C86 Show - Indie Pop

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.

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. 

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.

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.

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.     

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.