C86 Show - Indie Pop

Anne-Marie Hurst in conversation with David Eastaugh  https://www.ghost-dance.com/ https://ghost-dance.bandcamp.com/music Ghost Dance is a British gothic rock band formed in 1985 by Gary Marx (ex-Sisters of Mercy guitarist) and Anne-Marie Hurst (ex-Skeletal Family vocalist) as both were leaving their respective bands. The band were originally signed to Nick Jones' record label, Karbon Records, then were later signed to the major label Chrysalis Records, before splitting up in 1989. In 2019 the band reformed, with Hurst being joined by new members Tim Walker (guitar), Stephen Derrig (guitar), Phil Noble (bass), and Dave Wood (drums). They began work on new material. Reunion shows followed in the UK and the band signed to Voltage Records for a new album release in 2023

Thomas Leer in conversation with David Eastaugh  http://thomasleer.co.uk/ Leer played in several local experimental pop groups in the early to mid-1970s, moving to London when the punk rock scene was at its height. He formed the punk band Pressure, but by 1978 had moved on to music influenced by synthpop and Krautrock bands such as Can. That year, he self-financed his debut single, "Private Plane". Although it was recorded in his own flat and was only issued in 650 copies on his own label, it gained significant attention, with NME naming it "Single of the Week". In 1979, he released the album The Bridge in collaboration with Robert Rental. In 1981, he signed to Cherry Red, his first release for the label being the 4 Movements EP. After two further releases on the label, he was signed by Arista Records, releasing three further singles and his debut full-length solo album, The Scale of Ten in late 1985.  

Rusty Egan in conversation with David Eastaugh https://rustyeganpresents1.bandcamp.com/ https://www.amazon.co.uk/Rusty-Egan-Autobiography/dp/0857162934 https://www.youtube.com/watch?v=OZAM6TFMvAc https://www.mixcloud.com/rustyegan/ Egan was the drummer of British new wave band Rich Kids, from its inception in March 1977, until its disbandment in December 1978, along with former Sex Pistols bassist Glen Matlock (bass and vocals), Steve New (guitar and vocals), and Midge Ure (guitar, vocals, and keyboards). Egan continued working with Ure, and later collaborated with The Misfits, Skids and Shock, and well as being a founding member of Visage. He played drums on a remixed version of Phil Lynott's song "Yellow Pearl", which the BBC used as the Top of the Pops theme tune from 1981 to 1986.  

Berni Armstrong in conversation with David Eastaugh  https://www.youtube.com/c/berniarmstrong https://thesaturdaybluesproject.bandcamp.com/ Organised shows at various Fayres the biggest success was the Earth Fayre at East Bergholt, where they had an installation called "Beyond the Belly of the Giant".        

Peter Greenberg in conversation with David Eastaugh In 1977, White enrolled at Boston University to study journalism. While in school, he worked in a record shop in Brookline, Massachusetts, named Good Vibrations, where his singing was heard by musician Peter Greenberg of the Lyres. White adopted the stage name Barrence Whitfield to avoid being mistaken for superstar Barry White and began performing with Greenberg and former members of the Lyres as Barrence Whitfield & the Savages STARR AND THE CZARS, hailing from Washington, DC, bring together an all-star line-up of garage-rock veterans into one explosive new band. Fronted by JAKE STARR (Adam West, Jake Starr & The Delicious Fullness, Go Mod Go!, Goy Division…), the group also features PETER GREENBERG and MICHAEL LEWIS, two legends from Boston's trailblazing DMZ. After their time in DMZ, Greenberg and Lewis both carried the torch in Lyres, cementing their reputation as key figures of the late '70s and early '80s garage revival. Greenberg later went on to co-found The Customs and Barrence Whitfield & The Savages, while Lewis added his bass guitar work to bands such as The A-Bones, Yo La Tengo and The Schramms. Starr, meanwhile, became a fixture of Washington D.C.'s garage scene.

Chris Payne in conversation with David Eastaugh  http://chrispaynemusic.com/ Known as a member of Gary Numan's backing band, Tubeway Army and for being the co-writer of Visage's 1981 synthpop hit single "Fade to Grey". Payne plays keyboards and viola and also a number of medieval instruments. He formed the band Dramatis with other members of Numan's backing-band in the early 1980s. Payne has composed music for television and films and formed the band Celtic Legend. He has composed, scored, recorded and conducted his orchestral and choral works in London and Prague.

Marina Muhlfriedel in conversation with David Eastaugh  Vivabeat was a Los Angeles-based techno-pop band founded in 1978 and active into the mid-1980s. It is best known for being discovered by and signed to its first record deal at the request of Peter Gabriel. It became the first American band on Tony Stratton Smith's British label, Charisma Records. The band released one album for Charisma Records, Party in the War Zone. The album included one of the band's most successful songs, "Man from China." The song became a Top 20 charted dance club hit in the United States, Europe, and Asia. "Man from China" also appears on the Charisma Label/Various Masterpieces album – The Sounds Album Volume 6, released in 1980.

Larry Stabbins in conversation with David Eastaugh  https://www.larrystabbins.com/ Played in the cult pop group Weekend and started writing with its guitarist Simon Booth. This later evolved into Working Week, a band that took a mix of Latin, soul, jazz and funk into the pop charts. From the Latin Jazz Dance scene in London clubs, the band mixed jazz with Latin dance rhythms and vocals by singers such as Juliet Roberts, Julie Tippetts, Robert Wyatt and Tracy Thorn. The band toured extensively in Europe and Japan, performing at most of Europe's major Jazz Festivals and recording five albums for Virgin Records. Following the breakup of Working Week he formed 'QRZ?' a fusion of jazz and rap which also recorded for Virgin Records and for the German label Loud Minority.  

Zaine Griff in conversation with David Eastaugh https://www.zainegriff.com/#home In 1979 Griff started his solo career. He released two albums, Ashes and Diamonds (recorded in 1979, released in 1980), produced by Tony Visconti, and Figvres (1982), on which he collaborated with future successful film composer Hans Zimmer, and many colleagues from the new wave and new romantic era including Kate Bush, Warren Cann of Ultravox and Yukihiro Takahashi, of Japanese electronic band YMO. The single "Tonight" peaked at No. 54 in the UK Singles Chart in February 1980, whilst "Ashes and Diamonds" reached No. 68 in the same listing in June that year.

Debsey Wykes in conversation with David Eastaugh  https://www.amazon.co.uk/Teenage-Daydream-Girls-Play-Band/dp/1917923090 Debsey Wykes was the bass playing singer in the first all girl punk group Dolly Mixture. Thrown into the musky, misogynistic, male dominated world of the UK music industry in the late 1970s, they enjoyed unlikely #1 success alongside Captain Sensible of The Damned on1982's even unlikelier cover version of ‘Happy Talk', whilst fame and success on their own individual terms alluded them. Debsey went onto greater prominence with Saint Etienne with who she has performed since 1992, whilst in 2025, desirable Dolly Mixture reissues sell out around the world as quickly as they are printed. Featuring a cast of contemporary post-punk heroes – rom Paul Weller and the Jam (their first record label boss) to Madness and the Pogues – Teenage Daydream is a unique coming of age story of youthful ambition, enterprising DIY musical ethics and how an unlikely bunch of school-girl friends ended up on Top of the Pops in home made hula skirts.

Micko Westmoreland in conversation with David Eastaugh https://landlinerecords.com https://www.facebook.com/MickoMellotronic/ The Mellotronics formed in 2017 with the intention of turning Micko Westmoreland's songwriting skills into a dynamic live prospect. Expanding from their initial three piece to the current four strong line up, the band sees Micko's rabble rousing vocals and spiky, agitational guitar work augmented perfectly by the crack squad of drummer Nick Mackay of hotly tipped rock duo Barricades, Owls of Now's Vicky Carroll providing immovable bassline solidity and the intricate, effects-soaked fretwork of Jon Klein (Siouxsie & The Banshees, Specimen). Since then they've been busy cutting their teeth with a series of shows around the capital and beyond, making return visits to the 100 Club in Oxford Street and earning multiple requests for support slots from acts as established as Evan Dando (Lemonheads), David Devant & His Spirit Wife, Blue Orchids, Sheep on Drugs, The Television Personalities and The Monochrome Set. Bringing a new dimension of sharp and economic post-punk/new wave attitude to the diverse Westmoreland songbook, they've been already been favourably compared to The Jam, Pil and Wire as well as the mean, lean but undeniably powerful sound of young bucks like Idles or Shame.  

Double Dee & Steinski in conversation with David Eastaugh  https://ddski.com/ Double Dee and Steinski is a duo of hip hop producers, composed of Doug "Double Dee" DiFranco and Steven "Steinski" Stein. They achieved notoriety in the early 1980s for a series of underground hip-hop sample-based collages known as the "Lessons". Their contest entry, "Lesson 1 – The Payoff Mix", was packed with sampled appropriations from other records—not only from early hip-hop records and from Funk and Disco records that were popular with hip-hop DJs, but with short snippets of older songs by Little Richard and The Supremes, along with vocal samples from sources as diverse as instructional tap-dancing records and Humphrey Bogart films. The record was pieced together in DiFranco's studio in 12–14 hours over two days and was critically praised

Boz Boorer in conversation with David Eastaugh https://westhampsteadarts.com/ https://www.facebook.com/ThePolecats/?locale=en_GB English guitarist and producer. He founded the new wave rockabilly group the Polecats, and starting in 1991 had a 30-year collaboration with singer Morrissey as co-writer, guitarist and musical director.

Steven Seibold in conversation with David Eastaugh  https://hatedept.bandcamp.com/ Seibold is a multi-instrumentalist who writes, records and releases Hate Dept. albums with minimal outside help. He formed Hate Dept. in 1991 in reaction to fickle 'electro' audiences and antipathy towards live electronic bands, taking his sound in a more punk direction.

Moritz R in conversation with David Eastaugh  https://derplan.bandcamp.com/album/save-your-software https://chakchak.de/ https://gerireig.blogspot.com/ Der Plan was founded in 1979 by Frank Fenstermacher, Moritz R, Robert Görl & Chrislo Haas. Görl and Haas left after the first release, and were replaced by Kurt Dahlke. This trio remained constant until the group disbanded in 1993. In 2004, Moritz R reformed the band with new members Achim Treu & J.J. Jones, but due to disagreements with old band members with the slightly changed bandname: Der Plan V. 4.0 For the 50th birthday parties of Andreas Dorau in Hamburg and Berlin in January 2014 Der Plan was reformed again for two short sets by Frank Fenstermacher, Moritz R and Kurt Dahlke. In May 2017 a new single "Lass die Katze stehn" had been released and in June the album "Unkapitulierbar" came to light.

Genny Schorr in conversation with David Eastaugh  https://hozacrecords.com/product/pre-order-all-roads-lead-to-punk-book-7-record-set-by-genny-schorr/ https://gennyschorr.com/ As a founding member of one of Los Angeles' earliest female-led bands, BACKSTAGE PASS, Genevieve Schorr lived and breathed rock'n roll growing up like a lot of teenagers at the time. What set her apart was forging her unique band so early in the punk timeline (a direct shot from her glam & pub rock influences) and eventually evolving her life into becoming a professional rock'n roll stylist to the stars. Genny's book reads like a lost diary trapped in a punk house time capsule from the era, complete with tales of dereliction and unsuspecting victories along the way. Crossing paths with such wildly diverse characters such as The Screamers, The Mumps, Dr. Feelgood, The Damned, The Quick, Jon Stewart, Jim Carrey, The Bangles, and Linda Ronstadt, All Roads Lead To Punk is an invigorating flash through a wild life not to be forgotten. This book comes also with a limited edition BACKSTAGE PASS 7″ single

Emma Pollock in conversation with David Eastaugh  https://emmapollock.com/ https://emmapollock.bandcamp.com/ A founding member of Glasgow band The Delgados, Emma Pollock has been a solo artist since 2006, releasing 4 solo albums on 4AD and Chemikal Underground. Her new album Begging The Night To Take Hold is out now.

Andrew Perer in conversation with David Eastaugh  https://www.amazon.co.uk/Turn-Head-Into-Sound-Valentine/dp/1916829147 Turn My Head Into Sound: A history of Kevin Shields and My Bloody Valentine tells the story of one of the great sonic innovators of the late twentieth and early twenty-first centuries. My Bloody Valentine have released only three albums in their forty-year career, but each of them has made a seismic impact. Isn't Anything (1988) is often cited as one of the Ur-texts of shoegaze and dream rock; Loveless (1991) is an undisputed masterpiece heralded by many as the best album of the 1990s; m b v (2013) is one of the best-loved comeback albums in recent memory. For those who know Kevin Shields and his work already, he is an indie-rock icon, but by other measures he's still a relatively obscure figure in the musical mainstream, and to date there has been no full-length appraisal of his work or his band's career. Until now. Shields is truly a one-of-a-kind musician, and this book—which fills in the gaps, corrects errors, and takes an objective look at the band's entire career, warts and all—paints the full picture of one of the most revolutionary sonic artists of our time. Turn My Head Into Sound is based on numerous interviews with people who were there (some of them speaking on the record for the first time) as well as an exhaustive archive of band-related material that the author has been assembling since 1990. Longtime fans of the band will find plenty of new information here, including the full story of the tumultuous period at Island Records following the release of Loveless. The lost years that followed would see Shields employed as engineer, producer, and remixer while also becoming an auxiliary member of Primal Scream. This book's analysis of this diverse but lesser-known work offers reader a much fuller picture of the relentless creativity and perfectionism at the center of his process.

Steve Boltz in conversation with David Eastaugh  https://www.steveboltz.co.uk/ https://www.facebook.com/groups/920848814634353/ In 1971 he was recruited into the band Atomic Rooster, part of a new line-up for a tour supporting the band's third album In Hearing of Atomic Rooster and their No. 4 charting single "The Devil's Answer". The band was also recording their fourth LP Made in England which was released in 1972 with a more funky sound replacing their original progressive rock leanings. Bolton also appeared on Devil's Answer: Live on the BBC released in 1998, and on the release of In Satan's Name: The Definitive Collection.  

Barrence Whitfield in conversation with David Eastaugh https://www.facebook.com/BarrenceWhitfieldSavages White adopted the stage name Barrence Whitfield to avoid being mistaken for superstar Barry White and began performing as Barrence Whitfield & the Savages. The band garnered a strong reputation for explosive stage performances, described as "raucous and rough, in high gear from the moment they hit the stage." Whitfield himself was described as "a soul screamer in the spirit of Little Richard, Wilson Pickett, Solomon Burke, and early Don Covay." In 1984, the band released their self-titled debut album, mostly comprising cover versions of obscure soul and R&B songs. It received good critical reviews. The following year, they released a second album, Dig Yourself, on Rounder Records. Their music was heard by English radio DJ Andy Kershaw, who taped a Boston performance for airplay in Britain, and brought them to the UK for a tour.

David Miller, Simon McGlynn & Chris Connelly in conversation with David Eastaugh THE SHEER ACTION OF FINI TRIBE is the first retrospective of the band, curated and designed by the band. It includes a wealth of archival photographs, an essay by original member ANDY MCGREGOR, who also designed the sleeve, and essays by longtime friend SHIRLEY MANSON and author ALASTAIR MCKAY, an early champion of the band. The release features the first legendary JOHN PEEL SESSION produced by DALE GRIFFIN and originally broadcast in May 1985. FINI TRIBE was born into the cash-poor but culturally-wealthy environs of post-punk Edinburgh in the very early 80s – 1980 to be almost precise. A tiny three piece with no drummer would soon swell into a muscular six piece with inherited or cheaply-purchased instruments. Band members CHRIS CONNELLY, SIMON MCGLYNN, ANDY MCGREGOR, DAVIE MILLER, PHILIP PINSKY, and JOHN VICK haunted the cold, damp warrens of the Niddry Street and Blair Street rehearsal rooms, just off the high street in Old Town Edinburgh.

Audrey Golden in conversation with David Eastaugh https://store.whiterabbitbooks.co.uk/products/shouting-out-loud https://www.amazon.co.uk/Shouting-Out-Loud-Lives-Raincoats/dp/1399624865 Art students Gina Birch and Ana da Silva formed The Raincoats in 1977. Since the release of their seminal early records, the 'godmothers of grunge' have been revered by punk, queer, feminist and indie pop artists alike. The Raincoats reimagined the nature of experimental music and DIY design and went on to inspire Sonic Youth, Nirvana, and an entire generation of Riot Grrrl and queercore musicians. Shouting Out Loud: Lives of the Raincoats tells their astonishing story in three extraordinary lives. In The Raincoats' first life, they recorded three full-length albums now regarded as classics and were the first punk band to play behind the Iron Curtain in Warsaw. Nearly a decade later in 1992, the band's second life took off when Kurt Cobain's love of the band catalysed their renaissance.    

Steve Avo Lindsey in conversation with David Eastaugh  https://linktr.ee/steveavolindsey A nervous suitor, a guitarist at the end of his Strat and his tether, wistful ex-partners on a work trip to Wales. Art school Futurists and singalongs in Cooper's Bar, Denmark Street and suburbia's (two) ups and downs – and earbudded Londoners on the Tube, sailing away on their own private playlists. “In my head,” confides STEVE ‘AVO' LINDSEY, making his solo long-playing debut just five decades into his music career, “this sounds like a Nick Lowe album.”   But given that PING is the work of the Wirral-born bassist of DEAF SCHOOL and frontman of new wave chart act THE PLANETS who would later become a music exec known for his ears and acumen, it's hardly surprising that these twelve tracks offer more than just fond footnotes to Lowe.   Factor in Lindsey's love of Donald Fagen and Jimmy Webb, Arctic Monkeys and Tom Waits, Todd Rundgren and Nashville-style storytelling, and his lo-fi, groove-driven takes on Motown, and you'll have an idea of what to expect from this joyful, playful, gorgeously varied sheaf of love letters to music and Merseyside, sweaters and Swordfishtrombones.   Listen to tracks like the finger-clicking soul of ‘Beautiful 45' and the bottoms-up vaudeville of ‘Cheers My Dears', the rockaway baroque pop of ‘Royal Iris' and the sultry Latinisms of ‘To Know You Better', and you'll also hear warm and winning musical contributions from family and friends: Lindsey's daughter Uainín Lindsey on backing vocals; the late Tony ‘Wims' Wimshurst, ex-Planets and Nasty Pop, on lead guitar; and drummer Josh McCartney, the nephew of a local lad named Paul.   But first, some back story. When Deaf School invented itself in 1974 at Liverpool College of Art, Lindsey, one of two Steves in the band, modestly opted for the moniker Mr Average. Deaf School would become (nearly) famous for its extravagant Sparks-via-Kurt Weill pop and its distinctly un-average cast of sirens, showmen, keyboard philosophers and future superstar producers.

Jon Poole in conversation with David Eastaugh A multi-instrumentalist, he is best known for his work as guitarist for Cardiacs and as bass player for the Wildhearts and Lifesigns. Poole is the frontman and main performer of God Damn Whores, co-fronts the Dowling Poole with Willie Dowling, and has released two solo albums. He has also been a member of Ad Nauseam and Dr Brighton, and worked with the bands Ablemesh, La Momo, Crayola Lectern, Two Worlds Collide and Celebricide (as well as various projects founded by Ginger Wildheart),

Peter Bruntnell in conversation with David Eastaugh https://peterbruntnell.co.uk/ In the early 1990s, Bruntnell returned to the UK and formed the band Milkwood, although he soon reverted to solo work and recordings with Matt Backer and Felix Harper as the Peter Bruntnell Combination. He was signed by Almo Sounds, who issued his debut album, Cannibal, in 1995. He recorded a second album for Almo, Camelot in Smithereens (1997), before moving to the Slow River label for his 1999 album Normal for Bridgwater.

Jesse Hartman in conversation with David Eastaugh www.facebook.com/laptoptheband http://laptoptheband.bandcamp.com www.laptoptheband.com Laptop is the pioneering electro-pop project from Jesse Hartman — the sharp-witted New York songwriter who first made waves as a teenage guitarist/keyboardist on Richard Hell's 1990 legendary tour of Japan, then again in the '90s as the front man of indie rock duo Sammy (with guitarist Luke Wood, Geffen/Fire Records). After Sammy's brief but buzzy run (two albums: Debut Album on Sonic Youth's Smells Like Records/Fire Records in the UK and Tales of Great Neck Glory on Geffen/Fire), Hartman shifted gears, re-emerging in 1997 under the name Laptop with a sound that was years ahead of its time: sarcastic synth-funk, deadpan vocals, and emotionally raw themes filtered through cold drum machines and warm analog nostalgia.      

Ken Sweeney in conversation with David Eastaugh https://www.facebook.com/needlemythology Brian formed in 1989 comprising Ken Sweeney (ex Instant Party) and Niall Austin. Often said to be named in honour of suave Blades' bassist Brian Foley. They released a single on their own label and then relocated to London where a second single was recorded. Response to both singles was good and the band was signed to London Irish label Setanta Records. Niall Austin decided to leave around this time and Brian became essentially a solo vehicle for Ken Sweeney. Keith Cullen liked the demos for the debut LP so much Setanta released them unadorned as "Understand" in 1992. A follow up EP "Planes" came out the same year but there was then a lengthy silence, during which Ken Sweeney returned to Ireland, in 1995. The second album "Bring Trouble" finally emerged in 1999, recorded by a four man lineup of Ken Sweeney (guitars), Marcus Holdaway (keyboards), Mitsuo Tate (bass) and Vinnie Lammi (drums). Response to this more upbeat version of Brian was less immediate and Brian haven't recorded since. 

Annabella Lwin in conversation with David Eastaugh https://www.annabellalwin.com/ Bow Wow Wow signed a recording contract with EMI Records in July 1980, and released their first single, "C·30 C·60 C·90 Go!", shortly afterwards. Originally only released on cassette, it was the world's first-ever cassette single. EMI did not promote the cassingle due to lyrics ("Off the radio I get constant flow/Hit it, pause it, record and play/Turn it, rewind and rub it away") that promoted home taping during an era when music piracy was a hot button issue and the use of cassette recorders to record music from the radio was still a controversial practice.

Richie Stotts in conversation with David Eastaugh https://www.richiestotts.com/ New York City born musician who began writing and performing in a fledgling 1970s NYC band named “The Numbers”. Richie's songwriting skills and lead guitar playing experience ultimately lead to him becoming one of the founding members of the groundbreaking and inimitable punk/metal group, Plasmatics. In 1978, Richie was among the earliest musicians to sport a Mohawk, taking inspiration from the Travis Bickle character in the movie Taxi Driver. 

Sananda Maitreya in conversation with David Eastaugh  https://sanandamaitreya.com/ https://www.youtube.com/SanandaMaitreya Artist, composer, arranger, producer, multi-instrumentalist, entrepreneur and Post Millennium Rocker, SANANDA MAITREYA was born in New York U.S.A. on March 15th 1962. n 1987 his debut album “Introducing the Hardline”, gives him International success. Sananda wins a Grammy Award in 1988 as Best R&B Vocal Performance, Male.In June 1988 he is on the cover of Rolling Stone Magazine and he is nominated “Top International Newcomer” at the British Awards. In the following years 3 studio albums are published: “Neither Fish Nor Flesh” in 1989, “Symphony or Damn” in 1993 and “Vibrator” in 1995.The albums have many famous songs including the soundtracks of various legendary Hollywood movies such as: ‘Beverly Hills Cop III', ‘Prêt-à-Porter', ‘The Promised Land', ‘The Fan', ‘Shake Rattle & Roll', ‘Frankie & Johnny'. 

Guy Mankowski in conversation with David Eastaugh  https://iknowhowtolive.substack.com/p/welcome-to-i-know-how-to-live-the

Dorothy Max Prior in conversation with David Eastaugh  https://www.roughtrade.com/product/dorothy-max-prior/sex-is-no-emergency-adventures-in-a-post-punk-wonderland Further adventures in psychedelic rock, ballroom dancing, performance art, and parenting in 1980s Britain. Further adventures in a post-punk wonderland from the author of the acclaimed 69 Exhibition Road. In this new volume, focusing on the 1980s, Dorothy Max Prior recalls her days as a ballroom dancing tutor in South Kensington, drumming and touring with infamous experimental pan-sexual psychedelic rock group Psychic TV, exploring London and New York City's queer clubbing undergrounds, the tangled worlds of the UK's indie music scene at the height of its influence, performance art, and parenting.  

Ted Zurkowski in conversation with David Eastaugh https://www.tedzurkowski.com/ https://www.honeywestmusic.com/ted-zurkowski.php An acclaimed member of New York's acting community, Ted Zurkowski is a Lifetime Member of the Actors Studio. He's also been playing in bands and composing songs since his tender, pre-shaving years. In 1994, he and fellow Studio member Lynnea Benson founded the venerable Frog & Peach Theatre Company, one of New York's most popular Shakespeare ensembles. A man of many talents, Ted sometimes found himself serving as Frog & Peach's Lead Actor; sometimes as Director, often as a Producer, and frequently, as a Composer. With a burgeoning musical career, and a great many fish to fry, Ted bid farewell to theatre to return to his first love: playing music and writing songs full time. In 2017, he joined with British rock and roll legend Ian McDonald (King Crimson, Foreigner) to form the band Honey West, releasing their debut album, "Bad Old World".

Noel Burke in conversation with David Eastaugh  https://www.facebook.com/groups/1001217991862133/user/61555741167271/ https://www.facebook.com/groups/1001217991862133 Irish singer, who is best known for replacing Ian McCulloch as the lead singer with Echo & the Bunnymen from 1989 to 1993. Burke's first band was St. Vitus Dance, who released the album Love Me, Love My Dogma in 1987. The band split and Burke was contacted by Will Sergeant, who invited him to join Echo & the Bunnymen as lead vocalist. The band released Reverberation (1990)  In 2005, Burke reformed St. Vitus Dance for some live shows. An album of new material, Glyphotheque, was released in 2008.

Richard James Burgess in conversation with David Eastaugh  https://landscape.band/ https://landscapeband.bandcamp.com/ English musician, singer, songwriter, record producer, composer, author, manager, marketer and inventor. Burgess's music career spans more than 50 years. He came to prominence in the early 1980s as co-founder and co-lead singer of the synthpop band Landscape, which released a top-5 hit in 1981 with the single "Einstein a Go-Go". Burgess is one of the main composers of Landscape's music, and made major musical and lyrical contributions to the band's songs. After the band's break-up he pursued a brief solo career releasing one mini-album, Richard James Burgess in 1984. He launched his career as a producer with Spandau Ballet's debut UK hit "To Cut a Long Story Short", the first commercial success for the hitherto underground New Romantic movement. Burgess currently serves as the President and CEO of A2IM: American Association of Independent Music.

Chris D in conversation with David Eastaugh  Chris D. (born Chris Desjardins) is an American punk poet, singer, writer, rock critic, producer, and filmmaker. He is best known as the lead singer and founder of the early and long-running Los Angeles punk/death rock band the Flesh Eaters. The Flesh Eaters were a staple of the L.A. punk scene in the 1980s.[7] The band played alongside seminal bands like The Misfits and The Meat Puppets.[3] A number of original Flesh Eaters releases, like River of Fever, were recorded through Shakeytown Music/BMI.[4] Others were produced by Upsetter, Invasion/Bomp, Zippo/Demon or SST. From 1989 to 1993 and from 1997 to 2000, Desjardins performed live with varying line-ups of The Flesh Eaters. During the first of these periods, three more albums came out on SST Records: Dragstrip Riot (1991), Sex Diary of Mr. Vampire (1992), and Crucified Lovers in Woman Hell (EP - 1993).Two additional albums, Ashes of Time (1999) and Miss Muerte (2004), were released.  

Reinhold Heil in conversation with David Eastaugh https://reinholdheil.com/ German musician, producer, and film and television composer. He initially achieved success in Germany as a member of the post-punk and Neue Deutsche Welle groups Nina Hagen Band, Spliff and Nena, and later as a music producer. As a film composer, he is known for his collaborations with director Tom Tykwer, on films such as Run Lola Run (1998), Perfume: The Story of a Murderer (2006), The International (2009), and Cloud Atlas (2012). 

Paul Marko in conversation with David Eastaugh  https://punk77.co.uk/ https://www.facebook.com/punk77UK/?locale=en_GB A history of UK Punk Rock from 1976-79: Featuring bands, fashion, Club & Pubs, history, fanzines & features   

Rob Janicke in conversation with David Eastaugh https://www.robjanicke.com/ HAVE I GOT A LITTLE STORY FOR YOU...   The year was 1984. I was eleven years old and popular music was in a state of confusion. Along with songs by artists I liked such as Van Halen, Prince, Quiet Riot, Duran Duran, Billy Idol, and The Police, Top 40 radio constantly played songs from bands or artists that didn't quite do it for me. Apologies to Kenny Loggins, Phil Collins, Bananarama, Wang Chung, and Ray Parker Jr.   Due to the divorce of my parents and telling my mom that I was so unhappy that I no longer wanted to live, I was now a couple of years into therapy. It was around this time that I really began to find solace in music. The mid to late '80s gave me hope. Rap, punk rock, and alternative music befriended me at a time when I needed them the most.   A mixtape from 1989, courtesy of a high school friend, opened my soul to the music that would change my life forever- the gritty sound of grunge.   I know that this experience is not unique to me or my life. History has shown that millions of Gen X kids who were going through some heavy times in the late '80s and early '90s, found comfort in the grunge and alternative music and culture that came first from Seattle, then the world. Music can save lives; we are proof of that. This book and that sentiment is for the SLACKER in all of us. - Rob Janicke, author of Slacker  

Jon Klein in conversation with David Eastaugh In 1980, he formed Bristol band Specimen with Ollie Wisdom and Kev Mills. In 1982, after moving in London and renting a place in Soho, Klein co-founded with Wisdom the club the Batcave, which was a party on Wednesday nights at The Gargoyle. Klein and Wisdom then opened a Batcave club night in New-York. In 1987, he became a full-time member of Siouxsie and the Banshees. He recorded three albums with the band, Peepshow in 1988, Superstition in 1991 and the Rapture in 1995.  

Howard Wuelfing in conversation with David Eastaugh https://www.diwulf.com/products/available-for-presale-descenes-and-discords-an-anthology On August 19, 2025, Descenes and Discords: An Anthology will be released, offering a powerful time capsule of the birth and early evolution of punk music through the pages of two influential fanzines: Descenesand Discords. These publications, originally printed and distributed in Washington, D.C. during the late 1970s and early 1980s, captured the raw energy, irreverent spirit, and revolutionary ethos of the underground music scene — the first locally, the second nationally.   Published by writer and musician Howard Wuelfing, Descenes was a hyperlocal chronicle of D.C.'s burgeoning punk, hardcore and new wave communities. It featured scene reports, interviews, and passionate live and record reviews of now-legendary acts like Bad Brains, Slickee Boys, and Half Japanese and dozens of others that never gained national recognition. As vital local music scenes sprung up around the country, Discords picked up the baton with a wider lens — covering bands like Black Flag, Pylon, Circle Jerks, Mission of Burma and many more, all with the same DIY authenticity and zero-corporate gloss.   Descenes and Discords: An Anthology presents full facsimiles of every issue of both zines, preserving the original cut-and-paste layouts, typewritten rants, and Xeroxed charm that defined a generation of independent media. The anthology is enriched with new commentary by Howard Wuelfing, reflecting on the zines' creation and impact. It also includes a transcribed conversation between Wuelfing and Ian MacKaye — the iconic frontman of Minor Threat and Fugazi — where they discuss the fanzine era's role in shaping punk's identity and legacy. A Foreword by esteemed D.C. cultural critic, and contributor to both ‘zines, Mark Jenkins sets the historical stage for readers.

John Ellerby in conversation with David Eastaugh  http://www.waveneyclarion.co.uk/ The Waveney Clarion was a unique publication, born of the Barsham Fairs. A monthly magazine, it hammered away for eleven years at social injustice, music, ecology, beer, art and the best type of potato to grow on your allotment. “The beginning of the Waveney Clarion resulted from the kind of unexpected, fortuitous coincidences that don't come knocking every day, making a venture feel like it is meant to happen and cultivating a sense of inevitability.” Sandra Bell, first editor and founder of the Clarion. Published over a tumultuous decade, the Clarion chronicled an extraordinary period from a perfectly particularperspective – the outlands of rural East Anglia, where coypu were hunted and music, fairs and the fate of our earth seemed to be the only concerns.

Mark Brend in conversation with David Eastaugh http://jawbonepress.com/down-river/ Down River: In Search Of David Ackles is an illuminating study of mythmaking, the popular music industry, and a forgotten enigma of the 1970s. In 1972, David Ackles's third album, American Gothic, was released to a flurry of press plaudits declaring it to be ‘the Sgt Pepper of folk' and one of the greatest records ever made. Yet the album, like its two predecessors, failed to sell, and after one more record, its creator simply vanished. He found work, raised a family, and died a couple of decades later, having never made another record. Today, Ackles's music is largely consigned to the streaming netherworld. It is yet to be properly repackaged and reappraised, and he remains largely unknown. But there is no middle ground. You either love him or you've never heard of him. His admirers range from Black Flag's Greg Ginn to indie polymath Jim O'Rourke to Genesis drummer turned platinum-selling solo artist Phil Collins. In 2003, when Elvis Costello interviewed Elton John for the first episode of his television show Spectacle, the two spoke at some length, and with palpable respect, about Ackles's great talent, before performing a duet of his ‘Down River'—the same song Collins had selected for Desert Island Discs a decade earlier.

Paul Da Vinci in conversation with David Eastaugh https://pauldavinci.com/home https://www.pauldavinci.net/ Paul Da Vinci is best known as the "incredible" voice on the Rubettes' number one selling single "Sugar Baby Love", which sold over 8 million copies world-wide featuring his three and a half octave voice.  Paul sang all the lead vocals on the record, including the high falsetto, and was also lead vocalist on  the B side of the record "You could have told me".  Recorded at 1.30am Lansdowne Studios, Holland Park, London in 1973. He had several other chart successes over the 70's and 80's as a solo artist with his own compositions "Your Baby Ain't Your Baby Anymore" and "If You Get Hurt" which he also produced, and as featured lead vocalist on the  Tight Fit single "Back to the Sixties part II" . 

Jamie James in conversation with David Eastaugh https://shop.bandwear.com/collections/oglio-records-shop/products/ogl048 James was initially known as the leader and founder of the rockabilly trio The Kingbees, active between 1978 and 1982. The group included drummer Rex Roberts and bassist Michael Rummans. The Kingbees recorded two albums with David J. Holman, producing on RSO. The first, titled The Kingbees, (released March 1980) featured the James-penned hit "My Mistake". The second album, titled The Big Rock, was released in March 1981 and also spawned national touring, a performance on Dick Clark's American Bandstand and a cameo role in the movie The Idolmaker. Shortly thereafter the band split up. In 1983 James released a solo EP with Vanity Records titled The Big One. In the late 1980s, James hooked up with noted actor Harry Dean Stanton to form a unique musical ensemble which performed until the year 2000. In 2000 James went on to form the rock and roll band "DQ and The Sharks" featuring actor/musician Dennis Quaid. In 1993 James had also released a solo LP on Schoolkids Records titled Cruel World. In 2000 he released his latest solo LP on Oglio Records, titled Crossroads. Oglio also released a two-album CD issue of the Kingbees first and second LPs.    

Terry Reid in conversation with David Eastaugh https://www.terryreid.com/  

Joe Boyd in conversation with David Eastaugh https://www.joeboyd.co.uk/ https://www.amazon.co.uk/Roots-Rhythm-Remain-Journey-Through  

Chris Stamey in conversation with David Eastaugh https://www.chrisstamey.com/ https://chrisstamey.bandcamp.com/ Anything Is Possible, the latest collection of original material (and one affectionate cover) from North Carolina songwriter / vocalist / guitarist / producer Chris Stamey, an indie rock icon with a long and illustrious history that's encompassed co-founding seminal avant-pop band the dBs, playing with Alex Chilton in the 70s and more recently with Jody Stephens's Big Star Quintet, and recording with the all-star smart-pop outfit the Salt Collective. The new album features special guests such as the Lemon Twigs, Pat Sansone (Wilco), Probyn Gregory (Brian Wilson band), and Marshall Crenshaw among others. The album was produced by Stamey at Modern Recording in Chapel Hill, NC. Anything Is Possible is being released by Label 51 Recordings on 1digital download and streaming platforms today and 12” LP vinyl, CD, August 8.

Gerard Langley & Chris Sharp in conversation with David Eastaugh  https://www.theblueaeroplanes.com/ The Blue Aeroplanes first performed under that name at the King Street Art Gallery in Bristol in 1981. They consisted mainly of former members of Art Objects, with the addition of Nick Jacobs, former guitarist and vocalist of Southampton band the Exploding Seagulls. The Blue Aeroplanes' first album, Bop Art was released on their own Party Records in 1984, and was rapidly picked up by the Abstract (US) and Fire (UK) labels. It contained material that had been considered as a follow-up to Art Objects' only album, Bagpipe Music. Gerard Langley's largely spoken poetic lyrics were combined with a heavily guitar-centric band that went on to release Tolerance (1985) and Spitting Out Miracles (1987) and several singles and EPs whose B-sides were brought together in the compilation FriendLoverPlane (1988), all on the Fire label.

Cara Tivey in conversation with David Eastaugh https://dagoogie.bandcamp.com/album/the-golden-thread https://www.carativey.com/ https://carativey.bandcamp.com Cara Tivey joined Birmingham band Au Pairs as keyboard player in 1983. In 1985, Tivey got her first recording break with Everything But the Girl on Baby the Stars Shine Bright. In 1988, she started working with Billy Bragg on the Workers Playtime album, singing vocals on "Must I Paint You a Picture". She shared the bill with Bragg on the song "She's Leaving Home", which they recorded for the Beatles tribute Sgt. Pepper Knew My Father compilation.  Tivey performed on Bragg's 1990 album The Internationale and on 1991's Don't Try This at Home, before he took a five-year break in recording. Also in 1990 and 1991, Tivey contributed to the Lilac Time's & Love for All and Astronauts albums. During Bragg's hiatus, Tivey contributed to the Music in Colors album by Stephen Duffy in 1993. She also became Blur's live keyboardist during their Modern Life Is Rubbish and Parklife era.

Alan Williams in conversation with David Eastaugh The Rubettes' first and biggest hit was "Sugar Baby Love" (1974) which was a number one in the United Kingdom, going on to sell around 500,000 copies in the UK and three million copies globally. With three more songs, "Sugar Baby Love" was recorded  in October 1973 at Lansdowne Studios in Holland Park, London. "Sugar Baby Love" was their only UK No. 1 and sole US Top 40 entry.