C86 Show - Indie Pop

Kim J Simpson in conversation with David Eastaugh 

https://www.kimsimpson.us/

https://kimsimpson.bandcamp.com/

https://www.amazon.co.uk/Early-70s-Radio-Kim-Simpson

Kim Simpson is an Austin-based singer-songwriter, fingerstyle guitarist, and radio host whose musical journey defies genre boundaries. A native of Salt Lake City, Utah, Kim grew up surrounded by a rich blend of jazz, rock, and Scandinavian folk music, all of which shaped his eclectic sound. He’s known for his soulful acoustic performances, weaving together original songs, virtuoso guitar work, and a multilingual repertoire.

As the host of The International Folk Bazaar on Austin’s KOOP Radio, Kim shares his deep passion for global roots music with listeners while also diving into his own musical explorations. His most recent releases include Tex Mex Guitar, an EP showcasing his fingerstyle interpretations of conjunto accordion songs, and The Comets Swish Their Tails, a collection of 15 new originals. Kim’s dedication to his craft has earned him accolades such as “poetry and power” from Dirty Linen and “infectiously melodic” from NPR.

Molly Tie in conversation with David Eastaugh 

https://omnibuspress.com/products/rebel-grrrls?srsltid=AfmBOopJhSAnhQq9LIB3NO8T9zN9PSlNCL7axjGdFHoXKjLVSHFm7RNP

From the gritty streets of 1970s London to the sun-soaked beaches of 2000s California, Rebel Grrrls: The Real Story of Women and Punk is a raw and exhilarating exploration of rebellion and identity, seen through the eyes of its fans. This book goes beyond the musicians, spotlighting the women who defied small-town limitations, challenged family expectations and shaped the scene from the inside out.

Molly Tie examines what the movement has meant to millions of fans, setting their experiences within a wider cultural and political landscape. What is it like to be a woman at a gig? Which bands and songs truly reflect the female experience in a male-dominated space? And how does our connection to alternative music change when powerful figures face allegations of abuse?

Spanning every era from the British explosion and American hardcore to riot grrrl, pop-punk, emo, ska and today's activist revival, Tie reveals how women in the movement have fought to be heard, proving that, at its best, punk is about refusing to stay silent.

Stephen Kent in conversation with David Eastaugh

https://www.facebook.com/stephen.kent.336

Stephen Kent is one of the most celebrated performers and composers
playing the Australian Aboriginal Didgeridoo (Didjeridu) in the contemporary
world. In a career spanning four decades of professional appearances across
five continents, he has amassed a catalog of over thirty full length albums,
including eight solo and numerous genre-bending projects, whether with his
own groups or with other world-renowned musicians.

Roman Jugg in conversation with David Eastaugh

https://www.facebook.com/roman.jugg

n late 1981, Jugg worked with the Damned as a touring keyboardist before becoming a full-time member in 1982 for the album Strawberries. Jugg also worked on a number of Damned-adjacent projects, including Naz Nomad and the Nightmares (under the alias Sphix Svenson_. and David Vanian and the Phantom Chords.

After Captain Sensible left The Damned in 1984, Jugg moved from keyboards to main guitar and became a full member on the studio albums Phantasmagoria (1985) and Anything (1986).

After the 1989 breakup of The Damned he continued to work with Dave Vanian and Bryn Merrick, forming The Phantom Chords. A studio album called David Vanian and the Phantom Chords was released in 1995.

In May 2004, after a nine-year absence, Jugg released a new solo album called Papa Loco.

Bridget St John in conversation with David Eastaugh

English singer-songwriter and guitarist, best known for the three albums she recorded between 1969 and 1972 for John Peel's Dandelion record label. Peel produced her debut album, Ask Me No Questions. She also recorded a large number of BBC Radio and Peel sessions and toured regularly on the British college and festival circuit.

St John appeared at leading folk venues in the UK, along with other folk and pop luminaries of the time such as Nick Drake, Paul Simon, and David Bowie, among others. In 1974 she was voted fifth most popular female singer in that year's Melody Maker readers poll. Blessed with a "rich cello-like" vocal style, she is also an accomplished guitar player who credits John Martyn and Michael Chapman as her "musical brothers".

Graeme Revell in conversation with David Eastaugh 

Soundtrack composer, experimental musician and author. Born in Auckland, New Zealand on 23 October 1955. Moved to Australia where he founded the legendary industrial band SPK in 1978. After 3 records of extreme noise assaults and controversial subjects, SPK turned toward synth-pop, consisting of just Revell and his then wife Sinan Leong.

In the mid 1980s Revell started the Musique Brut label to release some solo recordings in the fields of ambient and experimental music. He then evolved into composing soundtracks for a lot of mid and high-budget Hollywood productions, becoming very succesful at it.

Barry Blue in conversation with David Eastaugh 

https://barryblue.co.uk/home

English singer, producer, and songwriter. As an artist, he is best known for his hit songs "Dancin' (on a Saturday Night)" and "Do You Wanna Dance" (both 1973).

Blue has also been a prolific songwriter and producer for many artists and has had over forty worldwide hits, including those by Andrea Bocelli, Diana Ross, Celine Dion, The Saturdays, The Wanted, and Pixie Lott. In film and television, Blue has provided soundtracks and/or themes for productions including Eyes of Laura Mars, The Long Good Friday, and Escape to Athena.

Ian Prowse in conversation with David Eastaugh 

https://amsterdam-music.com/

Singer-songwriter, currently frontman of Amsterdam and previously of Pele.

David Kilgour in conversation with David Eastaugh

https://www.amazon.co.uk/Clean-Dreamlife-Need-Rubber-Soul/dp/1627311831

The Clean was a New Zealand indie rock band formed in Dunedin in 1978. They have been described as the most influential band to come from the Flying Nun label, which recorded many artists associated with the "Dunedin sound", and one of the first bands to be described as "indie rock".

Led by brothers Hamish and David Kilgour, the band rotated through a number of musicians before settling on their well-known and longest running line-up with Robert Scott. Their name comes from a character from the movie Free Ride called Mr. Clean.

Jesse Rifkin in conversation with David Eastaugh

https://walkonthewildsidenyc.com/about

https://www.amazon.co.uk/This-Must-Be-Place-Community/dp/1335449329

Take a walk through almost any neighborhood in Manhattan and you'll likely pass some of the most significant clubs in American music history. But you won't know it--almost all of these venues have been demolished or repurposed, leaving no record of what they were, how they shaped music scenes or their impact on the neighborhoods around them.

Traditional music history tells us that famous scenes are created by brilliant, singular artists. But dig deeper and you'll find that they're actually created by cheap rent, empty space and other unglamorous factors that allow artistic communities to flourish. The 1960s folk scene would have never existed without access to Greenwich Village's Washington Square Park. If the city hadn't gone bankrupt in 1975, there would have been no punk rock. Brooklyn indie rock of the 2000s was only able to come together because of the borough's many empty warehouse spaces. But these scenes are more than just moments of artistic genius--they're also part of the urban gentrification cycle, one that often displaces other communities and, eventually, the musicians themselves.

Drawing from over a hundred exclusive interviews with a wide range of musicians, deejays and scenesters (including members of Peter, Paul and Mary; White Zombie; Moldy Peaches; Sonic Youth; Treacherous Three; Cro-Mags; Sun Ra Arkestra; and Suicide), writer, historian and tour guide Jesse Rifkin painstakingly reconstructs the physical history of numerous classic New York music scenes. This Must Be the Place examines how these scenes came together and fell apart--and shows how these communal artistic experiences are not just for rarefied geniuses but available to us all.

Simon Reynolds in conversation with David Eastaugh 

https://store.whiterabbitbooks.co.uk/products/still-in-a-dream

Twenty years after his acclaimed postpunk best-seller, Rip It Up and Start Again, Simon Reynolds tells the tale of what happened next: the underground explosion of noisepop, shoegaze, slacker rock and grunge that reverberated through the mid-Eighties into the early Nineties.

Capturing the musical exhilaration of the era along with the alienation of youth during a period of ascendant conservative politics and glitzy mainstream pop, Still in a Dream celebrates a golden age of guitar reinvention, a second psychedelia of mind-blowing sounds pioneered by bands like My Bloody Valentine and Sonic Youth. In Britain, groups like Cocteau Twins and Slowdive escaped into shimmering dreamworlds while American underground rockers like Dinosaur Jr. and Pavement blended apathy and urgency into thrilling noise.

A propulsive and personal account from a journalist who covered this music in real time from the frontlines, Still in a Dream vividly recreates a period that was the last blast for the analogue culture of vinyl records and music papers, before the Internet changed everything.

Stephen Hunking in conversation with David Eastaugh

https://hypnolovewheel1.bandcamp.com/album/parallel-universe

Hypnolovewheel was an American indie rock band from Long Island. Despite positive critical reviews, the band's albums were never particularly successful, and they split in 1993. Band's members include Stephen Hunking (guitar and vocals) Dan Cuddy (bass and vocals), Peter Walsh (drums and vocals) Dave Ramirez (guitar and vocals). 

Rachel Carns in conversation with David Eastaugh

https://drawingroomrecords.bandcamp.com/album/this-being-the-ballad-of-kicking-giant-halo-nyc-olympia-1989-1993

American musician, composer, artist and performer living in Olympia, Washington, U.S. Raised in small-town Wisconsin, she went on to study painting and drawing at Cooper Union for the Advancement of Science and Art in New York City, where she completed her B.F.A. in 1991. Carns began her career as drummer for Kicking Giant, later collaborating with several bands, including The Need. She is a celebrated graphic designer, working under the name System Lux, and plays drums and percussion with experimental performance art group Cloud Eye Control.

Tae Won You in conversation with David Eastaugh

https://kickinggiant.bandcamp.com/album/alien-i-d-klp034

Rachel Carns' first band was Kicking Giant with fellow Cooper Union student Tae Won Yu, with whom she played drums and sang from 1990–1995. Their first show was in the storefront window of a Brooklyn junk shop; Carns stood up and played just one drum, a floor tom. Kicking Giant played around New York City and the northeast with bands like Codeine, Uncle Wiggly, and fellow "love-rockers" Sleepyhead; Carns continued to expand her stand-up kit, building around the central floor tom, anchor to Yu's whirling guitar and bedrock of their unique sound. Live, their largely improvised mash of punk, free jazz, sugar-candy pop, and pure poetry meant that Kicking Giant never played the same set, or even the same song, twice.

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. 

Andrea Reid in conversation with David Eastaugh

https://www.facebook.com/wilderness.children

https://www.youtube.com/watch?v=f79Th-VwMAc

Indie rock band from Dundee, Scotland 

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).

Myke Scavone in conversation with David Eastaugh 

Following the disbandment of the Doughboys, Scavone began a career as a session drummer throughout the late 1960s and early 1970s. He was performing on demos for producers Jerry Kasenetz and Jeffry Katz when he joined the newly formed Ram Jam, led by guitarist Bill Bartlett, in 1977. The band had found success with a cover of the Lead Belly song "Black Betty". Scavone performed on both of the band's albums, Ram Jam and Portrait of the Artist as a Young Ram before the band disbanded in 1978. He did not perform on the band's only hit, "Black Betty", as it had been recorded by Bill Bartlett's former band Starstruck and credited to Ram Jam following Starstruck's disbandment.

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.