C86 Show - Indie Pop thec86show

David Baerwald in conversation with David Eastaugh
https://davidbaerwald.com/
Baerwald first came to prominence in 1986 as one half of the duo David & David, with David Ricketts. David and David's sole album, Boomtown, went platinum and stayed on the Billboard album chart for over a year, winning substantial critical acclaim, the debut single "Welcome to the Boomtown" became a top 40 Billboard hit.
Following the breakup of David + David, Baerwald focused on writing for others, often under pseudonyms, though he found time to record and release two albums: Bedtime Stories, a romantic album based on tales of suburban ennui and decay, featuring Joni Mitchell on guitar and backup vocals on the track "Liberty Lies" (Baerwald later sang backup for Mitchell and appear in the video "Nothing Can Be Done" from her 1991 album Night Ride Home); and Triage, an ambitious narrative song-suite about the fringe-dwellers of America's paranoid and disaffected subcultures. Both albums were released to critical acclaim but did not see the commercial success that Boomtown did.

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

Johnnie Johnson in conversation with David Eastaugh
http://jawbonepress.com/through-the-crack-in-the-wall/
https://www.roughtrade.com/en-gb/product/johnnie-johnstone-foreword-by-stewart-lee/through-the-crack-in-the-wall-the-secret-history-of-josef-k#paperback-exclusive-signed-plus
Through The Crack in The Wall is the first ever biography of the band, tracing their story from their origins in the leafy suburbs of Edinburgh through to their untimely implosion four years later. It’s a tale of fun and frenzy, filled with highs and lows. From their thrilling live shows, which left onlookers spellbound, to more anxious occasions confronting a baying audience of rioting anarcho-punks in Brussels; from a brief spell as press darlings of the inkies to the fateful decision to pull their debut album just as pop stardom beckoned—one that continues to haunt them today.
Drawing extensively on new interviews with the band members and those around them as well as contemporary press articles, the book explores the band’s inner workings and analyses their relationships with Postcard Records supremo Alan Horne, labelmates Orange Juice, and manager Allan Campbell. It re-evaluates their position in the pantheon of post-punk greats and considers how their music helped shape the UK independent scene of the eighties. More than anything else, though, the book’s primary purpose is to celebrate the incredible music Josef K made and consider what makes it more vital today than ever.