C86 Show - Indie Pop

Gaye Black in conversation with David Eastaugh

https://www.gayeblack.co.uk/

English punk rock musician, who played bass guitar in the band The Adverts in the late 1970s. She was one of the first female rock stars of the punk rock movement, whom The Virgin Encyclopedia of 70s Music called the "first female punk star". She was "one of punk’s first female icons". Dave Thompson wrote that her "photogenic" looks, "panda-eye make-up and omnipresent leather jacket defined the face of female punkdom until well into the next decade".

Gered Mankowitz in conversation with David Eastaugh

https://mankowitz.com/

https://www.amazon.co.uk/Rolling-Stones-Rare-Unseen-afterword/dp/1802797335

"Mankowitz (Goin' Home with the Rolling Stones '66), who at 18 became the official photographer for the then newly formed Rolling Stones, gathers a rich and revealing trove of images from the band's early years. Capturing the group as they were "finding their style and... becoming themselves," Mankowitz's photos depict the rockers in motion onstage; in their homes and luxury cars; and in heated exchanges with concert security, incidents that underlined their reputation as a more boisterous and rowdy alternative to the Beatles

Richard & Julian in conversation with David Eastaugh

https://redmoney.co.uk/

http://www.firestation-records.de/catalogue.html

Red Money emerged as an acoustic band in January 1990. Originally performing as a larger line up, fate stepped in to change both the format and sound of the band. Booked to play their first gig of the year at the Fulham Greyhound in London, various members then dropped out due to other commitments. Rather than cancelling, founder founders Richard and Jules hastily arranged a stripped down set and took to the stage with saxophone player Roz Bateman (who played on the single).

Rin Lennon, Michael George,Jay Smith-drums &  Alias Wilde  in conversation with David Eastaugh

https://monogroove.bandcamp.com/album/the-flip-side

http://www.rinsrescues.com

https://www.youtube.com/user/rinlennon4/featured

Frank Deserto in conversation with David Eastaugh

https://www.cherryred.co.uk/no-songs-tomorrow-darkwave-ethereal-rock-and-coldwave-1981-1990-4cd-box-set

•    FEATURING THE CURE, DEAD CAN DANCE, CLAN OF XYMOX, COCTEAU TWINS, SOFT CELL, TONES ON TAIL, IN THE NURSERY, ATTRITION, IRON CURTAIN, ALIEN SEX FIEND, CRANES, KIRLIAN CAMERA, NEON AND MANY MORE.

•    4CD SET EXPLORING THE 1980s’ DARKWAVE/COLDWAVE SCENE THROUGHOUT THE UK, EUROPE AND THE UNITED STATES

•    A BROAD CHURCH TAKING IN ELECTRONICS, DARK AMBIENT, NEO-CLASSICAL NEW WAVE, GOTHIC SOUNDSCAPES AND COLD DREAM POP.

•    CURATED BY THE TEAM WHO BROUGHT YOU ‘CHERRY STARS COLLIDE’, ‘SILHOUETTES AND STATUES’ AND ‘STILL IN A DREAM’.

•    SLEEVENOTES COURTESY OF FRANK DESERTO.

Scott Phares in conversation with David Eastaugh

https://www.hollywoodstarsband.com/

https://thehollywoodstars.bandcamp.com/track/cant-do-it-right

American rock band formed in Los Angeles, California in late 1973 by manager/impresario Kim Fowley. The band was created as a West Coast answer to the New York Dolls during the height of the popularity of the glam rock genre. The band signed with Columbia Records in 1974 and with Arista Records in 1976, releasing one self-titled LP with the latter label in 1977 and opening for The Kinks on their Sleepwalker tour the same year. The band's song "Escape" was recorded by Alice Cooper and released on the album Welcome to my Nightmare (1975), while their song "King of the Night Time World" was recorded by Kiss and released on the album Destroyer (1976). Two archive albums recorded in 1974 and 1976 were released in 2013 and 2019 to critical acclaim, prompting the band to reform in 2018.

Roberto Amaral & David Clark Allen in conversation with David Eastaugh

https://www.cherryred.co.uk/carmen-the-albums-1973-1975-3cd-box-set

CARMEN initially came together in Los Angeles as seven-piece band formed by guitarist DAVID CLARK ALLEN and his sister ANGELA ALLEN in 1970. The band’s unique style blended both Progressive Rock and Flamenco styles, with Angela Allen also being an accomplished Flamenco dancer aside from being keyboard player.

Despite interest from music mogul Clive Davis, the band failed to make any headway in getting a record contract they relocated to London in 1973. The Allens soon assembled a new line-up of the band with Flamenco dancer and vocalist ROBERTO AMARAL and British musicians JOHN GLASCOCK (bass) and PAUL FENTON (drums).

John Schmersal in conversation with David Eastaugh

https://3ra1n1ac.com/

Schmersal was originally in the band Brainiac and formed Enon (named after the village in Ohio, which is close to Schmersal's hometown of Dayton) with Lee and Calhoon following the death of Brainiac's singer Timmy Taylor and their subsequent disbandment.

After Brainiac, Schmersal made a solo album under the name John Stuart Mill. Rick Lee and Steve Calhoon were both previous members of the band Skeleton Key, a befriended band Brainiac had toured with. Together they formed Enon. Lee created a number of percussion sounds for the band playing a "junk kit" including a Radio Flyer wagon, propane tank, and old hubcaps.

Valor Kand in conversation with David Eastaugh

https://officialchristiandeath.com/

American rock band formed  in 1979 by Rozz Williams. Williams was eventually joined by guitarist Rikk Agnew of the band Adolescents, James McGearty on bass guitar and George Belanger on drums. This line-up was responsible for producing the band's best known work, their 1982 debut studio album Only Theatre of Pain, which was highly influential in the development of the style of music known as death rock, as well as on the American gothic scene which also produced bands such as Kommunity FK and 45 Grave.

Following the release of Only Theatre of Pain, Christian Death's line-up fell apart, and by the time of the band's second studio album, Catastrophe Ballet (1984), Rozz had been joined by Valor Kand of tour mates Pompeii 99 on vocals and guitar. Following the release of the band's third studio album, Ashes, in 1985, Williams left the band and Kand became frontperson, with no original members of the band remaining. This resulted in a divide in the band's fanbase and created controversy that has continued to this day.

Christopher Merrick Hughes in conversation with David Eastaugh

https://www.chrismerrickhughes.com/

music producer, songwriter, and former drummer of Adam and the Ants. Best known as producer of Tears for Fears' Songs from the Big Chair, and as the co-writer of "Everybody Wants to Rule the World", Hughes has a joint background as a musician, songwriter and producer. His career began with Adam and the Ants as drummer and producer of the "Cartrouble" and "Kings of the Wild Frontier" singles, then the Kings of the Wild Frontier album. Yielding three hit singles, the album earned Hughes Music Week's 'Producer of the Year Award'.

Simon "Ding" Archer in conversation with David Eastaugh

https://www.6dbstudio.com/

Musician and producer from Manchester. He is a current member of the bands 1919 and Red Lorry Yellow Lorry, and a past member of The Fall and PJ Harvey. He is owner-operator of 6DB Studios in Salford, England.

Louise Rutkowski in conversation with David Eastuagh

https://louiserutkowski.com/

At 19, Louise was signed to CBS Records, recording three singles and an album with soul producer Pete Wingfield with the band Sunset Gun. Prior to forming this band with sister Dee and keyboard player Ross Campbell, Louise, along with sister Dee, performed as backing vocalists for Bourgie Bourgie; a band created by legendary Postcard Records' boss Alan Horne.

As part of the This Mortal Coil collective, Louise's distinctive voice can be heard on the Filigree & Shadow and Blood albums, and as lead vocalist on The Hope Blister's critically acclaimed 1998 Smile's OK album, all of which were released on the 4AD Records recording label.

Anita Gabrielle Tedder in conversation with David Eastaugh

https://zenana1.bandcamp.com/album/witches-with-the-spell-of-love

Zenana are a forward thinking 80s female trio whose synthesiser-based musical output was shaped in the front room of a terraced house in Cornwall, UK.

In September 23 they released a five track digital album of remixed and remastered recordings from the 1980s and four songs on a 12" vinyl record.

Zenana means 'pertaining to women' in Persian.

This historic limited-edition 12” release features Zenana's 1986 much sought after 'Witches' in a newly-remastered edition plus 'The Final Winter,' 'The Touch of a Woman' and 'When the Comet Comes' remixed and mastered for the first time for vinyl. The lavishly-produced package comes bundled with an extensive booklet documenting the previously untold story of Zenana through recollections and never-seen-before photographs. 

Simon Reynolds in conversation with David Eastaugh

https://store.whiterabbitbooks.co.uk/products/futuromania

Simon Reynolds's first book in eight years is a celebration of music that feels like a taste of tomorrow. Sounds that prefigure pop music's future - the vanguard genres and heroic innovators whose discoveries eventually get accepted by the wider mass audience.

Starting with an extraordinary chapter on Giorgio Moroder and Donna Summer, taking in illuminating profiles of Ryuichi Sakamoto, Boards of Canada, Burial, and Daft Punk, and arguing for Auto-Tune as the defining sound of 21st century pop, Futuromania shapes over two-dozen essays and interviews into a chronological narrative of machine-music from the 1970s to now. Reynolds explores the interface between pop music and science fiction's utopian dreams and nightmare visions, always emphasising the quirky human individuals abusing the technology as much as the era-defining advances in electronic hardware and digital software.

Taffy Hughes in conversation with David Eastaugh

https://thegirlwiththereplaceablehead.bandcamp.com/album/sometimes-she-lives-in-the-dark-sometimes-she-lives-in-the-light

Formed in the early 1980s and originally known as the Green-Eyed Children, Hurrah! initially consisted of Paul Handyside guitar/vocals), David 'Taffy' Hughes, Southmoor guitar/vocals), David Porthouse ;(bass), and Mark Sim (drums). Sim was soon replaced by Damien Mahoney.

Hurrah! were one of the first acts signed to Kitchenware Records, who issued the band's debut single, "The Sun Shines Here", in 1982. Second single "Hip Hip" was released the following year, and gave the band an hit, reaching No. 21.

The third single, "Who'd Have Thought," was another indie hit in 1984, reaching No. 7 on the UK chart. After one more single, "Gloria" – produced by Jimmy Miller, the band's early recordings were compiled on the Boxed album in 1985.

David Wolfenden in conversation with David Eastaugh

n 1982, the Lorries' manager Dave Hall provided independent record label Red Rhino with a cassette of the group's demos. Impressed by the quality of the songs, Red Rhino label head "Tony K" (Tony Kostrzewa) signed the band and immediately released "Beating My Head" unchanged from the demo as the band's debut single. Fagan and Smith soon departed the band, to be replaced by Dave Wolfenden and Paul Southern respectively. Afterwards, bassist Southern was replaced by Leon Phillips. While numerous additional personnel changes would occur in the history of the band, Wolfenden became a mainstay and a frequent songwriting partner of Reed's during the band's most productive period. In 1983 and 1984, the band released several more singles (including "He's Read" and "Monkeys On Juice", which reached No. 9 on the NME indie chart). John Peel was an early supporter, and the band recorded two radio sessions for him in March and November 1983 (released on CD in 2014 as BBC Sessions 1983 - 1984, part of the band's 3-CD compilation See the Fire).

Michael Wiener & Jim Coleman in conversation with David Eastaugh

https://thechildrenband.bandcamp.com/album/a-sudden-craving

Principal songwriters for The Children... are Michael Wiener (vocals/lyrics), Jim Coleman (electronics & various instruments) and Phil Puleo (drums, acoustic guitar & various instruments). Other core members, both live and on this recording: John Nowlin (bass), Rock Savage (drums) and Kirsten McCord (cello). Shelley Hirsch has been a memorable collaborator on several live shows. John Andersen was a founding member and important early collaborator. Norman Westberg (guitar) and Johnny Gasper (clarinet) were key contributors to the sessions for ‘A Sudden Craving’, which took place over the course of two years in the mid-late 2010s.

Danny Kroha in conversation with David Eastaugh

https://dannykroha.bandcamp.com/album/detroit-blues

https://www.facebook.com/hotepnefti

Danny Kroha, founding member of minimal garage rock trio the Gories, has recently been spending time perfecting and recording more traditional folk, blues, and gospel tunes from the public domain. His upcoming Detroit Blues could be considered part two of his solo debut LP - Angels Watching Over Me.

Linda Smith in conversation with David Eastaugh

https://lindasmith2.bandcamp.com/

https://capturedtracks.com/artist/linda-smith/

A pioneer of the home recording movement, Linda Smith released several collections of delicate, bewitching solo music on cassette in the 1980s and 90s. The 2021 release of Till Another Time: 1988-1996, Captured Tracks’ compilation of Smith’s work, has helped bestow rightful critical acclaim to the ahead-of-her-time artist. Now, Captured Tracks dives deeper into Smith’s catalog with the release of two full-length companion albums, Nothing Else Matters and I So Liked Spring, available for the first time on vinyl & streaming formats.

Recorded at Smith’s home in Baltimore in 1995, Nothing Else Matters chronicles the tension between the mundanity of daily life and the creative impulse: ”I was working for Ringling Bros at their corporate headquarters in Northern VA and driving there and back to Baltimore on the DC beltway,” Smith remembers. “I aimed for detachment and some degree of humor in order to see things more clearly.” Traffic noises on the charmingly boisterous “Little To Be Won” showcase this levity, as does the addition of playful hand claps and a laugh track to her striking cover of Young Marble Giants’ “Salad Days.” Despite its homespun inception, the arrangements are sophisticated, as in the bright, percussive opener “The Answer To Your Question.” This complexity is also reflective of Smith’s evolving recording techniques – having outgrown her 4-track tape machine, she’d purchased a Fostex 8-track, on which she recorded both Nothing Else Matters and I So Liked Spring.

Stan Cullimore  in conversation with David Eastaugh