Nick and Sue. This edition of the Chatterbox
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stars talk, they talk to Nick and Sue. Welcome
back to the Chatterbox Redux podcast and today
our special guest is Junior Giscum. This is Nick
and Sue with Chatterbox giving you all you need
to know about musical entertainment. Oh, yeah!
Chatterbox! The best interviews with Nick and
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UK, we're just lucky enough to welcome Junior
Giskam Jr. Welcome. How are you? I'm very well.
How are you, Nick? I'm good as well. Thank you
so much for coming on Chatterbox UK. We've got
quite a lot to talk about because it's the first
time that you and I have chatted. Now, I can
see when you were born and I can see where you
were born. I see you were born in London, but
the whole point is you were a very early R &B
artist to hit America, so we need to get you
from that year, from London, to, well... OK,
well, I was born in South London. I went to primary
school called Bonneville in Clapham South, and
then from Bonneville I went to a grammar school
called Henry Thornton. During that time, Henry
Thornton, by the time I got to about 14, 15,
it was things that you knew within yourself that
you were good at. And I could play and I could
sing. So I could play football, sorry. And my
school team won a cup. And Eddie McCready, who
was the Chelsea, I think it was left back at
the time, right? He was our manager at the school.
And he said that if we won this cup, Right? We
would get like a training session at Chelsea.
So we all went to Chelsea and I got signed. We
all got signed at Chelsea, which was great. Wow.
But I didn't like the ethos. I didn't like the
ethos though. Yeah. It was like very early, like
15, 14, 15. But I didn't like the ethos of it.
And I wanted to do, I knew from then I wanted
to do something where I could be in control of
it. Now music wise. Was it music at school? Did
you have a band? Was it the musical home? How
did you get that sort of interest in the music?
No, it was really from home. My aunt used to
take me to church when I was a kid and that was
infusing. And then my brothers and sisters, I
was the youngest of eight. Brothers and sisters,
they used to have reggae music in the house.
We'd have soul music in the house. We'd have
tamela in the house. We'd have jazz in the house
because my dad loved jazz. My mom loved gospel.
So it was gospel in the house. And then you had
normal radio, which is pop radio. So I was listening
to loads of different music. So in the house.
there was the upstairs my brothers were friends
with all kinds of different musicians and they
used to come up and they used to play and um
i would say i can't remember the name of the
band but they had a number one with skinhead
moonstump oh yes i've had him on here monty nesmith
monty nesmith that's right cinderip he's already
been on here yeah oh sorry fest well done oh
wow so they they were there they used to rehearse
in the house so um that was another way of kind
of like again infusing me into music I just started
loving music and it was you know just from being
very young and having so much of it around it
was just the thing that I gravitate to so by
the time I got to 18 I put a band together and
they were called Atlantis and the guitarist was
from Modern Romance and the bass player ended
up playing the Shack Attack so these days we've
got together from like college and we started
in little gigs and stuff, and it was fun. We
did that for about two years, two, three years,
and I got fed up because I wanted to move more
into the recording side of things and find out
and learn about that side of stuff. So I got
asked by a friend of mine to write to some backing
tracks that he had, and the first single that
we put out was a track called Get Up and Dance
Hot Up and Heated. It started to do very well
in America, so I went to America. This had been
about 22, 23. While I was in America, I had a
phone call from the A &R man at Polygram, sorry,
at the time. And he said that he had heard the
track and wanted me to come back to England and
record in England. So we got together in New
York, sat down, had a conversation about how
I wanted to do things. And because, sorry, I'd
missed the part, I was on tour with Link the
year before when Link's had, so this is romance
and... of that stuff going on, throw away the
key and you're lying. And that was also a great
starting place for me in terms of going from
being a kid in a band and playing little gigs
to the Lynx thing where you're now playing in
front of three, four, five thousand people a
night. That was incredible. At the same time,
I'd come back to England and started to record
and I recorded a song. My mother used to say
another one called In Words. I wanted In Words
to output the record. who I was working with
at the time, he was adamant that it was going
to be Mummies, to say. So we put Mummer out.
It didn't do anything at all. I did that link
store the following April, sorry, December, going
December, January in the following year, which
would have been 82. The record started to just
blow up on American radio and got a remix done.
There's like that and the original version was
being played in America straight back to backs.
It was like the first record that was getting
like 12 minutes play on American radio back to
back. It was brilliant. That's amazing. When
you went over and you heard it and you heard
the mix from the original into the... um now
remake so it was brilliant at the time and it
was new and um you know that was uh how mama
was stationed to the next station to the next
station and and it was from being played on a
station called wbls at the time which was like
the number one um station in america at that
particular time and um there was a dj on there
called frankie crocker and frankie crocker played
the record and if frankie crocker plays the record
fellows but I had no idea how vast the country
was so you were looking I you know you're my
first time really and being able to move around
right was just incredible everywhere was an hour
by flight. you know, and completely different
in its attitude and everything else. So it was
a real blow -your -mind time, if you like, because
you're entering into this completely new world.
That's an incredible few steps forward, especially
in a pre -internet age. You know, that's pretty
good, one station to another to another. That
is fantastic and also great. So you conquered
America before the UK. So that's brilliant. You
got the hardest one out of the way first. Yeah,
we had put it out in the... Thank you. We put
it out in the UK, but it didn't catch on. So
that's when we decided to do the remix and put
it out in America, and it just blew up. And then
it started happening, came back to England, started
happening, went to France, Germany, and then
it just became that record that got played pretty
much everywhere. Pretty good. And you've got
some very good chart positions, and an incredible
chart position, really, in the Billboard Top
100. Making the Top 30, just like that, first
time you tried America, that's a pretty good
feather in your cap, isn't it? Really? That's
an amazing one. Because get the top 30 in the
USA. That's a lot of copies sold. That's a lot
of copies sold. Well done. You've done well.
Now, if I could ask you, I think I know the answer,
but if I could ask you, the name Junior, nickname
Junior, how did it come about? I've got a feeling
probably from home, but you tell me. No, it is.
It's from home. I was the last one they decided
to have. That was it. Everybody had their nicknames.
Mine was Junior and it just didn't move. It just
works though, doesn't it? It really works. I
wasn't sure if your dad had the same Christian
name as you or not. But Junior, that's brilliant.
Well, it's great. And here we are, all these
years later, talking to you as Junior. Brilliant.
I love it. We've got this amazing start, and
you mentioned the hour flights just to get to
your next TV interview or your next gig or whatever
it might be in the States. But let's start looking
down this incredible list. It's looking nearly
20 hits in the UK, not far short. So let's work
our way down a bit. You had a few smaller releases,
but obviously 82 too late came on the back of
Mama used to say here in the UK. Let's start
working our way down because there's a lot of
stuff here. Tell us about some of those songs
on your journey in the 80s, please. Well, I think
when we was doing the I Can't Help It, which
was still the very young coming into the business,
Let Me Know, again, very young and coming into
the industry and trying to find yourself musically
as well. And then it was like going into the
Inside Looking Out album with Communication Breakdown.
I think I started to see things within our society
that wasn't right come on over. reflected that
another song as well. Then it went into the whole
thing of going into the Red Wedge period of my
career with Paul Weller and Billy Braggs and
doing Soul Deep and going out on tour and putting
out Soul Deep for the miners at that time. And
moving through you get Ruby Turner and then there
was Kim Wilde. We had a couple of hits together
as well. Step was one of them which was a top
ten I think in the UK at the time. So yeah there's
been a few singles along the way that have done
pretty well maybe not as big as Mama used to
say but still kept junioring the fray and people
still enjoy the music. Nick and Sue Supporting
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Don't forget CBUKRDUX. I've got a feeling probably,
as opposed to being radio hits, they're probably
more sort of, well, it's not fair to say turntable
hits, but I think a lot of these Remembrance
songs now, they probably, it was the nightclubs,
the club life that was big in the 80s. Probably
a lot of that sold you records, people hearing
them there and buying them, as opposed to relying
on Radio 1. I won't say buying what I think of
Radio 1 at all, but... I think, to be honest,
I think a lot of the time there were pockets
of scenes going on. And these scenes were, certain
DJs would be playing at these different events
and these different scenes and it would go around.
So you would have a record, let's say for instance,
a loose ends record at the time, right? None
of their records were being played on radio one
or anywhere like that or capital radio at the
time. But because of the turntables and because
of the sound systems, which were very important
to us and personally to me, because that's where
I come from in a sense as well, that whole sound
system and playing at various things, the sound,
the clarity, the needles, all of this stuff that
goes on with sound systems. It was important
that they were playing the record because that
audience was a huge audience that mainstream
didn't know even existed. So you could make records
and if you put it into that arena, they could
become really big. And then you would need the
added push if you wanted to go into the commercial
world with it. You would need the added push
of being with a major record company. So it was
an interesting time because your records, you
could make a record and it'd be huge in terms
of the people. who come from that era, from that
dance hall, from that reggae, from that deep
soul. We still like to hear it at certain parties
and stuff like that. So it's interesting that
you can hit that audience and, you know, begin
to kind of like carve your way in. I also have
been a resident nightclub DJ as well. So it's
a totally different way of playing music. Now,
when I do a music show today, yeah, but I do
announce, as I say, what a record was. I have
my own style when I'm doing music shows as opposed
to presenting one like this. And I understand
totally how that works. And especially in the
80s, you had to be there to appreciate what you've
just said. You mentioned the miners. In the 82,
83 time, there was all the riots in London, you
know, like, for instance, when pieces of great
rock got murdered. It's a whole big thing, wasn't
it? You had to be there to actually appreciate
quite what you're talking about. Appreciate those
10 years. Yeah, that from 80 to 90 to truly grasp
what was going on with Britain after having gone
through what we did in the 70s and then coming
into the 80s and Thatcherism and buy your own
place and the surge in terms of people on a high
towards a particular party because it was saying
all the right things and some socialists were
being pushed to one side. Society wasn't seeing
what the that the cracks were what was the next
thing. They weren't as informed, if you like,
back then. So it was a very interesting timing
in being able to reflect that time to now and
the difference that has taken place from me going
to a college to learn about computer programming
to my kids being able to, my grandchildren being
able to point me in the direction of going. Do
you get what I'm saying? They're young and they're
so on tech. and when I was starting it was just
no absolutely I mean I can remember myself in
the 80s and the time it was excessive greed I'm
glad to say I was never a yuppie but I earned
a minimum wage where we're going by we're 35
or more years ago I was earning a minimum wage
of 500 pounds a week plus commission commission
went oh right i'd like to run that now you know
what i mean that's what it was like and i was
at the lower end of the scale i really was wow
it was it was incredible it was yeah it was it
was a really incredible time when you sit back
and you think about you know and to be able to
have made something that came was born out of
that period of of our life and for it to still
be able and that music still be able to transmit
um is you know is a wow for me because it's,
you know, you're not talking about 20 years,
it's talking 40 years and people still play it
and still get the same feeling, can remember
where they were, the whole thing, the whole package,
it's brilliant. I do also think, and you're certainly
one of them, I do think that the commercial hits
that you had, you know, Mama used to say, and
as we're getting through the decade, another
step closer to you really, she did with Ken Wild
and so on and so forth. I do think they're also
memorable to an extent, or not memorable, listenable
to younger audiences. I'll tell you now, Momma
used to say, hasn't finished with the charts
yet, it's gonna be in another few times, and
whether it goes on an advert or whether it just
gets generated by DJs like myself, it's not finished
with, I can assure you, you know that as well.
Yeah, as I said, it's one of those where you
know it's such an uplifting kind of song, and
everybody's gonna be singing along, everybody
wants to do the growl, everybody, you know? I
see also, I'm looking at 1988 here for you, I
see Highlife now with... Is that the cover of
the Modern Romance? Oh, something totally different.
I don't remember. No, Highlife, right. Well,
Highlife was a track I did with... Oh, who is
this? Oh, God, it was a producer in L .A. that
I did. He had done a few bands in England at
the time, but he came out of jazz, and that was
where my interest was from, how he could have
done jazz and then do all this pop music, you
know, and be able to devoid himself from that
to do this. So I wanted to work with him. him.
His name was Stuart Levine and I worked with
Stuart and it was an education. It really was
in terms of how to put together a pop record
which we did, you know, and at the time it was
SSL desk so it was a different kind of sound
and we then transmitted the SSL and went to a
warmer desk which was Neve which is the kind
of sound I like and mixed the two and we came
out with something that I think was very fresh.
It was just before um I think the whole scriti
-politi kind of sound started to kick in which
worked with another producer I worked with called
Arif Mardin and um Arif and I had uh done somebody
and we wanted to do it as a duet with Chaka Khan
but Chaka wasn't able to do it so he flew in
to England and we started working on the track
and uh we used at the time an instrument called
a Fairlight was being introduced into the industry
as a new sound a new kind of thing to work So
we got in. two people to come and work the actual
machine and started using the Fairlight and stuff.
And we put out somebody, and then a reef went
off and worked with Scritti Politti and they
had the same kind of sound and stuff. So that
was really cool to know that what we had built,
he had been able to take and work with another
band and make successful as well. So that was
interesting. What about this early 90s stuff,
please, Julius? Step off, morning will come,
then you came all over the world. Just tell us
about that, because it does look like a big change
in direction, of course, from 92 almost. mentioned
it is a different sort of a totally different
Disney in music ears UK is is that why you changed
a bit yeah I think what it was was um I had I
had seen that most what was coming if you like
which was swing beat and um I didn't want to
be a part of what I could see coming which was
that every band you know black white Indian Chinese
would have a swing beat kind of I had gone behind
it because it now became a current kind of thing
to do was my way of bridging the R &B in me and
the soul in me together through, you know, the
way the drum pattern worked with the Caribbean
kind of bass line that's, you know, repetitive
that keeps the whole thing swinging and grooving
and the melody being a flowing melody opposed
to a scatty and more melody that I would do.
So it was like, it wasn't, it wasn't some, if
people would say it would be like an experiment,
but it wasn't because we actually knew what we
were trying to get at the end with Morning Will
Come. And it would become one of those songs
for me that if I don't do it live, then people
don't think that I've done the show. It's become
that kind of song. I think when we moved to MCA,
MCA's ethos in terms of what they were asked
was a more poppier side of Junior. So we went
in and worked with Ian Levine and was doing Take
That, had done Take That at the time. and was
very hot in terms of being able to make poppy
r &b records right moving more towards the say
the northern soul side of things right and also
the motowny side of things so ian had a good
ear for all of that really good ear for all of
that so we worked together and we did um then
came you which was a song that i'd always loved
Yeah, a great song that I'd always loved from
Dionne Warwick and the Spinners. That's where
I first heard it. And I thought it'd be great
to do it as a soloist, opposed to having somebody
do it like they do. So we were hitting the right
places with it in terms of being on time with
the style and the sound, right? But it wasn't,
I think it was, for me, it was like a nice experiment
for me in terms of understanding truly how to
make pop rap. I think working with all of these
great producers, you get the chance to stop,
if you know what I'm saying, and sit back and
see what it is about them that makes them that
person in terms of their work, being able to
hear it and know that that's ready, don't overdo
it, that's it, and knowing when to stop and when
to start. And because each had their own, what
would you call it? I would say their own base
in music, what they truly loved about music and
in music. It was great to be able to learn from
all of them, so that when I got to the place
of, in the late 80s, of working with a young
man called Paul Johnson and writing a song called
When Love Comes Calling, which was a hit for
him. But it was understanding the individual
made it easy to make the record. Sometimes you
can go in with somebody and you don't really
know them and your energies aren't the same.
So it can be tense while you're doing it. Whereas
with these guys, it was more for me, it was more
about learning than anything else. When to stop,
why are you not able to do that? Why you look
at the whole picture in your song opposed to
just you. And I wanted to learn that from the
very beginning. So going along in my career,
being able to get into the early 90s and understand
that the only one thing I didn't really understand
was how to make a direct pop radio one record.
I needed to put in there for the producers of
those shows and say, yeah, that's the one we
can play that. And Ian showed me that number.
I will always be grateful to him and all of them.
Sure. Nick and Sue, if you're looking for the
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good, do some good to the planet and show your
true colours. It was a strange era, though, musically,
the early 90s. I saw club DJing up until 95,
I believe, and of course we were looking. I mean,
I'm glad you experimented a bit. It sounds very
exciting, but it's very much an era of in the
clubs and also Radio 1. You needed to sound a
bit like 2 Unlimited, unfortunately. I mean,
any of us could have gone do, do, do on a keyboard.
Sadly, we didn't. You know what I mean? We didn't,
did we? We could have all done it. Don't take
away from me, that's terrible. I'm sorry, Ray,
if you're listening and Anita, that's them cancelling.
That's that done, mate. Junior, after I lied
to you, you had a big gap in releases, but were
you still actively touring and doing new material
in that era between 95 and 2011? Were you sort
of like, what were you doing? We put out, because
I put out the Honesty album. And then afterwards,
yeah. So what I did was I decided that I wasn't
going to be in a record company anymore. I'm
going to open my own label, which is what I did.
And first album was to put out the Honesty album.
And then the second album, I wanted to do a trilogy,
but to be honest, it was about timing and people
to use and time was going on. And there were
things that were happening in my personal life.
My daughter had MS and it gained down to a decision
really during that period of time of whether
to continuing the way I was continuing or whether
to be at home and I chose to be more at home,
still writing a lot but needing to be where I
needed to be during that period of time. So I
released another album called Prisoner of Hope
during that period of time which we did well
with in Japan. I again came back and was working
with different artists. JBZ, who are a band whose
their album's coming out now, came out. We did
some work about, oh, a good few years ago, about
eight years ago. And all of a sudden, it's like
the sound and everything has become fashionable.
So that's coming out later in the year. You know,
I did this year. Last year, a band called AP
Connection, who are a French band, were doing
what they call New Disco, which was interesting
too. So, you know, it's been a journey of Beverly
Hill Cup, you know, doing that towards the, in
the 80s as well, being a part of that whole success,
selling over 150 million albums with that. You
know, you just kind of, it's not bad, not bad,
not bad. But we, that time was different. that
nineties time was very different because as you
say it was about the clubs and it was about the
turntables and it wasn't it was if you weren't
playing swing beat you weren't playing a record
and that got weird to me it just got a bit weird
in the nineties and it was great when um a soul
to soul came along and broke it up sure no no
no okay now um we got a bit of a gap i think
we're talking about 2011 for prison of hope both
as an album and a self -titled sort of single
of the same There's Prisoner of Hope. Prisoner
of Hope. Yeah, Prisoner of Hope was the single
as well from that album. That's right. We've
got a bit of a gap, but obviously we've had lockdown
in the last, well, since, well, over a year now.
Over a year now. In that time, did you, up to
the lockdown and where we are now, did you continue
writing and be creative? And I don't think you're
sort of going to put music down. I don't think
you can anyway. No, I kind of... honest I think
we had my wife and I had gone away to Jamaica
just before the lockdown and we came back just
at the beginning of lockdown and it was a very
strange period you know coming straight back
into lockdown everybody observing all the rules
and nobody moving nobody doing this and nobody
it was a strange time because then you would
look and see as you did at the time you were
into your phone into your laptop into your whatever
technology there was to one get information and
to want to get completely away from where you
were and the artists that you saw, everybody
was trying to continue to keep relevant through
doing bits up there and stuff. And it was, to
be honest, it was a time for me to sit down and
not be a part of the panic that was ensuing,
I think, last year at the very beginning, rightly
so, because we didn't know maybe as much as we
know now, or maybe nothing that we know now.
But it was, for me, a time of being able to enjoy
nature, to be honest, right? Reflect, and not
reflect in terms of self, but reflect in terms
of world and where the journey has been, started
from, to where it's come to, and how you were
going to go into 2022, 2023, in what way? You
know, we were coming up to, it's the 40th anniversary
of Mommy Used to Say Next Year. And, you know,
I'm now on tour with Rolls -Royce. We're doing
something like... 23 day. So that would be fantastic.
And in between being able to do these different
projects coming out or out, that would be great.
So it was looking more at and having the time
to look at how did you want to move forward,
the style of music you want to play, the whole
thing. It just gave you time to think about your
career. So no, I didn't stop writing. I just
can't. I couldn't do it. But you know, your writing
was reflecting where you were and what was going
on. And, you know, I think the new album, when
it comes, which will most likely be 2024, will
be started this year, late this year. I think
we'll be pretty much back to where Junior was
with a mixture of the old, in terms of the mummies
to say, style, but more so going in a more, I
think, morning will come, kind of like. It seems
time, it's that kind of time. That's really cool,
and that's the future, and I think that Junior
and a Rolls Royce gig. Concert sounds amazing.
Sounds brilliant. I'll tell you what, you'll
be coming back on then, just to tell us about
that. That sounds like an amazing concert. All
23, they'll go beyond that, won't they? They'll
get more and more dates added. That sounds amazing.
It just does. Thank you very much. I'm hearing
it now. I really am. Brilliant. So that's the
future. Very exciting. But let's talk about the
present. Now, we will take that, because this
is how I love interviews to finish. You know,
full of like, positivenesses. Brilliant. So we've
got the future, so we'll do the present. Now
we've got this new series. called Step Off. Tell
us about that please. Well, we had done, after
all of these years of doing all of these tracks,
they've been, you know, a lot of them are big
in different countries and stuff. So my daughter,
before she passed, she always was on me about
the fact of, do a reggae album, dad, you come
from that, you never do it. We're always in Jamaica,
you never go and see anybody. And I'm like, you
know, that's all because of the fact that I want
to spend that time with you. So she kept on and
on. And we went to Jamaica, last time altogether
and I thought, you know what, right? It could
be fun to do this. It could actually be really
cool. So I got together with an artist called
Luciano and we did a duet of Mama Used to Say
and it sounded fantastic and it worked. And I
then picked up the phone and started speaking
to various different artists like Stephen Marley,
who's also a version of Mama Used to Say, Tabby
Diamond from The Mighty Diamonds, Carol Thompson,
Janet Kang. Pinky Famous, Paulette Tagia, the
list just went on and it was brilliant. It was
like everybody fully understood what it was,
was just taking songs that I had done and had
success with them and doing them in a reggae
style for that audience. I wanted to ensure that
it had enough mixture like Step Off does of today
and also yesterday that we could come into the
marketplace in terms of making a record for people
that they they would enjoy it. And that's really
what I was after with this project. Yeah, brilliant.
I see your step -off features, Paulette, Teja
and Pinky Famous. Am I saying that right? That's
correct. That's correct. Paulette, Teja. Brilliant.
Now, is the step -off already out or is it on
its way? It's already out, yeah? Yeah, it's already
out. You can get it at the website, juniordiscon
.co .uk. What I did was, again, was instead of
putting it out on every platform that there was,
It's like, right, just come to the website. You
can get it from the website. And once we grow,
we'll put it further out. But it's for the fans.
It's for those people who've always followed
me. Sure. And we're just about to hear the new
single, Step Off, and it can be gotten from Junior's
website, which is juniorkiscum .co .uk. That's
the one. But you're not going anywhere yet, because
I want to talk about this album as well. Let's
talk about this album, shall we? Is this the
new album you'll talk about in the future, or
is this... This sounds like it's available now.
Was that right? Yes, it is. It is. It is available
now. It's called Everything Set. There's songs
on there. Duets with, as I said, with Janet Kay.
Me and Janet do Morning Will Come. Tabby Diamond
and I do Too Late. As I said, with Steve and
Miley, we do Mummy Used to Say together. there's
a rapper called Valiable, he and I do communication
breakdown on there. So it was just a collab of
just artists that I've always loved and some
that I've never met, like I've never met Steven
Marley and I've never met Luciano, but I knew
Carol Thompson and I knew Janet Kaye and Paul
Letage from England. And Vicky Famous was a dancehall
rapper, really, dancehall queen that I'd gone
out one night and seen and went back, took her
back to the studio and said, right, listen, you
know, do your thing on this for me. It was one
of them. And it was brilliant. It was just the
whole experience of the recording of it. Some
of it was done in Miami, some was done in Jamaica,
some was done in England. And it was just picking
up those vibes from these different places and
plucking them right into what you were doing.
So it's very summery, it's very up, it's very,
it's just warm. I think it hopefully warm people's
hearts during the summertime. Sure. And I see
Tabby Diamond, lead singer of The Mighty Diamonds.
recorded the very original version of musical
use past the Dutchie. So that's worth a little
mention as well, isn't it, really? Definitely,
definitely. You know, Tabby is a legend. He really
is. And Mighty Diamonds is just a legendary band,
you know, who were around from the time of Bob
Marley. And, you know, it was that energy, that
vibe that Tabby brings to things. So it was fantastic
to work. Fantastic. No, absolutely. Now, the
new album also. Did you say it was called Everything
Set As Well? That's correct. Perfect. And this
is available from your website only again. So,
okay. Junyaviscom .co .uk. Cool. Brilliant. Thank
you. And you're going to get to say that again
in a minute as well. Junior, it's been absolutely
fantastic. I knew that there was a lot to Junior
Giscombe, that's why you got your name on that
list, because I thought, I've got to try and
get him. Just a few sort of silly throwaway questions
before we mention your website at the end. Do
you still get recognized by the people who would
have been my mum, I used to say, like 40 years
ago? Yes. You can't even get to Tesco's without
people stopping you still. It ain't that bad
now, come on. I was just trying to find out.
Yeah, right. It ain't that bad. You haven't tried
Tesco's down where I am on the day we go. Oh
dear, that's brilliant. I've enjoyed every moment
of Virginia, and are you on social media, Facebook?
Yeah, you can get me on all of them from Instagram,
at Junior Giscam, Facebook, just Junior Giscam,
new Junior Giscam fan page. Yeah, that's it really,
just Instagram, Facebook, Twitter. where I was,
Twitter, WhatsApp. I'm there. I'm just, I'm a
tech junkie. So I'm everywhere. So as you're
a tech junkie, there is every reason for me to
believe that people do go to juniagiskam .co
.uk. They will get links to all the social media
from there anyway, yeah? Definitely. That's brilliant.
Brilliant stuff. Well, Junior, it's been absolutely
fantastic. And as I said, I've enjoyed every
moment of it. And yeah, thank you very much for
coming. on to Chatterbox UK and I'll get you
just to say that website one more time. You've
been listening to the Chatterbox Redux podcast
and today our special guest was Junior Giskam.
If you're interested in becoming a future guest
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Sue, myself Nick and Twinkle the tuxedo cat,
thank you very much for your company and we look
forward to welcoming you again next time for
another Chatterbox Redux podcast. In the meantime,
take care, we thank you for your company and
we catch you then. Bye bye. This is... Nick and
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