Nick and Sue. This edition of the Chatterbox Redux podcast is brought to you in association with the Old Glory iconic music and sports superstore. More from them in a bit. Chatterbox. When the 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
Sue. Chatterbox! The best news and reviews for you on Chatterbox! Yes, it's number one! It's top of the box! AAAAAA - And now on Chatterbox 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 the show means supporting the brands that keep the lights on and today I'm thrilled to talk about a personal favourite of mine, Old Glory. Old Glory is the ultimate destination for music, sports and pop culture fans. They are a family
owned business founded back in 1969. Now Old Glory and I actually share a birth year and while I'll be the first to admit their vintage tees have aged a little more gracefully than I have, that's exactly why I love them. With over 300 ,000 officially licensed items, we aren't just talking about generic prints. From the heavy hitters like the Beatles, Metallica and the Rolling Stones to official NASA gear, they cover every corner of fandom. Most importantly, the quality
is top tier. There aren't one and done shirts. They hold their shape and the colour wash after wash. Beyond the Gear, I'm proud to partner with them because every purchase through our link supports a bigger goal. Abortion of our commission goes directly to the Stripe Climate Programme, helping fund carbon removal technologies to combat climate change. Upgrade your wardrobe and support the planet. Use code CBUKRDUX at OldGlory .com
for 15 % off your entire order. The link is also waiting for you in the show notes of this podcast. 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 perfect gift, either for yourself or for a fellow fan, you need to check out the Old Glory Iconic Music and Sports Store. They've been the gold
standard for fan merch since 1969. They carry over 300 ,000 items ranging from Grateful Dead hoodies to official sports team hats and other merch. And look, I know what it's like to buy a band shirt only for it to shrink or fade instantly. Old Glory is different. Their graphic tees are high quality, officially licensed and built to last. When you shop at Old Glory using our link, you're also joining the Chatterbox community's
commitment to the environment. 1 % of all commissions are donated to the Stripe Climate Programme and help remove CO2 from the atmosphere. Head to oldglory .com or click the link in the description. Use my exclusive listener code of C -B -U -K -R -D -U -X and you save 15 % on the best merch in the game. That's C -B -U -K -R -D -U -X. Look 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 on the Chatterbox Redux podcast, or the radio show Chatterbox UK, you're welcome to submit songs, books, or whatever it is you do, and send us a CV, synopsis, or press release. However, we receive several thousand such press releases every week, and it's impossible to reply to each
one individually. Why not email us or leave a comment, because we'd love to know what you think of the podcast. Our email address is... and wherever it is you choose to listen to the Chatterbox Redux podcast Don't forget to give us a like, a follow, a favourite or whatever it is on that platform just so you don't miss a future episode. 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 Sue with Chatterbox giving you all you need to know about musical entertainment Chatterbox the best interviews with Nick and Sue The best news and reviews for you all Chatterbox