Podcast appearances and mentions of david eastaugh

Frank Secich & Jim Kendor in conversation with David Eastaugh  https://www.facebook.com/fsecich https://peppermintrecords.bandcamp.com/album/dinner-at-mr-billys DINNER AT MR. BILLY'S During 1971 and 1972, the classic Blue Ash line-up of David Evans, Jim Kendzor, Bill "Cupid" Bartolin and Frank Secich played more than quite a bit in Pittsburgh, Pennsylvania. It seemed like we were playing "The Burgh" 4-5 nights a week. At the time, we had two booking agencies in Pittsburgh, Go Attractions (Rich Engler and Paul St. John) and Fly By Night Productions owned by Joe Riccelli. One time back then we were driving on Rt. 51 south of Pittsburgh to a gig in Clarion. Cupid looked out the window of the car and saw a big sign for a restaurant called "Mr Billy's”. He said to all of us as he pointed to the sign, "If we ever get to make an album, we should call it "Dinner At Mr. Billy's". We all laughed. I thought it was a hilarious idea. Cupid and I even wrote a song right after that called "Dinner At Mr. Billy's", then we promptly forgot about the whole idea. While going through the vaults recently at Peppermint Productions, we found the tape of the song "Dinner At Mr. Billy's" and in honor of Cupid, Mr. Billy has now finally made it out of oblivion and on to an album. 

Annette Simons in conversation with David Eastaugh  https://www.facebook.com/baerchenunddiemilchbubis https://www.facebook.com/annette.simons.18 Founded in Hanover in 1979 by Annette Grotkasten, Rudolf Grimm , Andreas Kühne, and Martin Fuchs, Bärchen und die Milchbubis played their first concert in Offenburg in early 1980. From mid-1980 onward, they regularly performed as the opening act for Hans-A-Plast . In 1980, they released the EP "Jung kaputt spart Altersheime" on No Fun Records . The title track was the most played single on Bavarian Radio 's youth radio station that year . Afterward, bassist and songwriter Martin Fuchs left the band and was replaced by Kai Nungesser.  

Peter Guralnick in conversation with David Eastaugh  https://store.whiterabbitbooks.co.uk/products/the-colonel-and-the-king In early 1955, Colonel Tom Parker discovered a teenage Elvis Presley and declared him destined for greatness. What followed was one of the most extraordinary partnerships in music history and the creation of a bond built on loyalty, ambition and an unshakeable belief in each other. From the meteoric rise that reshaped popular culture to the struggles that shadowed their final years, this concluding volume of Peter Guralnick's acclaimed trilogy reveals the full complexity of their relationship. Drawing on previously unpublished letters and telegrams from Parker's own archives, it offers an intimate, unflinching portrait of two American originals: the visionary manager who invented the modern superstar and the artist who became one. Brilliant, flawed and inseparable, Elvis and the Colonel changed the music world forever.

Anthony Moore in conversation with David Eastaugh  https://halfcatmusic.com/ British experimental music composer, performer and producer. He was a founding member of the band Slapp Happy, worked with Henry Cow and has made a number of solo albums, including Flying Doesn't Help (1979) and World Service (1981). As a lyricist, Moore has collaborated with Pink Floyd on two of their albums: A Momentary Lapse of Reason (1987) and The Division Bell (1994), and contributed music to the instrumental "Calling" from The Endless River (2014). He contributed lyrics to Richard Wright's Broken China (1996), worked with Kevin Ayers on various projects and also contributed lyrics to Trevor Rabin's Can't Look Away (1989) and Julian Lennon's Help Yourself (1991).

Alex Newport in conversation with David Eastaugh  https://www.alexnewport.com/ https://fudgetunnel.bandcamp.com/music https://www.youtube.com/watch?v=tb232BkAe6A   Fudge Tunnel formed in 1989. They released their debut EP on Pigboy/Vinyl Solution in 1989, Fudge Tunnel. Although marketed as an EP, due to its short length, it was named "Single of the Week" in NME magazine in January 1990, with NME declaring "Absolutely and totally the best single ever to be released in 1990. Total nine guitar attack-rock". The band followed up with their second EP, The Sweet Sound of Excess, in 1990, again on Pigboy/Vinyl Solution. Fudge Tunnel also found support via DJ John Peel as they recorded a Peel Session in 1990. They then signed to Nottingham's Earache Records. Their full-length debut album was 1991's Hate Songs in E Minor, which attracted a large amount of press interest after the original album artwork was confiscated by the Nottingham Vice Squad

Neil Howson in conversation with David Eastaugh  https://preciousrecordingsoflondon.bandcamp.com/album/prelp-8-age-of-chance-bbc-sessions-85-87 A stunning mix of Northern Soul, machine-like beats, electroclash, slogans and agitpop, Age of Chance were unquestionably one of the most exciting groups to emerge during the C86 era. They certainly didn't sound like anybody else, that's for sure. An uncompromising live act, Age of Chance were frantic and frenetic – and they even dallied with the mainstream via their version of Prince's Kiss. Janglepop this is not. Now, not before time, their three sessions for BBC Radio 1 are collected by Precious Recordings of London as part of the label's ongoing series. And for good measure, we've included both sides of their first two incredible ground-breaking singles – Motorcity and Bible Of The Beats, both unavailable in any form for decades. Limited edition (500 copies worldwide) comes with unseen pics, sleeve essay by close associate John F Power. and download codes. Includes unlimited streaming of PRELP 8: Age of Chance BBC sessions 85-87 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

Neil Taylor in conversation with David Eastaugh  https://www.roughtrade.com/en-de/product/neil-taylor/document-and-eyewitness-an-intimate-history-of-rough-trade Rough Trade is practically a byword for the history of independent music over the last thirty years. DOCUMENT AND EYEWITNESS: AN INTIMATE HISTORY OF ROUGH TRADE tells the story from the inside of a phenomenally influential record label, through the voices of Geoff Travis, Jarvis Cocker, Robert Wyatt, Green Gartside and many many more. From the early records of Cabaret Voltaire, Kleenex and the Swell Maps, through to groundbreaking releases by The Fall, The Smiths and Scritti Pollitti, on through the collapse of the independent collective and the rebirth of Rough Trade at the turn of the century, this is the definitive, essential account for any serious music fan.

Julia Round in conversation with David Eastaugh  https://www.juliaround.com/ https://www.amazon.co.uk/Gothic-Girls-Misty-British-Comics/dp/1496824466 Award-winning writer and independent scholar. She is one of the founders and editors of the academic journal Studies in Comics (Intellect Books) and of the book series Encapsulations: Critical Comics Studies (University of Nebraska Press). Today fans still remember and love the British girls' comic Misty for its bold visuals and narrative complexities. Yet its unique history has drawn little critical attention. Bridging this scholarly gap, Julia Round presents a comprehensive cultural history and detailed discussion of the comic, preserving both the inception and development of this important publication as well as its stories. Misty ran for 101 issues as a stand-alone publication between 1978 and 1980 and then four more years as part of Tammy. It was a hugely successful anthology comic containing one-shot and serialized stories of supernatural horror and fantasy aimed at girls and young women and featuring work by writers and artists who dominated British comics such as Pat Mills, Malcolm Shaw, and John Armstrong, as well as celebrated European artists. To this day, Misty remains notable for its daring and sophisticated stories, strong female characters, innovative page layouts, and big visuals.

bob Bert in conversation with David Eastaugh  https://therealbobbert.bandcamp.com/album/beach-bongo-bloodbath Many music gourmandizers know the name “Bob Bert” from his stint as drummer for Sonic Youth in their formative years. He also beat car gas tanks for Pussy Galore. In the years since, Bob has recorded albums and toured the world with Bewitched, Action Swingers, Chrome Cranks, Knoxville Girls, Five Dollar Priest, and in more recent times Lydia Lunch Retrovirus, coming full circle playing metal percussion with fellow Pussy Galore alumnus Jon Spencer in his HITmakers.  With Beach Bongo Bloodbath Bob finally steps out under his own name with his first true solo album. For this outing he mixes original material with extensive re-workings of a number of covers to create a veritable soundtrack for the B-movie of his life.  Surprisingly for a guy who has slammed away for some very noisy guitar outfits, this album has absolutely NO guitars; once you hear his beat-centric take on Mountain's "Mississippi Queen," you will never hear that song the same way again. Bob creates a new world of sound utilizing a variety of drums and percussion as well as a diverse array of keyboards and theremin. The results suggest Sandy Nelson playing with the Flying Lizards on their greatest hits collection of Kraut Rock influenced Cramps covers!  The six originals and eight covers play to his love of campy teenage horror flicks, art damaged punk fuk-u-ness and Warholian underground groover vibes. In fact, let's cue up some tracks from the album to help tell the Bob Bert story. 

Monica Queen & Johnny Smillie in conversation with David Eastaugh  https://www.firerecords.com/thrum-announce-rifferama-reissued-reimagined-along-with-new-uk-tour-dates/ TOUR DATES 07 Jul: The Wee Red Bar, Edinburgh, UK 08 Jul: Central Bar, Gateshead, UK 09 Jul: Lending Room, Leeds, UK 10 Jul: Just Dropped in Records, Coventry, UK 11 Jul: Betsy Trotwood, London, UK 12 Jul: The Jacaranda Club, Liverpool, UK 13 Jul: Cottiers, Glasgow, UK

Janet Housden in conversation with David Eastaugh  https://www.facebook.com/janet.housden A fixture in the earliest days of the LA area punk scene, Janet Housden played drums with Redd Kross and was a member of several other bands, while also appearing in classic cult films.  Janet Housden has been a creative force for decades in Southern California's punk scene. She grew up alongside many of the South Bay scene's iconic punk pioneers, including members of Black Flag, the Descendents and Minutemen, and played drums in the renowned Redd Kross (1982-83) and was a multi-instrumentalist in several other rock & roll bands. (Quote from Please Kill Me) 

Alister Parker in conversation with David Eastaugh  https://bailterspace.bandcamp.com/ New Zealand shoegaze and noise rock band that formed in Christchurch in 1987 as Nelsh Bailter Space; they had previously recorded as the Gordons. Its members are Alister Parker (guitar, bass), John Halvorsen (bass, guitar), and Brent McLachlan (drums/percussion, samples). After releasing seven studio albums, numerous EPs/singles and a career retrospective compilation, Bailter Space went on an extended hiatus in 2004. They returned in August 2008 to play the Bowery Ballroom in Manhattan.

David Whitaker in conversation with David Eastaugh  https://www.youtube.com/watch?v=SJlsU1DVu30 Music For Pleasure was formed in Leeds, England in 1979, comprising David Whitaker - synths and keyboards, Mark Copson - vocals, Ivor Roberts - bass and Chris Oldroyd - drums. They released several 7'' singles and two albums ("Into The Rain" and "Blacklands"). They were heavily influenced by Punk and Krautrock and are still seen as a very much underrated band of the 80's. "Madness At The Mission" comes from their first 7'' single "The Human Factor    

Geoff Taylor in conversation with David Eastaugh  https://preciousrecordingsoflondon.bandcamp.com/album/prelp-8-age-of-chance-bbc-sessions-85-87 Age of Chance were a British alternative rock-dance crossover band from Leeds, England, active from 1983 to 1991. They were perhaps most known for their mutant metallic cover of Prince's "Kiss" which topped the UK Indie Chart in 1986, and peaked at No. 50 on the UK Singles Chart in January the following year. Despite signing for major label Virgin, and being favourites with the UK music press, they never enjoyed a major hit in the UK, although "Don't Get Mad… Get Even" reached No. 8 on the U.S. Billboard Hot Dance/Club Play chart Musically they were a mixture of punk, hip hop, industrial rock and Northern soul. Steven E provided a distinctive strident nasal vocal style, often employing a megaphone. Striking cover art visuals were a collaboration between the group and The Designers Republic, who would go on to graphic design fame. They were the first band to be remixed by Public Enemy - a.k.a. Hank Shocklee and Carl Ryder, who remixed "Take It" from 1000 Years of Trouble (1988). 

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.  

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  

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.

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.

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.    

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.

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.

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  

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.

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.  

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.

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.

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. 

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.     

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.

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.

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/

Mark Brydon in conversation with David Eastaugh  https://www.mark-e-brydon.com/ Brydon established himself in the Sheffield music scene, most notably with the funk band Chakk whose advance from MCA Records financed the building of FON Studios. His biggest contribution to British art pop to date would come as a result of meeting Róisín Murphy, with whom he formed Moloko, at a party.      

John Abulafia in conversation with David Eastaugh  https://unfinishedhistories.com/history/companies/incubus/john-abulafia-on-incubus/ https://unfinishedhistories.com/history/companies/incubus/ Incubus Theatre has its origins in a 1968 production of Kafka's Metamorphosis that John Abulafia wrote and directed while he was at Sussex University. The part of Josef  K was created by Paddy Fletcher, then studying at Brighton Art College. John says of Paddy, ‘He was the most extraordinary, inventive performer, and a wonderful creative collaborator. I had a clear vision of the kind of theatre I wanted to create but everyone else told me that it was impossible to stage a play where a human turns into an insect. Paddy's response was that if I didn't give him the part he would never speak to me again. He tried any and every distortion of his body to create Josef K: he brought to life Kafka's vision of a tormented creature paying the price for the sins of his family. This Metamorphosis was before Berkoff and before anyone used the term Physical Theatre.‘ Metamorphosis took the 1968 NUS/ Sunday Times drama festival by storm, was invited to the Oxford Playhouse, and then to a series of other London venues.

Chris Riou in conversation with David Eastaugh  https://www.facebook.com/claytowntroupe/?locale=en_GB The Claytown Troupe were formed in 1984 in Bristol by lead singer Christian Riou, who claimed in an NME interview that a local clairvoyant advised him to form a band called "the Clayton Troop" who would have success internationally and spend time in America. Between 1985 and 1987 the band were active on the Bristol live circuit supporting acts that included Fields of the Nephilim, Alien Sex Fiend and Chiefs of Relief. The line up changed in late 1987, and a new set of songs was written which became the album 'Through The Veil' After recruiting guitarist Adrian Bennett & bassist Paul Waterson they played as supporting act such as Salvation, Lightning Strikes.