WEBVTT

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Nick and Sue. This edition of the Chatterbox

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Redux podcast is brought to you in association

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with the Old Glory iconic music and sports superstore.

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More from them in a bit. Chatterbox. When the

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stars talk, they talk to Nick and Sue. Welcome

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back to the Chatterbox Redux podcast and today

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our special guest is Junior Giscum. This is Nick

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and Sue with Chatterbox giving you all you need

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to know about musical entertainment. Oh, yeah!

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Chatterbox! The best interviews with Nick and

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Sue. Chatterbox! The best news and reviews for

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you on Chatterbox! Yes, it's number one! It's

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top of the box! AAAAAA - And now on Chatterbox

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UK, we're just lucky enough to welcome Junior

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Giskam Jr. Welcome. How are you? I'm very well.

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How are you, Nick? I'm good as well. Thank you

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so much for coming on Chatterbox UK. We've got

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quite a lot to talk about because it's the first

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time that you and I have chatted. Now, I can

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see when you were born and I can see where you

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were born. I see you were born in London, but

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the whole point is you were a very early R &B

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artist to hit America, so we need to get you

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from that year, from London, to, well... OK,

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well, I was born in South London. I went to primary

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school called Bonneville in Clapham South, and

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then from Bonneville I went to a grammar school

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called Henry Thornton. During that time, Henry

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Thornton, by the time I got to about 14, 15,

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it was things that you knew within yourself that

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you were good at. And I could play and I could

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sing. So I could play football, sorry. And my

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school team won a cup. And Eddie McCready, who

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was the Chelsea, I think it was left back at

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the time, right? He was our manager at the school.

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And he said that if we won this cup, Right? We

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would get like a training session at Chelsea.

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So we all went to Chelsea and I got signed. We

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all got signed at Chelsea, which was great. Wow.

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But I didn't like the ethos. I didn't like the

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ethos though. Yeah. It was like very early, like

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15, 14, 15. But I didn't like the ethos of it.

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And I wanted to do, I knew from then I wanted

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to do something where I could be in control of

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it. Now music wise. Was it music at school? Did

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you have a band? Was it the musical home? How

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did you get that sort of interest in the music?

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No, it was really from home. My aunt used to

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take me to church when I was a kid and that was

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infusing. And then my brothers and sisters, I

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was the youngest of eight. Brothers and sisters,

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they used to have reggae music in the house.

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We'd have soul music in the house. We'd have

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tamela in the house. We'd have jazz in the house

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because my dad loved jazz. My mom loved gospel.

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So it was gospel in the house. And then you had

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normal radio, which is pop radio. So I was listening

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to loads of different music. So in the house.

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there was the upstairs my brothers were friends

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with all kinds of different musicians and they

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used to come up and they used to play and um

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i would say i can't remember the name of the

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band but they had a number one with skinhead

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moonstump oh yes i've had him on here monty nesmith

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monty nesmith that's right cinderip he's already

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been on here yeah oh sorry fest well done oh

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wow so they they were there they used to rehearse

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in the house so um that was another way of kind

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of like again infusing me into music I just started

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loving music and it was you know just from being

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very young and having so much of it around it

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was just the thing that I gravitate to so by

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the time I got to 18 I put a band together and

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they were called Atlantis and the guitarist was

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from Modern Romance and the bass player ended

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up playing the Shack Attack so these days we've

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got together from like college and we started

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in little gigs and stuff, and it was fun. We

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did that for about two years, two, three years,

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and I got fed up because I wanted to move more

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into the recording side of things and find out

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and learn about that side of stuff. So I got

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asked by a friend of mine to write to some backing

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tracks that he had, and the first single that

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we put out was a track called Get Up and Dance

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Hot Up and Heated. It started to do very well

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in America, so I went to America. This had been

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about 22, 23. While I was in America, I had a

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phone call from the A &R man at Polygram, sorry,

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at the time. And he said that he had heard the

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track and wanted me to come back to England and

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record in England. So we got together in New

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York, sat down, had a conversation about how

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I wanted to do things. And because, sorry, I'd

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missed the part, I was on tour with Link the

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year before when Link's had, so this is romance

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and... of that stuff going on, throw away the

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key and you're lying. And that was also a great

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starting place for me in terms of going from

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being a kid in a band and playing little gigs

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to the Lynx thing where you're now playing in

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front of three, four, five thousand people a

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night. That was incredible. At the same time,

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I'd come back to England and started to record

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and I recorded a song. My mother used to say

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another one called In Words. I wanted In Words

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to output the record. who I was working with

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at the time, he was adamant that it was going

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to be Mummies, to say. So we put Mummer out.

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It didn't do anything at all. I did that link

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store the following April, sorry, December, going

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December, January in the following year, which

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would have been 82. The record started to just

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blow up on American radio and got a remix done.

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There's like that and the original version was

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being played in America straight back to backs.

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It was like the first record that was getting

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like 12 minutes play on American radio back to

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back. It was brilliant. That's amazing. When

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you went over and you heard it and you heard

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the mix from the original into the... um now

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remake so it was brilliant at the time and it

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was new and um you know that was uh how mama

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was stationed to the next station to the next

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station and and it was from being played on a

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station called wbls at the time which was like

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the number one um station in america at that

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particular time and um there was a dj on there

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called frankie crocker and frankie crocker played

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the record and if frankie crocker plays the record

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fellows but I had no idea how vast the country

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was so you were looking I you know you're my

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first time really and being able to move around

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right was just incredible everywhere was an hour

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by flight. you know, and completely different

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in its attitude and everything else. So it was

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a real blow -your -mind time, if you like, because

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you're entering into this completely new world.

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That's an incredible few steps forward, especially

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in a pre -internet age. You know, that's pretty

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good, one station to another to another. That

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is fantastic and also great. So you conquered

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America before the UK. So that's brilliant. You

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got the hardest one out of the way first. Yeah,

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we had put it out in the... Thank you. We put

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it out in the UK, but it didn't catch on. So

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that's when we decided to do the remix and put

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it out in America, and it just blew up. And then

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it started happening, came back to England, started

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happening, went to France, Germany, and then

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it just became that record that got played pretty

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much everywhere. Pretty good. And you've got

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some very good chart positions, and an incredible

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chart position, really, in the Billboard Top

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100. Making the Top 30, just like that, first

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time you tried America, that's a pretty good

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feather in your cap, isn't it? Really? That's

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an amazing one. Because get the top 30 in the

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USA. That's a lot of copies sold. That's a lot

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of copies sold. Well done. You've done well.

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Now, if I could ask you, I think I know the answer,

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but if I could ask you, the name Junior, nickname

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Junior, how did it come about? I've got a feeling

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probably from home, but you tell me. No, it is.

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It's from home. I was the last one they decided

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to have. That was it. Everybody had their nicknames.

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Mine was Junior and it just didn't move. It just

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works though, doesn't it? It really works. I

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wasn't sure if your dad had the same Christian

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name as you or not. But Junior, that's brilliant.

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Well, it's great. And here we are, all these

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years later, talking to you as Junior. Brilliant.

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I love it. We've got this amazing start, and

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you mentioned the hour flights just to get to

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your next TV interview or your next gig or whatever

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it might be in the States. But let's start looking

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down this incredible list. It's looking nearly

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20 hits in the UK, not far short. So let's work

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our way down a bit. You had a few smaller releases,

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but obviously 82 too late came on the back of

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Mama used to say here in the UK. Let's start

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working our way down because there's a lot of

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stuff here. Tell us about some of those songs

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on your journey in the 80s, please. Well, I think

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when we was doing the I Can't Help It, which

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was still the very young coming into the business,

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Let Me Know, again, very young and coming into

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the industry and trying to find yourself musically

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as well. And then it was like going into the

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Inside Looking Out album with Communication Breakdown.

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I think I started to see things within our society

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that wasn't right come on over. reflected that

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another song as well. Then it went into the whole

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thing of going into the Red Wedge period of my

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career with Paul Weller and Billy Braggs and

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doing Soul Deep and going out on tour and putting

00:11:38.399 --> 00:11:43.059
out Soul Deep for the miners at that time. And

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moving through you get Ruby Turner and then there

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was Kim Wilde. We had a couple of hits together

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as well. Step was one of them which was a top

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ten I think in the UK at the time. So yeah there's

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been a few singles along the way that have done

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pretty well maybe not as big as Mama used to

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say but still kept junioring the fray and people

00:12:07.460 --> 00:12:11.919
still enjoy the music. Nick and Sue Supporting

00:12:11.919 --> 00:12:13.720
the show means supporting the brands that keep

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the lights on and today I'm thrilled to talk

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about a personal favourite of mine, Old Glory.

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Don't forget CBUKRDUX. I've got a feeling probably,

00:13:45.960 --> 00:13:47.740
as opposed to being radio hits, they're probably

00:13:47.740 --> 00:13:50.980
more sort of, well, it's not fair to say turntable

00:13:50.980 --> 00:13:53.059
hits, but I think a lot of these Remembrance

00:13:53.059 --> 00:13:56.600
songs now, they probably, it was the nightclubs,

00:13:56.679 --> 00:13:58.779
the club life that was big in the 80s. Probably

00:13:58.779 --> 00:14:00.500
a lot of that sold you records, people hearing

00:14:00.500 --> 00:14:03.159
them there and buying them, as opposed to relying

00:14:03.159 --> 00:14:06.480
on Radio 1. I won't say buying what I think of

00:14:06.480 --> 00:14:10.850
Radio 1 at all, but... I think, to be honest,

00:14:11.029 --> 00:14:13.309
I think a lot of the time there were pockets

00:14:13.309 --> 00:14:16.919
of scenes going on. And these scenes were, certain

00:14:16.919 --> 00:14:19.399
DJs would be playing at these different events

00:14:19.399 --> 00:14:21.620
and these different scenes and it would go around.

00:14:21.700 --> 00:14:24.340
So you would have a record, let's say for instance,

00:14:25.139 --> 00:14:28.779
a loose ends record at the time, right? None

00:14:28.779 --> 00:14:31.179
of their records were being played on radio one

00:14:31.179 --> 00:14:33.679
or anywhere like that or capital radio at the

00:14:33.679 --> 00:14:35.639
time. But because of the turntables and because

00:14:35.639 --> 00:14:37.759
of the sound systems, which were very important

00:14:37.759 --> 00:14:41.220
to us and personally to me, because that's where

00:14:41.220 --> 00:14:43.940
I come from in a sense as well, that whole sound

00:14:43.919 --> 00:14:47.019
system and playing at various things, the sound,

00:14:47.019 --> 00:14:50.600
the clarity, the needles, all of this stuff that

00:14:50.600 --> 00:14:53.279
goes on with sound systems. It was important

00:14:53.279 --> 00:14:55.399
that they were playing the record because that

00:14:55.399 --> 00:14:58.600
audience was a huge audience that mainstream

00:14:58.600 --> 00:15:02.039
didn't know even existed. So you could make records

00:15:02.039 --> 00:15:04.559
and if you put it into that arena, they could

00:15:04.559 --> 00:15:07.080
become really big. And then you would need the

00:15:07.080 --> 00:15:09.879
added push if you wanted to go into the commercial

00:15:09.879 --> 00:15:11.659
world with it. You would need the added push

00:15:11.659 --> 00:15:14.720
of being with a major record company. So it was

00:15:14.720 --> 00:15:17.259
an interesting time because your records, you

00:15:17.259 --> 00:15:20.000
could make a record and it'd be huge in terms

00:15:20.000 --> 00:15:24.320
of the people. who come from that era, from that

00:15:24.320 --> 00:15:27.860
dance hall, from that reggae, from that deep

00:15:27.860 --> 00:15:30.759
soul. We still like to hear it at certain parties

00:15:30.759 --> 00:15:33.360
and stuff like that. So it's interesting that

00:15:33.360 --> 00:15:36.299
you can hit that audience and, you know, begin

00:15:36.299 --> 00:15:39.639
to kind of like carve your way in. I also have

00:15:39.639 --> 00:15:43.340
been a resident nightclub DJ as well. So it's

00:15:43.340 --> 00:15:46.120
a totally different way of playing music. Now,

00:15:46.259 --> 00:15:49.460
when I do a music show today, yeah, but I do

00:15:49.460 --> 00:15:51.720
announce, as I say, what a record was. I have

00:15:51.720 --> 00:15:54.559
my own style when I'm doing music shows as opposed

00:15:54.559 --> 00:15:58.440
to presenting one like this. And I understand

00:15:58.440 --> 00:16:01.440
totally how that works. And especially in the

00:16:01.440 --> 00:16:04.139
80s, you had to be there to appreciate what you've

00:16:04.139 --> 00:16:07.100
just said. You mentioned the miners. In the 82,

00:16:07.299 --> 00:16:09.460
83 time, there was all the riots in London, you

00:16:09.460 --> 00:16:11.379
know, like, for instance, when pieces of great

00:16:11.379 --> 00:16:14.100
rock got murdered. It's a whole big thing, wasn't

00:16:14.100 --> 00:16:16.639
it? You had to be there to actually appreciate

00:16:16.639 --> 00:16:19.240
quite what you're talking about. Appreciate those

00:16:19.240 --> 00:16:25.139
10 years. Yeah, that from 80 to 90 to truly grasp

00:16:25.139 --> 00:16:29.679
what was going on with Britain after having gone

00:16:29.679 --> 00:16:31.879
through what we did in the 70s and then coming

00:16:31.879 --> 00:16:35.840
into the 80s and Thatcherism and buy your own

00:16:35.840 --> 00:16:39.740
place and the surge in terms of people on a high

00:16:39.740 --> 00:16:42.440
towards a particular party because it was saying

00:16:42.440 --> 00:16:45.159
all the right things and some socialists were

00:16:45.159 --> 00:16:48.500
being pushed to one side. Society wasn't seeing

00:16:48.500 --> 00:16:51.409
what the that the cracks were what was the next

00:16:51.409 --> 00:16:53.809
thing. They weren't as informed, if you like,

00:16:53.889 --> 00:16:56.929
back then. So it was a very interesting timing

00:16:56.929 --> 00:17:00.049
in being able to reflect that time to now and

00:17:00.049 --> 00:17:03.789
the difference that has taken place from me going

00:17:03.789 --> 00:17:07.289
to a college to learn about computer programming

00:17:07.289 --> 00:17:11.589
to my kids being able to, my grandchildren being

00:17:11.589 --> 00:17:15.130
able to point me in the direction of going. Do

00:17:15.130 --> 00:17:18.029
you get what I'm saying? They're young and they're

00:17:18.029 --> 00:17:21.720
so on tech. and when I was starting it was just

00:17:21.720 --> 00:17:24.759
no absolutely I mean I can remember myself in

00:17:24.759 --> 00:17:27.599
the 80s and the time it was excessive greed I'm

00:17:27.599 --> 00:17:30.759
glad to say I was never a yuppie but I earned

00:17:30.759 --> 00:17:33.420
a minimum wage where we're going by we're 35

00:17:33.420 --> 00:17:35.559
or more years ago I was earning a minimum wage

00:17:35.559 --> 00:17:38.730
of 500 pounds a week plus commission commission

00:17:38.730 --> 00:17:42.630
went oh right i'd like to run that now you know

00:17:42.630 --> 00:17:44.549
what i mean that's what it was like and i was

00:17:44.549 --> 00:17:47.210
at the lower end of the scale i really was wow

00:17:47.210 --> 00:17:50.930
it was it was incredible it was yeah it was it

00:17:50.930 --> 00:17:53.369
was a really incredible time when you sit back

00:17:53.369 --> 00:17:56.410
and you think about you know and to be able to

00:17:56.410 --> 00:17:59.430
have made something that came was born out of

00:17:59.430 --> 00:18:03.069
that period of of our life and for it to still

00:18:03.069 --> 00:18:06.049
be able and that music still be able to transmit

00:18:06.049 --> 00:18:09.549
um is you know is a wow for me because it's,

00:18:09.549 --> 00:18:11.089
you know, you're not talking about 20 years,

00:18:11.170 --> 00:18:13.329
it's talking 40 years and people still play it

00:18:13.329 --> 00:18:15.490
and still get the same feeling, can remember

00:18:15.490 --> 00:18:17.750
where they were, the whole thing, the whole package,

00:18:17.950 --> 00:18:20.150
it's brilliant. I do also think, and you're certainly

00:18:20.150 --> 00:18:23.410
one of them, I do think that the commercial hits

00:18:23.410 --> 00:18:25.750
that you had, you know, Mama used to say, and

00:18:25.750 --> 00:18:27.450
as we're getting through the decade, another

00:18:27.450 --> 00:18:29.509
step closer to you really, she did with Ken Wild

00:18:29.509 --> 00:18:32.150
and so on and so forth. I do think they're also

00:18:32.150 --> 00:18:35.509
memorable to an extent, or not memorable, listenable

00:18:35.509 --> 00:18:38.680
to younger audiences. I'll tell you now, Momma

00:18:38.680 --> 00:18:40.819
used to say, hasn't finished with the charts

00:18:40.819 --> 00:18:43.200
yet, it's gonna be in another few times, and

00:18:43.200 --> 00:18:45.640
whether it goes on an advert or whether it just

00:18:45.640 --> 00:18:49.259
gets generated by DJs like myself, it's not finished

00:18:49.259 --> 00:18:50.839
with, I can assure you, you know that as well.

00:18:51.059 --> 00:18:54.700
Yeah, as I said, it's one of those where you

00:18:54.700 --> 00:18:57.859
know it's such an uplifting kind of song, and

00:18:57.859 --> 00:18:59.640
everybody's gonna be singing along, everybody

00:18:59.640 --> 00:19:02.440
wants to do the growl, everybody, you know? I

00:19:02.440 --> 00:19:05.279
see also, I'm looking at 1988 here for you, I

00:19:05.279 --> 00:19:07.680
see Highlife now with... Is that the cover of

00:19:07.680 --> 00:19:10.039
the Modern Romance? Oh, something totally different.

00:19:10.240 --> 00:19:12.000
I don't remember. No, Highlife, right. Well,

00:19:12.000 --> 00:19:15.339
Highlife was a track I did with... Oh, who is

00:19:15.339 --> 00:19:18.880
this? Oh, God, it was a producer in L .A. that

00:19:18.880 --> 00:19:22.599
I did. He had done a few bands in England at

00:19:22.599 --> 00:19:25.019
the time, but he came out of jazz, and that was

00:19:25.019 --> 00:19:28.240
where my interest was from, how he could have

00:19:28.240 --> 00:19:31.880
done jazz and then do all this pop music, you

00:19:31.880 --> 00:19:34.400
know, and be able to devoid himself from that

00:19:34.400 --> 00:19:36.200
to do this. So I wanted to work with him. him.

00:19:36.359 --> 00:19:39.099
His name was Stuart Levine and I worked with

00:19:39.099 --> 00:19:42.480
Stuart and it was an education. It really was

00:19:42.480 --> 00:19:46.339
in terms of how to put together a pop record

00:19:46.339 --> 00:19:49.359
which we did, you know, and at the time it was

00:19:49.359 --> 00:19:52.119
SSL desk so it was a different kind of sound

00:19:52.119 --> 00:19:55.940
and we then transmitted the SSL and went to a

00:19:55.940 --> 00:19:57.880
warmer desk which was Neve which is the kind

00:19:57.880 --> 00:20:01.880
of sound I like and mixed the two and we came

00:20:01.880 --> 00:20:03.839
out with something that I think was very fresh.

00:20:03.900 --> 00:20:07.589
It was just before um I think the whole scriti

00:20:07.589 --> 00:20:10.289
-politi kind of sound started to kick in which

00:20:10.289 --> 00:20:12.890
worked with another producer I worked with called

00:20:12.890 --> 00:20:17.769
Arif Mardin and um Arif and I had uh done somebody

00:20:17.769 --> 00:20:20.490
and we wanted to do it as a duet with Chaka Khan

00:20:20.490 --> 00:20:23.569
but Chaka wasn't able to do it so he flew in

00:20:23.569 --> 00:20:25.869
to England and we started working on the track

00:20:25.869 --> 00:20:29.150
and uh we used at the time an instrument called

00:20:29.150 --> 00:20:31.730
a Fairlight was being introduced into the industry

00:20:31.730 --> 00:20:34.829
as a new sound a new kind of thing to work So

00:20:34.829 --> 00:20:38.779
we got in. two people to come and work the actual

00:20:38.779 --> 00:20:40.920
machine and started using the Fairlight and stuff.

00:20:41.099 --> 00:20:43.380
And we put out somebody, and then a reef went

00:20:43.380 --> 00:20:45.720
off and worked with Scritti Politti and they

00:20:45.720 --> 00:20:47.799
had the same kind of sound and stuff. So that

00:20:47.799 --> 00:20:50.480
was really cool to know that what we had built,

00:20:50.579 --> 00:20:52.279
he had been able to take and work with another

00:20:52.279 --> 00:20:54.799
band and make successful as well. So that was

00:20:54.799 --> 00:20:57.180
interesting. What about this early 90s stuff,

00:20:57.339 --> 00:21:00.140
please, Julius? Step off, morning will come,

00:21:00.339 --> 00:21:02.440
then you came all over the world. Just tell us

00:21:02.440 --> 00:21:04.259
about that, because it does look like a big change

00:21:04.259 --> 00:21:06.819
in direction, of course, from 92 almost. mentioned

00:21:06.819 --> 00:21:09.059
it is a different sort of a totally different

00:21:09.059 --> 00:21:13.559
Disney in music ears UK is is that why you changed

00:21:13.559 --> 00:21:16.819
a bit yeah I think what it was was um I had I

00:21:16.819 --> 00:21:19.460
had seen that most what was coming if you like

00:21:19.460 --> 00:21:22.240
which was swing beat and um I didn't want to

00:21:22.240 --> 00:21:24.619
be a part of what I could see coming which was

00:21:24.619 --> 00:21:27.400
that every band you know black white Indian Chinese

00:21:27.400 --> 00:21:29.799
would have a swing beat kind of I had gone behind

00:21:29.799 --> 00:21:32.019
it because it now became a current kind of thing

00:21:32.019 --> 00:21:39.690
to do was my way of bridging the R &B in me and

00:21:39.690 --> 00:21:43.890
the soul in me together through, you know, the

00:21:43.890 --> 00:21:46.529
way the drum pattern worked with the Caribbean

00:21:46.529 --> 00:21:48.549
kind of bass line that's, you know, repetitive

00:21:48.549 --> 00:21:50.690
that keeps the whole thing swinging and grooving

00:21:50.690 --> 00:21:53.549
and the melody being a flowing melody opposed

00:21:53.549 --> 00:21:56.130
to a scatty and more melody that I would do.

00:21:56.170 --> 00:21:58.750
So it was like, it wasn't, it wasn't some, if

00:21:58.750 --> 00:22:00.470
people would say it would be like an experiment,

00:22:00.490 --> 00:22:02.670
but it wasn't because we actually knew what we

00:22:02.670 --> 00:22:04.730
were trying to get at the end with Morning Will

00:22:04.730 --> 00:22:07.069
Come. And it would become one of those songs

00:22:07.069 --> 00:22:10.269
for me that if I don't do it live, then people

00:22:10.269 --> 00:22:13.109
don't think that I've done the show. It's become

00:22:13.109 --> 00:22:18.309
that kind of song. I think when we moved to MCA,

00:22:18.349 --> 00:22:21.750
MCA's ethos in terms of what they were asked

00:22:21.750 --> 00:22:26.670
was a more poppier side of Junior. So we went

00:22:26.670 --> 00:22:32.089
in and worked with Ian Levine and was doing Take

00:22:32.089 --> 00:22:34.490
That, had done Take That at the time. and was

00:22:34.490 --> 00:22:37.789
very hot in terms of being able to make poppy

00:22:37.789 --> 00:22:41.029
r &b records right moving more towards the say

00:22:41.029 --> 00:22:44.329
the northern soul side of things right and also

00:22:44.329 --> 00:22:47.349
the motowny side of things so ian had a good

00:22:47.349 --> 00:22:49.589
ear for all of that really good ear for all of

00:22:49.589 --> 00:22:52.329
that so we worked together and we did um then

00:22:52.329 --> 00:22:56.609
came you which was a song that i'd always loved

00:22:56.779 --> 00:23:00.319
Yeah, a great song that I'd always loved from

00:23:00.319 --> 00:23:02.480
Dionne Warwick and the Spinners. That's where

00:23:02.480 --> 00:23:04.559
I first heard it. And I thought it'd be great

00:23:04.559 --> 00:23:07.019
to do it as a soloist, opposed to having somebody

00:23:07.019 --> 00:23:10.099
do it like they do. So we were hitting the right

00:23:10.099 --> 00:23:13.420
places with it in terms of being on time with

00:23:13.420 --> 00:23:16.819
the style and the sound, right? But it wasn't,

00:23:17.079 --> 00:23:21.259
I think it was, for me, it was like a nice experiment

00:23:21.259 --> 00:23:24.099
for me in terms of understanding truly how to

00:23:24.099 --> 00:23:28.980
make pop rap. I think working with all of these

00:23:28.980 --> 00:23:33.400
great producers, you get the chance to stop,

00:23:33.460 --> 00:23:35.460
if you know what I'm saying, and sit back and

00:23:35.460 --> 00:23:38.339
see what it is about them that makes them that

00:23:38.339 --> 00:23:40.660
person in terms of their work, being able to

00:23:40.660 --> 00:23:42.819
hear it and know that that's ready, don't overdo

00:23:42.819 --> 00:23:44.759
it, that's it, and knowing when to stop and when

00:23:44.759 --> 00:23:48.480
to start. And because each had their own, what

00:23:48.480 --> 00:23:50.599
would you call it? I would say their own base

00:23:50.599 --> 00:23:53.200
in music, what they truly loved about music and

00:23:53.200 --> 00:23:58.099
in music. It was great to be able to learn from

00:23:58.099 --> 00:24:00.440
all of them, so that when I got to the place

00:24:00.440 --> 00:24:03.200
of, in the late 80s, of working with a young

00:24:03.200 --> 00:24:05.960
man called Paul Johnson and writing a song called

00:24:05.960 --> 00:24:08.220
When Love Comes Calling, which was a hit for

00:24:08.220 --> 00:24:10.940
him. But it was understanding the individual

00:24:10.940 --> 00:24:13.740
made it easy to make the record. Sometimes you

00:24:13.740 --> 00:24:15.720
can go in with somebody and you don't really

00:24:15.720 --> 00:24:18.160
know them and your energies aren't the same.

00:24:18.279 --> 00:24:20.900
So it can be tense while you're doing it. Whereas

00:24:20.900 --> 00:24:24.799
with these guys, it was more for me, it was more

00:24:24.799 --> 00:24:28.000
about learning than anything else. When to stop,

00:24:28.279 --> 00:24:30.880
why are you not able to do that? Why you look

00:24:30.880 --> 00:24:33.180
at the whole picture in your song opposed to

00:24:33.180 --> 00:24:35.539
just you. And I wanted to learn that from the

00:24:35.539 --> 00:24:37.960
very beginning. So going along in my career,

00:24:37.900 --> 00:24:41.960
being able to get into the early 90s and understand

00:24:41.960 --> 00:24:44.420
that the only one thing I didn't really understand

00:24:44.420 --> 00:24:48.079
was how to make a direct pop radio one record.

00:24:48.599 --> 00:24:52.440
I needed to put in there for the producers of

00:24:52.440 --> 00:24:54.359
those shows and say, yeah, that's the one we

00:24:54.359 --> 00:24:56.819
can play that. And Ian showed me that number.

00:24:57.220 --> 00:25:00.900
I will always be grateful to him and all of them.

00:25:01.759 --> 00:25:04.160
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00:26:04.920 --> 00:26:07.839
good, do some good to the planet and show your

00:26:07.839 --> 00:26:22.920
true colours. It was a strange era, though, musically,

00:26:23.259 --> 00:26:26.819
the early 90s. I saw club DJing up until 95,

00:26:26.819 --> 00:26:29.880
I believe, and of course we were looking. I mean,

00:26:29.880 --> 00:26:31.960
I'm glad you experimented a bit. It sounds very

00:26:31.960 --> 00:26:35.720
exciting, but it's very much an era of in the

00:26:35.720 --> 00:26:39.279
clubs and also Radio 1. You needed to sound a

00:26:39.279 --> 00:26:41.480
bit like 2 Unlimited, unfortunately. I mean,

00:26:41.519 --> 00:26:44.559
any of us could have gone do, do, do on a keyboard.

00:26:45.160 --> 00:26:48.559
Sadly, we didn't. You know what I mean? We didn't,

00:26:48.559 --> 00:26:53.549
did we? We could have all done it. Don't take

00:26:53.549 --> 00:26:57.500
away from me, that's terrible. I'm sorry, Ray,

00:26:57.500 --> 00:27:02.400
if you're listening and Anita, that's them cancelling.

00:27:04.400 --> 00:27:11.119
That's that done, mate. Junior, after I lied

00:27:11.119 --> 00:27:14.140
to you, you had a big gap in releases, but were

00:27:14.140 --> 00:27:17.359
you still actively touring and doing new material

00:27:17.359 --> 00:27:21.619
in that era between 95 and 2011? Were you sort

00:27:21.619 --> 00:27:24.240
of like, what were you doing? We put out, because

00:27:24.240 --> 00:27:27.440
I put out the Honesty album. And then afterwards,

00:27:27.779 --> 00:27:30.079
yeah. So what I did was I decided that I wasn't

00:27:30.079 --> 00:27:31.799
going to be in a record company anymore. I'm

00:27:31.799 --> 00:27:33.900
going to open my own label, which is what I did.

00:27:34.359 --> 00:27:37.619
And first album was to put out the Honesty album.

00:27:37.740 --> 00:27:40.000
And then the second album, I wanted to do a trilogy,

00:27:40.279 --> 00:27:43.259
but to be honest, it was about timing and people

00:27:43.259 --> 00:27:45.740
to use and time was going on. And there were

00:27:45.740 --> 00:27:48.759
things that were happening in my personal life.

00:27:49.019 --> 00:27:52.599
My daughter had MS and it gained down to a decision

00:27:52.599 --> 00:27:54.700
really during that period of time of whether

00:27:54.700 --> 00:27:57.890
to continuing the way I was continuing or whether

00:27:57.890 --> 00:28:00.630
to be at home and I chose to be more at home,

00:28:01.369 --> 00:28:04.109
still writing a lot but needing to be where I

00:28:04.109 --> 00:28:08.029
needed to be during that period of time. So I

00:28:08.029 --> 00:28:10.250
released another album called Prisoner of Hope

00:28:10.250 --> 00:28:12.990
during that period of time which we did well

00:28:12.990 --> 00:28:18.160
with in Japan. I again came back and was working

00:28:18.160 --> 00:28:22.720
with different artists. JBZ, who are a band whose

00:28:22.720 --> 00:28:25.299
their album's coming out now, came out. We did

00:28:25.299 --> 00:28:27.900
some work about, oh, a good few years ago, about

00:28:27.900 --> 00:28:30.900
eight years ago. And all of a sudden, it's like

00:28:30.900 --> 00:28:32.920
the sound and everything has become fashionable.

00:28:33.400 --> 00:28:36.000
So that's coming out later in the year. You know,

00:28:36.039 --> 00:28:39.359
I did this year. Last year, a band called AP

00:28:39.359 --> 00:28:42.700
Connection, who are a French band, were doing

00:28:42.700 --> 00:28:45.460
what they call New Disco, which was interesting

00:28:45.460 --> 00:28:50.759
too. So, you know, it's been a journey of Beverly

00:28:50.759 --> 00:28:54.200
Hill Cup, you know, doing that towards the, in

00:28:54.200 --> 00:28:57.460
the 80s as well, being a part of that whole success,

00:28:57.759 --> 00:29:01.420
selling over 150 million albums with that. You

00:29:01.420 --> 00:29:04.799
know, you just kind of, it's not bad, not bad,

00:29:04.819 --> 00:29:10.220
not bad. But we, that time was different. that

00:29:10.220 --> 00:29:12.599
nineties time was very different because as you

00:29:12.599 --> 00:29:15.559
say it was about the clubs and it was about the

00:29:15.559 --> 00:29:17.940
turntables and it wasn't it was if you weren't

00:29:17.940 --> 00:29:19.759
playing swing beat you weren't playing a record

00:29:19.759 --> 00:29:22.839
and that got weird to me it just got a bit weird

00:29:22.839 --> 00:29:25.859
in the nineties and it was great when um a soul

00:29:25.859 --> 00:29:28.359
to soul came along and broke it up sure no no

00:29:28.359 --> 00:29:32.680
no okay now um we got a bit of a gap i think

00:29:32.680 --> 00:29:35.039
we're talking about 2011 for prison of hope both

00:29:35.039 --> 00:29:38.440
as an album and a self -titled sort of single

00:29:38.440 --> 00:29:40.480
of the same There's Prisoner of Hope. Prisoner

00:29:40.480 --> 00:29:42.359
of Hope. Yeah, Prisoner of Hope was the single

00:29:42.359 --> 00:29:44.819
as well from that album. That's right. We've

00:29:44.819 --> 00:29:49.140
got a bit of a gap, but obviously we've had lockdown

00:29:49.140 --> 00:29:52.480
in the last, well, since, well, over a year now.

00:29:53.299 --> 00:29:56.920
Over a year now. In that time, did you, up to

00:29:56.920 --> 00:29:59.079
the lockdown and where we are now, did you continue

00:29:59.079 --> 00:30:02.839
writing and be creative? And I don't think you're

00:30:02.839 --> 00:30:04.519
sort of going to put music down. I don't think

00:30:04.519 --> 00:30:09.240
you can anyway. No, I kind of... honest I think

00:30:09.240 --> 00:30:12.500
we had my wife and I had gone away to Jamaica

00:30:12.500 --> 00:30:15.099
just before the lockdown and we came back just

00:30:15.099 --> 00:30:17.759
at the beginning of lockdown and it was a very

00:30:17.759 --> 00:30:19.740
strange period you know coming straight back

00:30:19.740 --> 00:30:23.039
into lockdown everybody observing all the rules

00:30:23.039 --> 00:30:25.440
and nobody moving nobody doing this and nobody

00:30:25.440 --> 00:30:27.859
it was a strange time because then you would

00:30:27.859 --> 00:30:30.859
look and see as you did at the time you were

00:30:30.859 --> 00:30:33.940
into your phone into your laptop into your whatever

00:30:33.940 --> 00:30:37.680
technology there was to one get information and

00:30:37.680 --> 00:30:40.700
to want to get completely away from where you

00:30:40.700 --> 00:30:42.960
were and the artists that you saw, everybody

00:30:42.960 --> 00:30:45.460
was trying to continue to keep relevant through

00:30:45.460 --> 00:30:47.680
doing bits up there and stuff. And it was, to

00:30:47.680 --> 00:30:51.180
be honest, it was a time for me to sit down and

00:30:51.180 --> 00:30:56.079
not be a part of the panic that was ensuing,

00:30:56.079 --> 00:30:59.319
I think, last year at the very beginning, rightly

00:30:59.319 --> 00:31:01.480
so, because we didn't know maybe as much as we

00:31:01.480 --> 00:31:03.319
know now, or maybe nothing that we know now.

00:31:03.660 --> 00:31:07.970
But it was, for me, a time of being able to enjoy

00:31:07.970 --> 00:31:11.670
nature, to be honest, right? Reflect, and not

00:31:11.670 --> 00:31:16.289
reflect in terms of self, but reflect in terms

00:31:16.289 --> 00:31:19.089
of world and where the journey has been, started

00:31:19.089 --> 00:31:22.009
from, to where it's come to, and how you were

00:31:22.009 --> 00:31:26.769
going to go into 2022, 2023, in what way? You

00:31:26.769 --> 00:31:29.410
know, we were coming up to, it's the 40th anniversary

00:31:29.410 --> 00:31:32.309
of Mommy Used to Say Next Year. And, you know,

00:31:32.450 --> 00:31:35.549
I'm now on tour with Rolls -Royce. We're doing

00:31:35.549 --> 00:31:38.289
something like... 23 day. So that would be fantastic.

00:31:38.450 --> 00:31:41.569
And in between being able to do these different

00:31:41.569 --> 00:31:44.609
projects coming out or out, that would be great.

00:31:44.630 --> 00:31:47.509
So it was looking more at and having the time

00:31:47.509 --> 00:31:49.950
to look at how did you want to move forward,

00:31:50.289 --> 00:31:52.609
the style of music you want to play, the whole

00:31:52.609 --> 00:31:54.890
thing. It just gave you time to think about your

00:31:54.890 --> 00:31:57.170
career. So no, I didn't stop writing. I just

00:31:57.170 --> 00:32:01.069
can't. I couldn't do it. But you know, your writing

00:32:01.069 --> 00:32:03.910
was reflecting where you were and what was going

00:32:03.910 --> 00:32:08.000
on. And, you know, I think the new album, when

00:32:08.000 --> 00:32:10.400
it comes, which will most likely be 2024, will

00:32:10.400 --> 00:32:13.579
be started this year, late this year. I think

00:32:13.579 --> 00:32:16.440
we'll be pretty much back to where Junior was

00:32:16.440 --> 00:32:19.819
with a mixture of the old, in terms of the mummies

00:32:19.819 --> 00:32:23.900
to say, style, but more so going in a more, I

00:32:23.900 --> 00:32:28.380
think, morning will come, kind of like. It seems

00:32:28.380 --> 00:32:31.220
time, it's that kind of time. That's really cool,

00:32:31.299 --> 00:32:34.940
and that's the future, and I think that Junior

00:32:34.940 --> 00:32:38.359
and a Rolls Royce gig. Concert sounds amazing.

00:32:38.960 --> 00:32:42.609
Sounds brilliant. I'll tell you what, you'll

00:32:42.609 --> 00:32:44.650
be coming back on then, just to tell us about

00:32:44.650 --> 00:32:47.589
that. That sounds like an amazing concert. All

00:32:47.589 --> 00:32:51.009
23, they'll go beyond that, won't they? They'll

00:32:51.009 --> 00:32:53.130
get more and more dates added. That sounds amazing.

00:32:53.210 --> 00:32:56.089
It just does. Thank you very much. I'm hearing

00:32:56.089 --> 00:32:59.230
it now. I really am. Brilliant. So that's the

00:32:59.230 --> 00:33:01.450
future. Very exciting. But let's talk about the

00:33:01.450 --> 00:33:03.849
present. Now, we will take that, because this

00:33:03.849 --> 00:33:05.690
is how I love interviews to finish. You know,

00:33:05.690 --> 00:33:07.849
full of like, positivenesses. Brilliant. So we've

00:33:07.849 --> 00:33:09.789
got the future, so we'll do the present. Now

00:33:09.789 --> 00:33:12.450
we've got this new series. called Step Off. Tell

00:33:12.450 --> 00:33:16.410
us about that please. Well, we had done, after

00:33:16.410 --> 00:33:18.009
all of these years of doing all of these tracks,

00:33:18.230 --> 00:33:20.089
they've been, you know, a lot of them are big

00:33:20.089 --> 00:33:22.630
in different countries and stuff. So my daughter,

00:33:22.869 --> 00:33:25.950
before she passed, she always was on me about

00:33:25.950 --> 00:33:28.750
the fact of, do a reggae album, dad, you come

00:33:28.750 --> 00:33:31.029
from that, you never do it. We're always in Jamaica,

00:33:31.109 --> 00:33:33.309
you never go and see anybody. And I'm like, you

00:33:33.309 --> 00:33:35.210
know, that's all because of the fact that I want

00:33:35.210 --> 00:33:37.490
to spend that time with you. So she kept on and

00:33:37.490 --> 00:33:40.730
on. And we went to Jamaica, last time altogether

00:33:40.730 --> 00:33:43.569
and I thought, you know what, right? It could

00:33:43.569 --> 00:33:46.130
be fun to do this. It could actually be really

00:33:46.130 --> 00:33:49.470
cool. So I got together with an artist called

00:33:49.470 --> 00:33:53.630
Luciano and we did a duet of Mama Used to Say

00:33:53.630 --> 00:33:56.529
and it sounded fantastic and it worked. And I

00:33:56.529 --> 00:33:58.450
then picked up the phone and started speaking

00:33:58.450 --> 00:34:01.589
to various different artists like Stephen Marley,

00:34:01.750 --> 00:34:04.750
who's also a version of Mama Used to Say, Tabby

00:34:04.750 --> 00:34:07.309
Diamond from The Mighty Diamonds, Carol Thompson,

00:34:08.530 --> 00:34:12.860
Janet Kang. Pinky Famous, Paulette Tagia, the

00:34:12.860 --> 00:34:14.960
list just went on and it was brilliant. It was

00:34:14.960 --> 00:34:17.320
like everybody fully understood what it was,

00:34:17.340 --> 00:34:20.619
was just taking songs that I had done and had

00:34:20.619 --> 00:34:23.059
success with them and doing them in a reggae

00:34:23.059 --> 00:34:27.860
style for that audience. I wanted to ensure that

00:34:27.860 --> 00:34:31.840
it had enough mixture like Step Off does of today

00:34:31.840 --> 00:34:35.360
and also yesterday that we could come into the

00:34:35.360 --> 00:34:37.860
marketplace in terms of making a record for people

00:34:37.860 --> 00:34:40.559
that they they would enjoy it. And that's really

00:34:40.559 --> 00:34:42.500
what I was after with this project. Yeah, brilliant.

00:34:42.739 --> 00:34:46.920
I see your step -off features, Paulette, Teja

00:34:46.920 --> 00:34:49.460
and Pinky Famous. Am I saying that right? That's

00:34:49.460 --> 00:34:51.739
correct. That's correct. Paulette, Teja. Brilliant.

00:34:52.460 --> 00:34:56.199
Now, is the step -off already out or is it on

00:34:56.199 --> 00:34:58.139
its way? It's already out, yeah? Yeah, it's already

00:34:58.139 --> 00:35:00.639
out. You can get it at the website, juniordiscon

00:35:00.639 --> 00:35:04.840
.co .uk. What I did was, again, was instead of

00:35:04.840 --> 00:35:07.340
putting it out on every platform that there was,

00:35:07.449 --> 00:35:09.489
It's like, right, just come to the website. You

00:35:09.489 --> 00:35:12.050
can get it from the website. And once we grow,

00:35:12.230 --> 00:35:14.510
we'll put it further out. But it's for the fans.

00:35:14.670 --> 00:35:16.030
It's for those people who've always followed

00:35:16.030 --> 00:35:18.130
me. Sure. And we're just about to hear the new

00:35:18.130 --> 00:35:23.130
single, Step Off, and it can be gotten from Junior's

00:35:23.130 --> 00:35:27.510
website, which is juniorkiscum .co .uk. That's

00:35:27.510 --> 00:35:29.289
the one. But you're not going anywhere yet, because

00:35:29.289 --> 00:35:31.130
I want to talk about this album as well. Let's

00:35:31.130 --> 00:35:33.510
talk about this album, shall we? Is this the

00:35:33.510 --> 00:35:35.130
new album you'll talk about in the future, or

00:35:35.130 --> 00:35:36.710
is this... This sounds like it's available now.

00:35:36.679 --> 00:35:39.099
Was that right? Yes, it is. It is. It is available

00:35:39.099 --> 00:35:42.239
now. It's called Everything Set. There's songs

00:35:42.239 --> 00:35:45.420
on there. Duets with, as I said, with Janet Kay.

00:35:45.679 --> 00:35:48.780
Me and Janet do Morning Will Come. Tabby Diamond

00:35:48.780 --> 00:35:51.960
and I do Too Late. As I said, with Steve and

00:35:51.960 --> 00:35:56.840
Miley, we do Mummy Used to Say together. there's

00:35:56.840 --> 00:35:59.699
a rapper called Valiable, he and I do communication

00:35:59.699 --> 00:36:02.960
breakdown on there. So it was just a collab of

00:36:02.960 --> 00:36:05.219
just artists that I've always loved and some

00:36:05.219 --> 00:36:07.599
that I've never met, like I've never met Steven

00:36:07.599 --> 00:36:10.019
Marley and I've never met Luciano, but I knew

00:36:10.019 --> 00:36:12.820
Carol Thompson and I knew Janet Kaye and Paul

00:36:12.820 --> 00:36:17.500
Letage from England. And Vicky Famous was a dancehall

00:36:17.500 --> 00:36:20.159
rapper, really, dancehall queen that I'd gone

00:36:20.159 --> 00:36:23.400
out one night and seen and went back, took her

00:36:23.400 --> 00:36:25.480
back to the studio and said, right, listen, you

00:36:25.480 --> 00:36:28.539
know, do your thing on this for me. It was one

00:36:28.539 --> 00:36:31.099
of them. And it was brilliant. It was just the

00:36:31.099 --> 00:36:33.699
whole experience of the recording of it. Some

00:36:33.699 --> 00:36:35.860
of it was done in Miami, some was done in Jamaica,

00:36:35.920 --> 00:36:39.219
some was done in England. And it was just picking

00:36:39.219 --> 00:36:41.699
up those vibes from these different places and

00:36:41.699 --> 00:36:43.440
plucking them right into what you were doing.

00:36:43.579 --> 00:36:46.760
So it's very summery, it's very up, it's very,

00:36:47.019 --> 00:36:51.300
it's just warm. I think it hopefully warm people's

00:36:51.300 --> 00:36:53.199
hearts during the summertime. Sure. And I see

00:36:53.199 --> 00:36:56.420
Tabby Diamond, lead singer of The Mighty Diamonds.

00:36:56.909 --> 00:36:59.630
recorded the very original version of musical

00:36:59.630 --> 00:37:02.889
use past the Dutchie. So that's worth a little

00:37:02.889 --> 00:37:05.110
mention as well, isn't it, really? Definitely,

00:37:05.329 --> 00:37:08.530
definitely. You know, Tabby is a legend. He really

00:37:08.530 --> 00:37:12.730
is. And Mighty Diamonds is just a legendary band,

00:37:12.750 --> 00:37:15.489
you know, who were around from the time of Bob

00:37:15.489 --> 00:37:19.150
Marley. And, you know, it was that energy, that

00:37:19.150 --> 00:37:22.250
vibe that Tabby brings to things. So it was fantastic

00:37:22.250 --> 00:37:25.869
to work. Fantastic. No, absolutely. Now, the

00:37:25.869 --> 00:37:29.679
new album also. Did you say it was called Everything

00:37:29.679 --> 00:37:32.119
Set As Well? That's correct. Perfect. And this

00:37:32.119 --> 00:37:35.000
is available from your website only again. So,

00:37:35.000 --> 00:37:38.539
okay. Junyaviscom .co .uk. Cool. Brilliant. Thank

00:37:38.539 --> 00:37:40.000
you. And you're going to get to say that again

00:37:40.000 --> 00:37:44.059
in a minute as well. Junior, it's been absolutely

00:37:44.059 --> 00:37:48.739
fantastic. I knew that there was a lot to Junior

00:37:48.739 --> 00:37:51.840
Giscombe, that's why you got your name on that

00:37:51.840 --> 00:37:54.880
list, because I thought, I've got to try and

00:37:54.880 --> 00:37:59.539
get him. Just a few sort of silly throwaway questions

00:37:59.539 --> 00:38:02.679
before we mention your website at the end. Do

00:38:02.679 --> 00:38:06.099
you still get recognized by the people who would

00:38:06.099 --> 00:38:08.579
have been my mum, I used to say, like 40 years

00:38:08.579 --> 00:38:13.739
ago? Yes. You can't even get to Tesco's without

00:38:13.739 --> 00:38:16.079
people stopping you still. It ain't that bad

00:38:16.079 --> 00:38:21.619
now, come on. I was just trying to find out.

00:38:22.960 --> 00:38:26.039
Yeah, right. It ain't that bad. You haven't tried

00:38:26.039 --> 00:38:31.260
Tesco's down where I am on the day we go. Oh

00:38:31.260 --> 00:38:34.539
dear, that's brilliant. I've enjoyed every moment

00:38:34.539 --> 00:38:39.019
of Virginia, and are you on social media, Facebook?

00:38:39.760 --> 00:38:42.840
Yeah, you can get me on all of them from Instagram,

00:38:43.980 --> 00:38:47.260
at Junior Giscam, Facebook, just Junior Giscam,

00:38:47.519 --> 00:38:52.239
new Junior Giscam fan page. Yeah, that's it really,

00:38:52.659 --> 00:38:56.670
just Instagram, Facebook, Twitter. where I was,

00:38:57.070 --> 00:39:01.449
Twitter, WhatsApp. I'm there. I'm just, I'm a

00:39:01.449 --> 00:39:05.829
tech junkie. So I'm everywhere. So as you're

00:39:05.829 --> 00:39:09.030
a tech junkie, there is every reason for me to

00:39:09.030 --> 00:39:11.690
believe that people do go to juniagiskam .co

00:39:11.690 --> 00:39:14.289
.uk. They will get links to all the social media

00:39:14.289 --> 00:39:16.989
from there anyway, yeah? Definitely. That's brilliant.

00:39:17.050 --> 00:39:20.130
Brilliant stuff. Well, Junior, it's been absolutely

00:39:20.130 --> 00:39:21.989
fantastic. And as I said, I've enjoyed every

00:39:21.989 --> 00:39:25.070
moment of it. And yeah, thank you very much for

00:39:25.070 --> 00:39:27.230
coming. on to Chatterbox UK and I'll get you

00:39:27.230 --> 00:39:56.079
just to say that website one more time. You've

00:39:56.079 --> 00:39:58.360
been listening to the Chatterbox Redux podcast

00:39:58.360 --> 00:40:01.340
and today our special guest was Junior Giskam.

00:40:01.760 --> 00:40:04.280
If you're interested in becoming a future guest

00:40:04.280 --> 00:40:07.139
on the Chatterbox Redux podcast, or the radio

00:40:07.139 --> 00:40:09.539
show Chatterbox UK, you're welcome to submit

00:40:09.539 --> 00:40:13.019
songs, books, or whatever it is you do, and send

00:40:13.019 --> 00:40:16.159
us a CV, synopsis, or press release. However,

00:40:16.320 --> 00:40:19.099
we receive several thousand such press releases

00:40:19.099 --> 00:40:22.320
every week, and it's impossible to reply to each

00:40:22.320 --> 00:40:25.219
one individually. Why not email us or leave a

00:40:25.219 --> 00:40:27.219
comment, because we'd love to know what you think

00:40:27.219 --> 00:40:47.070
of the podcast. Our email address is... and wherever

00:40:47.070 --> 00:40:49.469
it is you choose to listen to the Chatterbox

00:40:49.469 --> 00:40:52.599
Redux podcast Don't forget to give us a like,

00:40:52.860 --> 00:40:55.800
a follow, a favourite or whatever it is on that

00:40:55.800 --> 00:40:59.099
platform just so you don't miss a future episode.

00:40:59.440 --> 00:41:02.960
Sue, myself Nick and Twinkle the tuxedo cat,

00:41:03.460 --> 00:41:05.800
thank you very much for your company and we look

00:41:05.800 --> 00:41:07.780
forward to welcoming you again next time for

00:41:07.780 --> 00:41:11.119
another Chatterbox Redux podcast. In the meantime,

00:41:11.340 --> 00:41:13.639
take care, we thank you for your company and

00:41:13.639 --> 00:41:46.780
we catch you then. Bye bye. This is... Nick and

00:41:46.780 --> 00:41:49.860
Sue with Chatterbox giving you all you need to

00:41:49.860 --> 00:41:58.820
know about musical entertainment Chatterbox the

00:41:58.820 --> 00:42:04.440
best interviews with Nick and Sue The best news

00:42:04.440 --> 00:42:08.199
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