C86 Show - Indie Pop

Tim Blake in conversation with David Eastaugh  http://moonweed.free.fr/ English keyboardist, vocalist, and composer, who is known for working with Gong, Hawkwind and his synthesizer and light performances as Crystal Machine, with the French Light artist Patrice Warrener. Blake met Daevid Allen at Marquee Studios, where the latter was recording his first solo album Banana Moon in 1971. At the end of the sessions, Allen had invited Blake to be Gong's sound mixer, but Blake preferred to work on his own music. He eventually joined Gong full-time in September 1972 as the band's synthesizer player, being among the first to bring the synthesizer out of the studio and on to the stage. He appears on all three albums of the Radio Gnome Invisible trilogy; Flying Teapot, Angel's Egg, and You, in fact Blake is the only composer, apart from the Allen/Smyth partnership, to have written for all three of the "Trilogy" Albums, making him one of Gong's most important composers. He left Gong in early 1975.

Jim Shepherd in conversation with David Eastaugh  https://preciousrecordingsoflondon.bandcamp.com/album/prelp-12-be-careful-what-you-wish-for https://www.facebook.com/thejasmineminks/?locale=en_GB Alongside his pals, Jasmine Minks front man Jim Shepherd has produced his masterpiece. Okay, I guess we might have to call them a 'Creation supergroup' because the Pillars of Creation features a band of mainly former label stalwarts who bring Shepherd's epic to life. Dave Morgan from the Loft (and many others!) is on drumming, mixing and production duties, for example, with Frank Sweeney and Arash Torabi from the June Brides also on the team. (OK, the June Brides never released a record on Creation but let's not quibble here … and Frank is indeed on any number of records by the likes of Primal Scream and Felt etc). Ruth Tidmarsh and Innes Mackintosh complete the crew. They've produced a brilliantly memorable album – not far off a concept album of sorts, albeit with the title track as the lead digital single (released on Friday). It's distinctive and unique and you won't want to miss it. Includes unlimited streaming of PRELP 12: Be Careful What You Wish For via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.  

Phillip Johnston in conversation with David Eastaugh https://phillipjohnston.com/ American saxophonist, composer, and author. He came to prominence in the 1980s as co-founder of The Microscopic Septet and went on to write extensively for films, particularly new scores for classic silent films from the early 20th Century.  

Tracey Belland in conversation with David Eastaugh  https://www.voiceofthebeehive.com/ The group featured Californian lead vocalist sisters Tracey Bryn and Melissa Brooke Belland (daughters of The Four Preps singer Bruce Belland). They teamed with British musicians Mike Jones, Martin Brett, and Daniel Woodgate – a former member of Madness. The band took their name from the Greek meaning of the name Melissa, meaning honey bee.  

Chris Musto in conversation with David Eastaugh  https://www.facebook.com/chris.musto.12 British drummer, designer, production and stage manager from London. Creative director from 2009 to 2011 at The Mustard Laboratory  

Richard Langston in conversation with David Eastaugh https://feralhouse.com/the-clean/ https://www.amazon.co.uk/Clean-Dreamlife-Need-Rubber-Soul/ In 1978 in Dunedin , New Zealand, the Kilgour brothers, Hamish and David, and their schoolfriend Peter Gutteridge, got together to form a band called The Clean. When Robert Scott joined in 1980, the band found a combination that endured for nearly forty years. The Clean profoundly changed alternative music: hitting the New Zealand charts for months with a single made for 50 dollars, 'Tally Ho!'; helping establish Flying Nun and a music scene independent of the big labels; pioneering a low-fi, do-it-yourself approach to rock music; and touring internationally to influence bands like Pavement and Yo La Tengo. Raw and immediate, this is the story as told by members of The Clean and their inner circle - fellow musicians such as Chris Knox, Martin Phillipps, Graeme Downes and Ira Kaplan, friends and family, pub promoters and sound engineers, and their good friend, Richard Langston. From teenagers in a Dunedin practice room to New York City on 9/11 - this is the band's history as it unfolds.

Gina Volpe in conversation with David Eastaugh https://www.youtube.com/watch?v=NbZBwi0Y3Ao https://www.lunachicks.com/ Theo Kogan, Gina Volpe, and Sydney "Squid" Silver were students at New York City's Fiorello H. LaGuardia High School of Music & Art and Performing Arts when they decided to form a band. Sindi Benezra, an acquaintance of Silver, was asked to join shortly after. They rehearsed and wrote material in Gina's bedroom for about a year. Their first composition, the lengthy "Theme Song", was about killing Kogan's and Silver's English teacher. The band played their first show in 1988 with Theo's then-boyfriend Mike on the drums.

Juno Reactor  in conversation with David Eastaugh  https://junoreactor.bandcamp.com/album/mona-lisa-overdrive-reaky-reakson-remix https://www.junoreactor.com/ In a powerful convergence of cinematic legacy and contemporary electronic music artistry, Juno Reactor (aka Ben Watkins) have released a stunning new remix of their iconic track ‘Mona Lisa Overdrive' as a single today. Originally composed and scored for the 2003 movie ‘The Matrix Reloaded', it has now been reimagined by the Slovenian DJ and producer Reaky Reakson.  

Nikki Corvette in conversation with David Eastaugh  https://www.facebook.com/nikki.corvette/ This Detroit punk-pop outfit – formed in 1977 – was led by the Nikki Corvette and guitarist Peter James. They had a sound somewhere between The Go-Go's and The Ramones, with bubblegum teenage libido maxed out with a dose of The Shangri La's. Led by a “new wave Betty Boop,” to quote one review, this group offered great sounds and sex appeal. Combining those undeniable elements of energy and enthusiasm. The group disbanded in 1981, though Nikki returned in the 21st century as Nikki Corvette & The Stingrays – a band incorporating Travis Ramin on guitar, Georgia Peach on bass and Johnny O'Halloran on drums.  

Anne Richmond Boston in conversation with David Eastaugh  https://annerichmondboston.bandcamp.com/album/i-should-be-happy Back in the late 70s Anne Richmond Boston was a part of a then up-and-coming, young new-wave band called The Swimming Pool Q's—a band that would find a spiritual home alongside contemporaries like fellow Georgians The B-52s and R.E.M. In 2026 Boston is still (bar a few years when she had moved on from the band) playing shows as a member of the band. Indeed The Swimming Pool Q's have some shows coming up this May, information for which you can get here from their website. But there's another story to be told here. The story of how Boston set out to record the follow up to her debut solo record The Big House Of Time, only for that album (I Should Be Happy) to remain unfinished and unreleased for more than 30 years on from its original recording sessions.

Gary Lachman in conversation with David Eastaugh https://www.amazon.co.uk/Touched-Presence-Blondies-Bowery-Occult/dp/B0DSV388DQ https://www.gary-lachman.com/ https://garylachman.co.uk/ In this memoir, Lachman recounts how he went from being a successful rock and roller to a writer on consciousness and the Western inner tradition. He shares encounters with rockers such as the Ramones, New York Dolls, Patti Smith, the Rolling Stones, David Bowie, and Iggy Pop and also his time with Timothy Leary, William Burroughs, and Allen Ginsberg. Living with Blondie's Debbie Harry and Chris Stein on New York's Bowery, a block from CBGB, the birthplace of punk rock, Lachman discovered occultism via a follower of Aleister Crowley. Post rock and roll, Lachman's occult studies brought him to the Golden Dawn, Manly P. Hall, Gnosticism, and a stint in Crowley's O.T.O. He details his time in the Fourth Way, including a visit to the site of Gurdjieff 's Institute for the Harmonious Development of Man in France, and his years studying philosophy and literature and working as a science writer while managing a famous metaphysical bookshop at the height of the New Age movement. Excursions to Stonehenge, Avebury, and Glastonbury in search of ley lines and pilgrimages to Colin Wilson's home in Cornwall are a few of the highlights of this introspective, often humorous account of a nascent writer's struggle from rock and roll to individuation.

Deanna _ Mia in conversation with David Eastaugh  https://frightwig.org/ Frightwig is an all-female punk rock band from San Francisco, California, formed in 1982 by Deanna Mitchell and Mia d'Bruzzi. The current lineup of Frightwig consists of Deanna Mitchell, Mia d'Bruzzi, Tina Fagnani, and Rebecca Sevrin.

Joan Wasser in conversation with David Eastaugh https://www.joanaspolicewoman.com/ Renowned NYC artist Joan As Police Woman announces her new album “Real Life Evolution”, out June 12 via UK independent Reveal Records -- on CD, Limited Edition exclusive red marble vinyl and digitally. Exactly 20 years since releasing her much-loved debut album "Real Life", she has re-recorded and imagined the album in full with guests including Iggy Pop and Krystle Warren.  Joan Wasser, known professionally as Joan As Police Woman since 2004, is a critically acclaimed musician and producer, dubbed “the coolest woman in pop” (The Times) and “one of the 21st century's best musicians” (The Economist). As a singer, songwriter and multi-instrumentalist, her music defies easy categorization, crafting her own sound that blends various genres. She has released ten albums of original material, two cover albums, and an anthology. Twenty years in the making, this record was developed through countless nights on stage. These new arrangements are brought to life by the musical brilliance of the players who helped define their sound. In order of appearance, it features contributions by Will Graefe, Jeremy Gustin, Tony Scherr, Parker Kindred, Danny Blume, Krystle Warren, Oren Bloedow, Thomas Bartlett and Iggy Pop.

Alistair Jackson in conversation with David Eastaugh  https://www.youtube.com/watch?v=ef0Cw6j70H4 https://www.youtube.com/watch?v=LXMB0fZMhxw https://www.youtube.com/watch?v=xeiRflHxuCA https://www.youtube.com/watch?v=WYyl_FDTE94&t=374s https://www.youtube.com/watch?v=wJGp--gpTOQ A Riot Of Colour were an indie pop band from Swiss Cottage, North London, originally consisting of: Alex Osman (drums) Alistair Jackson (guitar) Dominic Blaazer (bass, vocals, guitar) The band released several singles in the 80's and a compilation album of their work in 2015.    

Andy Allan in conversation with David Eastaugh https://www.facebook.com/andy.allan.1232 https://www.facebook.com/hankdogsband Hank Dogs are an acoustic folk band from South London. The band members are Piano Pace, her ex-husband Andy Allan (formerly of Lightning Raiders and The Professionals), and his daughter Lily Ramona. Their music is considered to be in the English folk tradition. They started out in 1992 at an acoustic club in South London. In 1998 they traveled to Seattle with producer Jon Kertzer and played at the Bumbershoot Festival there. Their first album Bareback, produced by Joe Boyd, was well received and was named Record of the Month for WXPN in Philadelphia. Their third album Fiveways was recorded in 2010 but remained unreleased until 2024 following the break up of the band. The band reunited to celebrate the release.

Mikey Georgeson in conversation with David Eastaugh https://vimeo.com/1160773241?share=copy&fl=cl&fe=ci https://themiddlepeople.bandcamp.com/ With three albums under their collective belt since Mikey Georgeson (David Devant & His Spirit Wife) & António Olaio (Repórter Estrábico) first met in 2024, it is high time for a Best Of The Middle People compilation. Gathering tracks from Revenge Of The Killjoys,Dogmatists In Disguise, and even one from last year's Christmas With The Middle People holiday album, Can You Feel The Moment: Best Of The Middle People also adds a trio of new songs to bring more ‘Art-Pop Joy'.     Introduced through a mutual friend when Olaio was performing in a play in London, the two soon exchanged drawings. Georgeson sending him one titled ‘Losing My Virginity to Time Itself', which ‘sort of set the tone.' “We are both visual artists,” Olaio explains, “both used to putting things together in weird ways. I then asked Mikey to play on a song for an album I was going to make, and we became a band. It was very quick. We do everything very quickly.” The duo's first song, ‘Hello John', was their way of saying hello to each other. “It's not a very nice song,” Georgeson laughs. “It's about two twin brothers that hate each other. But it did feel like a conversation through music. That ambiguity is quite middle. We navigate both good and bad.” 

Steve Nieve in conversation with David Eastaugh  https://events.liveit.io/west-hampstead-arts-club/steve-nieve-kessada/ https://www.stevenieve.com/solo-albums  Musician and composer. In a career spanning more than 40 years, Nieve has been a member of Elvis Costello's backing bands the Attractions and the Imposters, as well as Madness. He has also experienced success as a prolific session musician, featured on a wide array of other artists' recordings. In 2003, he was inducted into the Rock and Roll Hall of Fame as a member of Elvis Costello and the Attractions.

Andy Prince  in conversation with David Eastaugh  https://soundcloud.com/andrew-prince https://www.youtube.com/watch?v=Dna3ykpRUyY https://www.facebook.com/andyprincemusic/?locale=en_GB Experienced bassist and composer Andy Prince writes and performs evocative instrumentals on the Chapman stick. During his musical career, Andy has played bass with many well known bands and solo artists, including Sham 69, Toyah Wilcox, Damo Suzuki, Classix Nouveaux, Rikki and the Last Days of Earth, Jimmy Edwards and the Profile, Random Hold.

Maggie Holland in conversation with David Eastaugh https://www.maggieholland.scot/ English singer and songwriter and became involved in the local folk club scene in the late 1960s. She has played in a number of bands and formed a number of collaborations with other artists, but has become well known in recent times as a solo artist and songwriter. She enjoys singing songs with meaningful words and has named her major influences as Bob Dylan, Al Stewart, Dave Evans, Leon Rosselson, Billy Bragg, Bruce Cockburn and Robb Johnson.

Michael Jung in conversation with David Eastaugh http://www.alicedonut.com/ Alice Donut formed in 1986 after the demise of the Sea Beasts, a band at Columbia University, the name soon trimmed from the initial Alice Donut Liver Henry Moore, a play on Alice Doesn't Live Here Anymore. Ted Houghton, Tomas Antona, Dave Giffen and Tom Meltzer recruited drummer Stephen Moses and quickly found a substantial audience at CBGB. Guitarist Michael Jung soon replaced Meltzer. The band's first commercial release was the Donut Comes Alive album, released in 1988 on Jello Biafra's Alternative Tentacles label, followed in 1989 with Bucketfulls of Sickness and Horror in an Otherwise Meaningless Life.

Jason Collins/Umbrellabird in conversation with David Eastaugh https://www.youtube.com/watch?v=Y5uCjjeIi68 The Roots of the Seers lie in two places; Bristol (obviously) and Billericay (not so obviously). Leigh Wildman grew up in Billericay and it was there he met Jason Collins, a guitarist from nearby Brentwood. They had spent some time in bands around the Essex region and they, along with a few friends, had decided to up sticks and try somewhere else. At the suggestion of one of their number, Bristol was decided upon, and a mini Essex invasion took place in the summer of 1984. Adrian Blackmore, or Age, as he was known, had been in the second wave of Bristol's punk scene, too young to be in bands like the Cortinas, but old enough to be won over by punk's energy. He picked up the drums quickly and formed Lunatic Fringe with fellow Bristol Punk stalwarts Bear Hackenbush and John Finch. The Bristol punk scene in 1984 was a more cider fuelled version of what Crass was peddling, with a very much Do it yourself vibe. Bands squatted venues like the old Beetle Centre on Stokes Croft and encouraged the squatting of disused houses, which many lived in. It was in one of these squatted houses, Turdy Way, named for the amount of dog shit in the house when it was first squatted, that the Essex invasion landed. After a single and some tracks on a few compilation albums, Age had left Lunatic Fringe (very amicably) and started jamming with Leigh and another of the Essex invasion, Marc Hymas, in a loose knit band called Death Machine. Influenced by T-Rex and Hawkwind, they played a few gigs at the Demolition Ballroom (the name given to the squatted Beetle Centre). After a while, Marc decided he wanted to do something else and played Saxophone with Pigbag sound-a-likes Animal Magic. Leigh and Age decided they liked playing together and enlisted Jason on bass guitar and vocals. Getting more focused, and deciding to add some shared influences in the form of 60's Garage bands they enrolled a singer, Dean Strange, with Jason providing backing vocals.  

Richard Barbieri in conversation with David Eastaugh  https://richardbarbieri.bandcamp.com/ ‘Hauntings' is Richard Barbieri's first studio album since 2021's ‘Under A Spell' and deepens the pensive, dark instrumental aesthetic of its predecessor. A diverse collection of immersive sound worlds, both dark and uplifting in equal measure, ‘Hauntings' is influenced by a nostalgia for the past and future, and for things that didn't happen yet still manage to haunt the mind and soul. What is real and what is simulation?   Richard Barbieri remains one of contemporary music's most distinctive voices. Emerging as a key architect of the late '70s/'80s synthesiser revolution with David Sylvian's art-rock ensemble Japan, his visionary synthesiser programming expanded the horizons of electronic music and left a lasting mark on artists from The Human League and Duran Duran to Gary Numan and Talk Talk. His subsequent and ongoing tenure with Steven Wilson's legendary progressive outfit Porcupine Tree across albums such as In Absentia (2002), Fear Of A Blank Planet (2007) and, most recently, Closure/Continuation (2022) further affirmed his status as one of the most intuitive and unique musicians of his generation.   The album finds Barbieri at the height of his powers, his deft keyboard and sonic architecture conjuring a shadowy, creeping Lovecraftian atmosphere. The music wanders through the streets of a gloomy lamp-lit Victorian London and drifts into grain-speckled snapshots of Belle Époque Paris. These journeys into the past are contrasted with nihilistic but euphoric forays into the future, “Traveler” and “A New Simulation” bristling with the itchy modern anxiety that often runs through his best work.   Contrasting the sound designs and electronics of Barbieri, the album features performances from renowned musicians Morgan Agren (drums and percussion), Percy Jones (bass guitar) and Luca Calabrese (trumpet).

Momus in conversation with David Eastaugh  https://imomus.com/ https://www.youtube.com/channel/UCwH79Z9-WQe2jwaHCK_Cgpg https://momus3.bandcamp.com/ Nicholas John Currie more popularly known under the artist name Momus (after the Greek god of mockery), is a Scottish musician and writer. For over forty years he has been releasing albums on labels in the United Kingdom, the United States, and Japan. In his lyrics and his other writing he makes use of continental philosophy, and has built up a personal world he says is "dominated by values like diversity, orientalism, and a respect for otherness".[2]  

Roddy Bottum in conversation with David Eastaugh  https://www.amazon.co.uk/Royal-We-Memoir-Roddy-Bottum/dp/1636142699 THE ROYAL WE is a poetic survey of a time set in a magical city that once was and is no more. It is a memoir written by Roddy Bottum, a musician and artist, that documents through prose his coming of age and out of the closet in 1980s San Francisco, a charged era of bicycle messengers, punk rock, street witches, wheatgrass, and rebellion. The book follows his travels from Los Angeles, growing up gay with no role models, to San Francisco, where he formed Faith No More and went on to tour the world relentlessly, surviving heroin addiction and the plight of AIDS, to become a queer icon. The book is an elevated wallop of tongue and insight, much more than a tell-all. There are personal tales of historical pinnacles like Kurt and Courtney, Guns N' Roses, and recaps of gold records and arena rock - but it's the testimonies of tragedy and addiction and preposterous life-spins that make this work so unique and intriguing. Bottum writes about his dark and harrowing past in a clear-eyed voice that is utterly devoid of self-pity, and his emboldened and confident pronouncements of achievement and unorthodox heroism flow in an unstoppable train that's both captivating and inspirational. A remarkable portrayal of a creative individual in emergence, a gay man figuring out how to be a gay man, and a detailed look at the nuance of 1980s pre-tech boom San Francisco, The Royal We will be greatly appreciated by people who loved Kathleen Hanna's Rebel Girl, Patti Smith's Just Kids, Hua Hsu's Stay True, and other memoirs about the artist's life.

Rob Tannenbaum in conversation with David Eastaugh https://www.cherryred.co.uk/various-artists-cbgb-a-new-york-city-soundtrack-1975-1986-4cd?srsltid=AfmBOoohm1glA9ey7r6K1osC9drIJOO4YZT5Q0P6y6vXPapBUTVMN2ig “CBGB was a place for the dirty people.” - Jimmy Destri of Blondie “Afterwards, I took off and went crosstown to CBGB's, the stronghold of the unknown, to be with my own people.” - Patti Smith In December 1973 Hilly Kristal changed the name of his roots music bar from Hilly's on the Bowery to CBGB and altered his musical policy to hire mostly rock bands. He was indifferent to many of them (“No one is going to like you guys, but I'll have you back,” he told Joey Ramone), blissfully unaware of how important his scruffy little club would soon become. In the span of only 15 months, the five groups that comprise the CBGB's pantheon all debuted: Television in March 1974, followed by Ramones in August and Blondie in October, then Patti Smith in February 1975 and Talking Heads four months later. Those five groups all quickly got record deals and became popular enough to outgrow CBGB's. By the fall of 1977, Smith was the only one who was still playing there. What succeeded the Big Five was an array of new and retro styles, all of which feature here: No Wave (Sonic Youth, Mars, DNA, Bush Tetras), post-punk (Ritual Tension, Unknown Gender, Khmer Rouge), mutant funk and R&B (James Chance & The Contortions, Mink DeVille), art-rock bands (R.L. Crutchfield's Dark Day, The Revelons, Erasers, Jeff and Jane Hudson) hardcore punk (Minor Threat, Bad Brains, Vatican Commandos, Beastie Boys), and lots of power pop (Sorrows, The dBs, The Rudies, The Miamis, The Paley Brothers) . The club's best-known bands are present on this compilation but we've also revived interest in dozens of unfairly forgotten acts that, for a moment in time, made an album, EP, 45, or even a demo that crackled with innovation, wit, and joy. CBGB no longer exists, at least not in the physical plane, but what happened between those soot-filled, beer-stinking walls continues to reverberate around the world.

Dominic Blaazer in conversation with David Eastaugh  https://www.youtube.com/watch?v=LXMB0fZMhxw https://www.youtube.com/watch?v=ef0Cw6j70H4 https://dominicblaazer.bandcamp.com/

Adele Bertei in conversation with David Eastaugh  https://www.roughtrade.com/product/adele-bertei/no-new-york-a-memoir-of-no-wave-and-the-women-who-shaped-the-scene In 1975 a young queer singer from Cleveland meets photographer Nan Goldin - an encounter that will lead them to New York's bombed-out downtown, where something unprecedented is brewing. At Max's Kansas City and CBGBs, in derelict lofts and underground clubs, a generation of visionary women artists is rewriting the rules of creativity, sexuality, and power. Adele Bertei didn't just witness the No Wave explosion-she ignited it. As acetone organist for the Contortions and Brian Eno's assistant, she was at the epicenter when punk collided with post-punk, birthing a counterculture that fused music, art, cinema, fashion and outlaw literature into an uncompromising explosion of creativity. While mainstream culture wallowed in sexism and homophobia, these artists and more created something fluid, fierce, and transgressive. Raw, gripping, and illustrated with rare photographs from personal collections, No New York is the definitive insider's account of the women who obliterated every barrier in their path, taking you deep into the artistic and sexual experimentation of an era when true expression mattered more than money or fame.

Ben Vaughn in conversation with David Eastaugh  https://benvaughn.org/ https://www.straightfromthehat.com/ https://lnkfi.re/SFTH Ben Vaughn grew up in the Philadelphia area on the New Jersey side of the river.  At age 6, his uncle gave him a Duane Eddy record and forever changed his life. In 1983, he formed the Ben Vaughn Combo.  The band was together five years, releasing two albums and touring the U.S. several times.  They received rave reviews in Rolling Stone and People magazine and video airplay on MTV.  The attention inspired Marshall Crenshaw to record Ben's "I'm Sorry (But So Is Brenda Lee)" for his "Downtown" album. Ben embarked on a solo career in 1988, recording several critically acclaimed albums, touring extensively in Europe and the U.S. and receiving more MTV exposure.  During that period he produced three records for the Elektra Records American Explorer series (Memphis rockabilly legend Charlie Feathers, Muscle Shoals country soul singer Arthur Alexander) and recorded "Cubist Blues," a collaboration with Alan Vega and Alex Chilton.  He also scored two films ("Favorite Mopar" and "Wild Girl's Go-Go Rama"), as well as appearing as a frequent guest commentator on nationally syndicated radio shows “Fresh Air” and "World Cafe."   

Chris Anderson in conversation with David Eastaugh  https://crayolalectern.com/n-e-w-s https://crayolalectern.bandcamp.com/ Departure Lounge was initially known as Tim Keegan & Departure Lounge, reflecting the fact that the band evolved from a solo project and Tim Keegan was the singer and main lyricist. They released an album under this name in 1999 (the US version with different tracklisting as Departure Lounge in 2000), Out of Here, which received warm reviews in both the general and music press (subsequent re-releases of the CD have changed the name to simply Departure Lounge). 

Kevin Cann in conversation with David Eastaugh  https://www.kevincann.com/ https://www.theguardian.com/music/gallery/2011/mar/09/david-bowie-in-pictures https://www.amazon.co.uk/Any-Day-Now-London-1947-1974/dp/0955201780  

Peter Yarmouth in conversation with David Eastaugh https://blackandbluerecords.com/hom https://www.youtube.com/watch?v=Pik16Mpn6Lw https://www.youtube.com/watch?v=-izEjeVZCX4    

Michael Hampton in conversation with David Eastaugh  https://michaelhampton.bandcamp.com/album/into-the-public-domain-2 https://www.youtube.com/@MaWaHa Among Hampton's Funkadelic writing credits are group staples like “Who Says a Funk Band Can't Play Rock?!” and “Funk Gets Stronger”, both released during the group's late-'70s/early-'80s hit run.  Into the Public Domain, an EP produced by 9-time Grammy Award winner and Ruffhouse Records co-founder Joe “The Butcher” Nicolo. A founding father of power-funk electric guitar, Hampton edges into new territory on Into the Public Domain, a meld of rock and world music with jazz and western overtones, hallmarked by Michael's trademark sizzling leads.

Ben Cardew in conversation with David Eastaugh  https://www.amazon.co.uk/Space-Age-Batchelor-Pad-Music/dp/1916829325 http://jawbonepress.com/space-age-batchelor-pad-music/ Stereolab are one of the most fascinating guitar groups of the past fifty years, a source of constant reinvention and illuminating contrasts, where political ideology meets the sweetest pop melodies and driving guitars rub along with space-age jazz. They are perhaps the greatest Anglo-French collaboration since Concorde—a hugely respected, highly influential group whose fan base grows larger by the year, stretching from chart-topping hip hop artists to underground indie stars. And yet their appeal remains elusive. What kind of music do Stereolab make? What's their best album? Their greatest song? There are no easy answers. In writing this book, Ben Cardew spoke to more than fifty people from the Stereolab universe to trace the history of the band from the depths of 90s indie London to their all-conquering reunion tour of 2025. Using twenty of their songs as jumping-off points, he examines in loving detail what makes this most fascinating band work, unpicking the cultural references, stylistic contradictions, and brilliant ideas at the heart of the group.

Martin Dupont in conversation with David Eastaugh https://martindupont.bandcamp.com/music https://www.youtube.com/watch?v=k5nAMbEQwu8 https://www.youtube.com/watch?v=3i9pxew6-Xg A French group from Marseille formed in 1980, consisting of Alain Séghir, Beverley Jane Crew, Brigitte Balian, and Catherine Loy. The music they made was colorful, enthusiastic and delicate, but also melancholy and mysterious. A mixture of hot and cold, light and dark. They made electronic music that incorporated guitars and clarinets, though described as New Wave they truly transcended genres.   less

Ramona Carlier in conversation with David Eastaugh https://www.youtube.com/watch?v=S0JCoMYpiA0 Mo-dettes were a multinational all-female post-punk band, formed in 1979 by guitarist Kate Korris, an original member of the Slits and brief member of the Raincoats, and bassist Jane Crockford, a former member of Bank of Dresden. Ramona Carlier (vocals) and June Miles-Kingston (drums) completed the line-up.

Jeff Bright in conversation with David Eastaugh  https://www.jeffreyalanbright.com/ https://thepleasurespale.bandcamp.com/ https://jeffbrightthesunshineboys.bandcamp.com/ The Pleasures Pale was an influential indie quartet+ based in Dayton, Ohio, active from 1985 to 1987. Often compared to UK groups of the era, TPP's influences can now be read as more diverse — taking cues from post-punk, rockabilly, swing, Motown and Dayton funk. A band for misfits, their extensive, lyric-driven output sought to light a way through the rust belt's post-industrial bleakness.

David Bash in conversation with David Eastaugh  https://internationalpopoverthrow.com/ The International Pop Overthrow Music Festival was created in December 1997. The name was chosen to pay tribute to Jim Ellison, singer songwriter of Material Issue, a power pop band from Chicago, whose 1991 debut album was entitled International Pop Overthrow. In August 1998, the first International Pop Overthrow festival was held in Los Angeles, featuring 120 pop and rock bands from Los Angeles, several other US cities, and 10 bands from five countries: Canada, Australia, Sweden, France, and the Netherlands. Over the next three years, its roster grew to include bands from countries such as Japan, Norway, Austria, Israel, and the United Kingdom. At the 2001 festival, during a panel discussion, it was suggested by several bands that Bash take International Pop Overthrow on the road

Shayne Carter in conversation with David Eastaugh  https://shaynepcarter.bandcamp.com/ https://www.lifeinonechordfilm.com/ https://www.theguardian.com/music/2025/dec/03/shayne-carter-documentary-life-in-one-chord-film-review New Zealand musician best known for leading Straitjacket Fits from 1986 to 1994, and as the only permanent member of Dimmer (1995–2012). Carter is a member of the New Zealand Music Hall of Fame, and has been awarded the New Zealand Herald Legacy Award (with Straitjacket Fits at the 2008 New Zealand Music Awards), and the recipient of several Aotearoa Music Awards including best band, album and top male vocalist with Straitjacket Fits and Dimmer.    

Harold Bronson in conversation with David Eastaugh  https://mogandavidandhiswinos.bandcamp.com/album/savage-young-winos Out of circulation since 1976, the recordings of the Los Angeles rock band Mogan David and His Winos is finally be available again. The group's lineup featured a 'who's who' of heavyweights in the American music industry, including Harold Bronson and Richard Foos (co-founders of Rhino Records), Paul Rappaport (Columbia Records), and Mark Leviton (Rhino/Warner Music Group). Additionally, the band included Jonathan Kellerman, a New York Times bestselling author known for his series of novels starring the fictional child psychologist Alex Delaware. Started in high school by Bronson, a music-obsessed Los Angeles native, the Winos' band name was derived from Westfield, New York's Mogen David Wine Company, inspired by those crazy band names from the psychedelic era, such as Jefferson Airplane and Strawberry Alarm Clock.  

John Andrew Fredrick in conversation with David Eastaugh  https://theblackwatch.bandcamp.com/ https://www.bluematterrecords.com/copy-of-debbie-the-millbanks https://www.facebook.com/theblackwatchmusic/?locale=en_GB The Black Watch was formed in 1987 by John Andrew Fredrick in Santa Barbara, California, and he has been (and still is) it's guiding light. They have released 25 albums over the last 38 years and show no sign of ageing. With a fantastic band behind him, John has presented us with a wonderful batch of songs ranging from mesmeric psych to indie/punk. In late 2025 John paid a brief visit to the UK to see friends and also to do a couple of live acoustic performances.  The Bevis Frond was lucky enough to share the bill with John at London's Betsey Trotwood for a wonderful evening of acoustic revelry. Not only is he a hugely talented musician/songsmith, but a thoroughly decent fellow. It's a true privilege to be able to put out ‘Varied Superstitions' on our label. The LP will come out on purple vinyl with a lyric insert, and there will also be a CD version.  

Alexander Larman in conversation with David Eastaugh https://www.simonandschuster.co.uk/books/Lazarus-The-Second-Coming-of-David-Bowie/Alexander-Larman/9781917923446 Lazarus: The Second Coming of David Bowie is the first biography of Bowie that tells the full and candid story of what happened in between those two apparently unbridgeable points. With new and exclusive interviews with the musicians, filmmakers and cultural figures who worked with and befriended Bowie throughout this period, Lazarus is the definitive account of the previously overlooked and fascinating latter half of a great and distinguished career. A career that climaxed with his final masterpiece, Blackstar, and the unprecedented theatrical flourish of his departure from the stage as he passed into legend.

Roger Fisher in conversation with David Eastaugh  https://www.rogerfisher.com/ The band Heart started out as Army in 1967 in Seattle, Washington, formed by bassist Steve Fossen and brothers Roger and Michael Fisher. The group went by the names Army, Hocus Pocus, and White Heart before settling on just Heart in the mid-1970s. Ann Wilson joined the band in 1970 and Nancy in 1974; romances sprang up between the Fisher brothers and Wilson sisters, with Mike dating Ann and Roger dating Nancy. Heart rose to fame following the release of their debut album, Dreamboat Annie, in 1976. Follow-up albums Little Queen, Magazine, and Dog and Butterfly also sold well. Following the release of the Dog and Butterfly album, the Roger Fisher / Nancy Wilson romance came to an end. In October 1979, Fisher quit the band.

Heitham in conversation with David Eastaugh https://www.senser.co.uk/ https://senser.bandcamp.com/album/sonic-dissidence-2 In 1993, Senser released two indie singles on Ultimate – "Eject" and "The Key". The latter would appear on NME Singles of the Week 1993 album. In March 1994, Senser released their third single, "Switch", which entered the UK Singles Chart at number 39. Senser's first album, Stacked Up, was released in May 1994, and entered the UK Albums Chart at number 4.    

Ray Russell in conversation with David Eastaugh  http://tartaruspress.com/ray/fifty-forgotten-records.html Ray Russell was not at the crossroads when Robert Johnson met the devil, and he didn't see Elvis Presley perform live. He wasn't at Woodstock, or Altamont, or on the roof of the Apple Building. To his enduring frustration, he didn't get to see The Sex Pistols in Manchester at the Lesser Free Trade Hall in June 1976, because he was only ten years old. There will be many others who are just as passionate about music as Russell, who also failed to be in the audience at seminal moments in music history. But, like him, they own records that mean the world to them, and have seen bands play who blew them away. The point is, we all treasure our own personal musical histories because they enrich our lives. This book is a celebration of being a committed music fan. He formed a band at seventeen and discovered he couldn't sing. Close friends released a record which used his lyrics, but John Peel played another of their songs. He ran a record label for a month, worked in a record shop and has released a few records of his own music.

Peter Ormerod in conversation with David Eastaugh  In this wide-ranging biography, Peter Ormerod explores the quest for spirituality that powered David Bowie's creativity from his earliest recordings to his death-defying final album. Bowie's genre-expanding, era-crossing genius had an extraordinary impact on popular culture but his life-long search for spiritual truth and enlightenment has been overlooked. https://www.bloomsbury.com/uk/david-bowie-and-the-search-for-life-death-and-god-9781399422826/ https://www.amazon.co.uk/David-Bowie-Search-Life-Death   From Bowie's first musical encounters as a choirboy, this book traces his spiritual obsessions over the years. As a young musician at the start of his career, he was enraptured by Tibetan Buddhism. It was the first step in a spiritual journey that would generate his most profound lyrics and music. From the Kabbalah-influenced tracks of Station to Station to Ziggy Stardust's messiah complex and the profound affinity between Heroes and Christian thought, Ormerod sheds new light on the spiritual traditions behind Bowie's genius. 

Oliver Jackson in conversation with David Eastaugh  https://oliverjackson1.bandcamp.com/album/south-foreland https://www.youtube.com/watch?v=vdhv-rEDOEQ&t=4s Biography  by Alistair Fitchett, excerpt from "Young and Foolish" (Stride Books) Take Emily. Purveyors of sometimes ethereal genius with moments that can grow wings and fly, or grow horns and charge, depending on their mood / mode. A percussive assault that often puts me in mind of Big Star's magisterial 'You Can't Have Me' with its runaway optimistic negativity, can switch abruptly into cathedral reverberation, as Emily become immersed in their effervescing style, an iridescent arc of sparkler fiery kisses on the heavens. T he former mood / mode often makes me think of Ollie Jackson as some sort of Soul brother to Tony France, and I see / hear Emily metamorphose their brass backed masterworks into Stockholm Monstrous swirls of breathtaking intensity. The latter mode / mood puts me in mind of some Scott Walker figure, with Emily swelling with strings and orchestral woodwind into epic proportions, again snatching my breath away, just so.     

Julie & Paul in conversation with David Eastaugh  https://thewouldbes.bandcamp.com/album/hindzeitgeist Indie pop band from Ireland formed in 1988 by the three Finnegan brothers, evolving from their earlier band The Nobody's. Another brother James Finnegan managed the band, and footed the bill for the recording and for the first pressing of 250 copies of their debut single, released by Danceline Records. This single was famously championed by John Peel (it reached number 12 in that year's Festive 50). 17 year old singer Julie McDonnell left the band shortly afterwards, replaced by Eileen Gogan before breaking up in 1991. 

Vix & Martin Tracey in conversation with David Eastaugh https://www.amazon.co.uk/gp/product/1917504489/ref=ewc_pr_img_1?smid=A3P5ROKL5A1OLE&psc=1 https://www.facebook.com/OfficialFuzzbox Signed on only their second gig much of the story of the all-girl band We've got a …FUZZBOX… and we're gonna use it!! is what dreams are made of… but was it all Pink Sunshine? With exclusive access to original band members this authorised biography by fellow-Brummie Martin Tracey not only covers the breadth of the band's most successful and colourful years, it also reveals a powerful insight into the pressures of a very young girl band pluckily navigating their way through a male-dominated industry in a different time. And, of course, they did it the ‘FUZZBOX' way – armed with wit, fun and a unique unity, these four girls with unstoppable energy smashed through any barrier that dared to stand in their way! This authentic and untold story candidly reveals the rollercoaster ride of three schoolgirls and a big sister who rocketed to worldwide success and the trailblazing aspects of their whole outlook which paved a way for others to follow.

Jim Morris in conversation with David Eastaugh  https://balaamandtheangel.co.uk/ Balaam and the Angel are a rock band founded by Mark, James (Jim), and Desmond (Des) Morris  in 1984. Initially the band self-released a series of EPs and an album entitled Sun Family via their own Chapter 22 and played some tour dates opening for The Cult. This caught the attention of Virgin Records, who signed them and released their debut album, The Greatest Story Ever Told. They toured in the USA with Kiss and label mate Iggy Pop.

Tony Jenkins in conversation with David Eastaugh  https://www.facebook.com/kbsbookstore https://theportlandarms.co.uk/wp/product/the-loft-the-kobayashi-bookstore-29th-may-26/

Greg LoPiccolo in conversation with David Eastaugh  https://www.youtube.com/watch?v=73usDk7AK1w https://www.youtube.com/watch?v=M7rwGjK38Ro Tribe was an American alternative rock band from Boston, which was active in the late 1980s and early 1990s. They released three albums including two on Slash Records.  However, their popularity in Boston did not translate their local appeal into national fame and they disbanded in 1994. Greg LoPiccolo later stated that "When Warner Bros didn't pick up our option for the third album; that was kind of a momentum-killer." Terri Barous, now Brosius, and Eric Brosius and Greg LoPiccolo later joined video game developer Looking Glass Studios and did sound/voice/music work on various games. They would later become critical members of Guitar Hero developer Harmonix.