:35.039 were powers from the mid -60s. OK, so that was 00:49:35.039 --> 00:49:38.880 2009. Now I know that singers, songwriters and 00:49:38.880 --> 00:49:43.139 musicians, they never really retire. So what 00:49:43.139 --> 00:49:46.920 have you been working on since 2009? There's 00:49:46.920 --> 00:49:48.619 got to be a project somewhere. There's no way 00:49:48.619 --> 00:49:51.659 you're not doing anything. I know that. Well 00:49:51.659 --> 00:49:53.820 I've been in quite a few things I mean I suppose 00:49:53.820 --> 00:50:02.079 the most outstanding thing I suppose that has 00:50:02.079 --> 00:50:08.280 been readily available I got a contact online 00:50:08.280 --> 00:50:15.099 2014 from some couple of guys who I didn't know 00:50:15.099 --> 00:50:20.849 at all on Gozo, which is a small island next 00:50:20.849 --> 00:50:25.150 to Malta, and asked if I'd like to come over 00:50:25.150 --> 00:50:29.110 and do some work with them. And it suited me 00:50:29.110 --> 00:50:32.610 pretty well, because I'd taken a year out in 00:50:32.610 --> 00:50:38.969 2012. Jenny and I loaded up our old Hyman motorhome 00:50:38.969 --> 00:50:46.030 and spent a year cruising Spain, Portugal, and 00:50:46.030 --> 00:50:52.800 then Morocco. which is great. I obviously took 00:50:52.800 --> 00:50:57.360 a laptop with me to do some music and I also 00:50:57.360 --> 00:51:01.360 took a keyboard and a little battery operated 00:51:01.360 --> 00:51:05.440 amp because I thought I'd do some electro busking, 00:51:05.679 --> 00:51:12.420 quite fancy idea, whilst on road and that started 00:51:12.420 --> 00:51:15.139 working out quite well but we stopped off in 00:51:15.139 --> 00:51:21.429 Alicante and in the space of three weeks or two 00:51:21.429 --> 00:51:26.889 weeks, had the camper broken into twice and just 00:51:26.889 --> 00:51:29.590 stopped a guy doing it the third time. And the 00:51:29.590 --> 00:51:32.429 first time it was broken into, unfortunately 00:51:32.429 --> 00:51:38.889 I lost a load of stuff, including a load of memory 00:51:38.889 --> 00:51:42.389 sticks which had the sequences for the stuff 00:51:42.389 --> 00:51:45.510 I was going to be busking in, so that disappeared. 00:51:46.269 --> 00:51:50.409 Anyway, so that was that, but then I went over 00:51:50.409 --> 00:51:56.230 to do this thing in Gozo and I found it quite 00:51:56.230 --> 00:51:59.269 interesting, particularly working with people 00:51:59.269 --> 00:52:05.320 who had no idea how it was going to go. I contributed 00:52:05.320 --> 00:52:08.840 my share of the tracks, but I felt I'd done all 00:52:08.840 --> 00:52:13.639 I could do in the writing, playing and vocals. 00:52:14.519 --> 00:52:18.199 The idea was that they'd mix it up and bring 00:52:18.199 --> 00:52:20.860 it out as an EP. I can't remember my tracks. 00:52:21.099 --> 00:52:24.500 I'd left behind four maybe. But nothing really 00:52:24.500 --> 00:52:27.679 happened over the years, so I thought, you know... 00:52:27.659 --> 00:52:29.679 It was still bugging me and I'd be doing a load 00:52:29.679 --> 00:52:32.199 of work at home on other things and I thought 00:52:32.199 --> 00:52:34.719 well, okay I'm gonna go over and finish this 00:52:34.719 --> 00:52:39.920 album off. So we rented out our house to pay 00:52:39.920 --> 00:52:47.980 for our time and went over to Gozo and I spent 00:52:47.980 --> 00:52:50.880 a year there finishing off the album doing a 00:52:50.880 --> 00:52:52.559 couple of other things which was quite interesting 00:52:52.559 --> 00:52:56.019 meeting some other people musically and frankly 00:52:56.019 --> 00:52:58.820 getting very getting very fit and healthy and 00:52:58.820 --> 00:53:03.300 you know doing a lot of a lot of swimming and 00:53:03.300 --> 00:53:07.099 exercise which is great and a lot and i have 00:53:07.099 --> 00:53:09.440 to say i needed to do all that because it did 00:53:09.440 --> 00:53:14.539 an awful lot of drinking as well i'm sure it 00:53:14.539 --> 00:53:17.639 assisted with the project i have no doubt you 00:53:17.639 --> 00:53:20.360 know i need i need to i need to burn away the 00:53:20.360 --> 00:53:26.610 the residue very good i like that So that was 00:53:26.610 --> 00:53:34.929 an album called Peace V War. Basically, they 00:53:34.929 --> 00:53:42.250 were protest songs. Again, this partly came from 00:53:42.250 --> 00:53:46.269 the fact that we didn't know each other and I 00:53:46.269 --> 00:53:48.630 didn't want to write a selection of whatever 00:53:48.630 --> 00:53:50.989 love songs or things and I felt that the world 00:53:50.989 --> 00:53:54.900 was very serious. getting to a very serious place 00:53:54.900 --> 00:53:57.199 at that time. And we certainly felt serious ass 00:53:57.199 --> 00:53:59.139 out there because most people here are talking 00:53:59.139 --> 00:54:01.980 about immigrants and things. What we had happening 00:54:01.980 --> 00:54:04.380 out there, certainly in 2015 by the time I got 00:54:04.380 --> 00:54:07.860 back there was suddenly Daesh was right there, 00:54:08.079 --> 00:54:12.340 just across the water in Libya. And we felt very 00:54:12.340 --> 00:54:15.099 exposed, I have to be honest with you, because 00:54:15.099 --> 00:54:18.059 it was only a couple of hours by fast rib. And 00:54:18.059 --> 00:54:23.280 a lot of people didn't enjoy it and rumours were 00:54:23.280 --> 00:54:28.739 right. So anyway, this was a protest album. Cool, 00:54:28.920 --> 00:54:33.760 okay. And what can we expect from you next, Carol? 00:54:33.880 --> 00:54:39.019 I mean, how did you spend lockdown? Did your 00:54:39.019 --> 00:54:43.079 creative juices flow and what can we expect from 00:54:43.079 --> 00:54:47.380 you? I liked lockdown a lot in as much as I'd 00:54:47.380 --> 00:54:49.500 moved from the countryside to live in the centre 00:54:49.500 --> 00:54:53.519 of the city, so on one side that was bad because 00:54:53.519 --> 00:54:55.239 all the things you like and you want from the 00:54:55.239 --> 00:54:57.559 city weren't available, i .e. there were no movies, 00:54:57.760 --> 00:54:59.260 there was no live music, there were no restaurants, 00:54:59.539 --> 00:55:01.480 there were no pubs, but on the other hand the 00:55:01.480 --> 00:55:03.719 city was fantastic, especially in the first months 00:55:03.719 --> 00:55:05.980 of lockdown when it was absolutely quiet and 00:55:05.980 --> 00:55:08.360 people were walking on the roads and none of 00:55:08.360 --> 00:55:10.599 us knew what was happening so you actually avoided 00:55:10.599 --> 00:55:12.559 people because you didn't want to breathe on 00:55:12.559 --> 00:55:16.699 them or be breathed on. The downside, another 00:55:16.699 --> 00:55:24.739 downside though, was that I couldn't work face 00:55:24.739 --> 00:55:26.360 -to -face with anybody and people were talking 00:55:26.360 --> 00:55:28.460 about swapping files and things, but it's not 00:55:28.460 --> 00:55:30.719 the same thing. You know, you want to share the 00:55:30.719 --> 00:55:33.800 energy and the vibe as you're doing things, you 00:55:33.800 --> 00:55:36.480 know, so somebody plays or sings something, yeah 00:55:36.480 --> 00:55:40.039 that's great and let's work on that, rather than 00:55:40.039 --> 00:55:42.699 having to wait. particularly if you're working 00:55:42.699 --> 00:55:44.559 with people who are on a different time scale 00:55:44.559 --> 00:55:48.500 to you, either they're in another country or 00:55:48.500 --> 00:55:50.980 they're working at night or during the day whilst 00:55:50.980 --> 00:55:54.519 you're working another way around. So that part 00:55:54.519 --> 00:55:57.000 I missed but it gave me a good chance to reassess 00:55:57.000 --> 00:56:00.000 a lot of what I've been doing and so basically 00:56:00.000 --> 00:56:02.639 the two things I've been doing, been focusing 00:56:02.639 --> 00:56:08.059 on, one of them started before lockdown, before 00:56:08.059 --> 00:56:12.739 Covid struck. I've been working on a whole thing 00:56:12.739 --> 00:56:16.420 of reggae, the working title is Bent Reggae, 00:56:16.579 --> 00:56:20.619 because I've listened to a lot of reggae in my 00:56:20.619 --> 00:56:28.320 life and sort of been grooved with it. So I started 00:56:28.320 --> 00:56:30.519 doing these tracks, some of which were brand 00:56:30.519 --> 00:56:34.449 new, some of which were re -workings. The absolute 00:56:34.449 --> 00:56:37.550 point is, you know, I wasn't going to adopt a 00:56:37.550 --> 00:56:40.349 cod Jamaican accent or sing about Jah Rastafari 00:56:40.349 --> 00:56:45.190 because that's not who I am, you know. So I'm 00:56:45.190 --> 00:56:47.710 just a standard middle class white boy doing 00:56:47.710 --> 00:56:51.349 reggae. But it's pretty good. I'm very pleased 00:56:51.349 --> 00:56:53.750 with it. Some of them got to be finished because 00:56:53.750 --> 00:56:58.969 I need to find a place that I can mix in. I don't 00:56:58.969 --> 00:57:02.590 trust. I like my work situation now as a working 00:57:02.590 --> 00:57:05.230 situation but for mixers I don't really trust 00:57:05.230 --> 00:57:07.750 and I don't like to mix on headphones. I know 00:57:07.750 --> 00:57:09.230 people listen to a lot of music on headphones 00:57:09.230 --> 00:57:11.730 but I like to hear I like to feel I like to feel 00:57:11.730 --> 00:57:15.489 stuff coming through the air you know. I get 00:57:15.489 --> 00:57:19.449 that, totally, yeah, absolutely. So that's that, 00:57:19.670 --> 00:57:22.329 and then the other thing I've been doing quite 00:57:22.329 --> 00:57:24.429 specifically in terms of changing my mind about 00:57:24.429 --> 00:57:26.829 what I'm doing, what I've been up to, is that 00:57:26.829 --> 00:57:30.409 here's a birthday, which proves it. I've got 00:57:30.409 --> 00:57:34.489 an awful lot of unfinished stuff, and I really 00:57:34.489 --> 00:57:41.409 want to take some time, because obviously I'd 00:57:41.409 --> 00:57:45.099 like to earn some money, but equally, Money's 00:57:45.099 --> 00:57:47.980 never been a particular driving force in my life. 00:57:49.460 --> 00:57:53.659 So I thought, well, if I can stick with it for 00:57:53.659 --> 00:57:58.360 another month or so, I want to finish off, or 00:57:58.360 --> 00:58:00.199 at least finish off as much as I'm going to finish 00:58:00.199 --> 00:58:02.360 off, because in some cases I'll never get the 00:58:02.360 --> 00:58:05.239 multi -track. tapes or recordings back so I'm 00:58:05.239 --> 00:58:08.300 just going to compile and go for best versions 00:58:08.300 --> 00:58:10.760 of demos and things I've done and just make a 00:58:10.760 --> 00:58:13.260 compilation of all my songs so that it's there 00:58:13.260 --> 00:58:15.239 for me to see and for my children to have as 00:58:15.239 --> 00:58:18.019 well if they're at all interested. That's cool. 00:58:18.599 --> 00:58:22.659 That's sort of basically where I'm at. Fantastic. 00:58:23.380 --> 00:58:27.159 Fantastic, Carol. Yeah, absolutely. Sue, have 00:58:27.159 --> 00:58:29.360 you got any questions for Carol? Yes, Carol. 00:58:29.519 --> 00:58:31.739 Is there any plans for you to do an autobiography? 00:58:32.119 --> 00:58:38.329 Yeah. Uh, I don't have the time. No, it's okay. 00:58:39.349 --> 00:58:43.070 I really don't have the time. I'm trying to even 00:58:43.070 --> 00:58:47.530 write out a synopsis for what I want to get from 00:58:47.530 --> 00:58:50.190 my kids, because my kids, particularly my daughter, 00:58:50.429 --> 00:58:52.510 says, Luke, this is terrible. We don't know that 00:58:52.510 --> 00:58:54.329 much about you. We know you as daddy, but we 00:58:54.329 --> 00:58:58.349 don't know so many aspects of your life. And 00:58:58.349 --> 00:59:01.849 I suppose it's true, both myself and Jenny. I 00:59:01.849 --> 00:59:04.309 mean, Jenny had a a really particularly interesting 00:59:04.309 --> 00:59:09.289 life as well. So, you know, she's been good enough 00:59:09.289 --> 00:59:13.150 to give them a synopsis, and Ed is a synopsis 00:59:13.150 --> 00:59:15.170 of what she's done, but I've got to do my own. 00:59:15.349 --> 00:59:19.329 But thanks, Sue. If I did write one, would you 00:59:19.329 --> 00:59:22.090 read it? Well, we would not only read it, we'd 00:59:22.090 --> 00:59:24.639 have you all for a chat about it as well. Oh, 00:59:24.639 --> 00:59:27.900 thank you. There you go. And when you do complete 00:59:27.900 --> 00:59:30.460 something, you make sure that you send me a little 00:59:30.460 --> 00:59:33.579 message and we'll have a chat then. It's been 00:59:33.579 --> 00:59:36.659 absolutely fantastic, Carol. Now, you've got 00:59:36.659 --> 00:59:41.119 a website, which I shall let people know. It's 00:59:41.119 --> 00:59:48.019 carolfialca .com. So it's K -A -R -E -L. F -I 00:59:48.019 --> 00:59:53.679 -A -L -K -A, carrollfielke .com. And also, if 00:59:53.679 --> 00:59:58.380 you go on there, you can also see links to Carol's 00:59:58.380 --> 01:00:01.139 social media as well. One click away from them 01:00:01.139 --> 01:00:05.199 as well. And Carol, it's been absolutely wonderful. 01:00:05.360 --> 01:00:08.019 I've enjoyed it. Thank you very much. And thank 01:00:08.019 --> 01:00:09.840 you for sharing some of your birthday with us 01:00:09.840 --> 01:00:13.579 as well. Thank you. Thank you both for inviting 01:00:13.579 --> 01:00:16.480 me on and I appreciate talking with you and also 01:00:16.480 --> 01:00:19.099 by the way that website is just going to be massively 01:00:19.099 --> 01:00:21.179 updated because it's still sitting back from. 01:00:21.449 --> 01:00:23.590 from peace we were so that was you know it's 01:00:23.590 --> 01:00:26.110 five five years out of dating but still thanks 01:00:26.110 --> 01:00:28.269 for thanks for promoting it and if anybody goes 01:00:28.269 --> 01:00:30.909 to it try going again in a couple of months time 01:00:30.909 --> 01:00:33.269 and hopefully it'll be up and running in a in 01:00:33.269 --> 01:00:36.050 a decent and more relevant manner not not a problem 01:00:36.050 --> 01:00:39.130 and uh so is this full recording or not no i'm 01:00:39.130 --> 01:01:07.059 switching off that okay You've been listening 01:01:07.059 --> 01:01:09.500 to the Chatterbox Redux podcast with Sue and 01:01:09.500 --> 01:01:12.360 Nick and today our special guest was Carol Fialca. 01:01:12.750 --> 01:01:15.230 If you're interested in becoming a future guest 01:01:15.230 --> 01:01:18.070 on the Chatterbox Redux podcast, or the radio 01:01:18.070 --> 01:01:20.489 show Chatterbox UK, you're welcome to submit 01:01:20.489 --> 01:01:23.969 songs, books, or whatever it is you do, and send 01:01:23.969 --> 01:01:27.090 us a CV, synopsis, or press release. However, 01:01:27.269 --> 01:01:30.050 we receive several thousand such press releases 01:01:30.050 --> 01:01:33.269 every week, and it's impossible to reply to each 01:01:33.269 --> 01:01:36.170 one individually. Why not email us or leave a 01:01:36.170 --> 01:01:38.150 comment, because we'd love to know what you think 01:01:38.150 --> 01:01:58.019 of the podcast. Our email address is... and wherever 01:01:58.019 --> 01:02:00.420 it is you choose to listen to the Chatterbox 01:02:00.420 --> 01:02:03.579 Redux podcast don't forget to give us a like 01:02:03.579 --> 01:02:06.579 a follow a favorite or whatever it is it is on 01:02:06.579 --> 01:02:09.369 that platform just so you don't miss a future 01:02:09.369 --> 01:02:13.610 episode. Sue, myself Nick and Twinkle the tuxedo 01:02:13.610 --> 01:02:16.429 cat. Thank you very much for your company and 01:02:16.429 --> 01:02:18.510 we look forward to welcoming you again next time 01:02:18.510 --> 01:02:21.750 for another Chatterbox Redux podcast. In the 01:02:21.750 --> 01:02:23.989 meantime, take care, we thank you for your company 01:02:23.989 --> 01:02:47.539 and we catch you then. Bye bye. This is Nick 01:02:47.539 --> 01:02:50.739 and Sue with Chatterbox giving you all you need 01:02:50.739 --> 01:02:58.079 to know about musical entertainment. Oh yeah! 01:02:58.380 --> 01:03:02.179 Chatterbox, the best interviews with Nick and 01:03:02.179 --> 01:03:05.539 Sue. Chatterbox, the best news