Aki in conversation with David Eastaugh 

https://sonofpunk.co.uk/

https://nationrecords.bandcamp.com/

https://www.youtube.com/watch?v=u9bzv8-c_gs

British musician/rapper, grew up in Bradford.

Dave Howard in conversation with David Eastaugh 

https://thedavehowardsingers.bandcamp.com/

https://www.facebook.com/dave.howard.3133

The Dave Howard Singers is a cult Canadian alternative rock band/project originally formed in Toronto Canada. The project is based around the talents of singer-songwriter Dave Howard (the only consistent member) and the signature sound of his Ace Tone organ. During the second half of the 1980s, the band were resident in (and drew many members from) Britain, where they were a cult act making several appearances on nationwide television.

Rob Miller in conversation with David Eastaugh

https://mngbookshop.co.uk/9780252088964/the-hours-are-long-but-the-pay-is-low/

https://www.robmillerwriting.com/

In this memoir/history/fever dream, Rob Miller, co-founder of Chicago’s venerable Bloodshot Records, chronicles the unlikely evolution of Bloodshot from a list scribbled on a cocktail napkin one cold winter night into an internationally renowned home for roots music, Americana, and “alt-country,” as well as his own evolution from self-described shy, dorky Detroit teenager to DIY label owner.

Working with celebrated artists such as the Old 97s, Neko Case, Robbie Fulks, Scott H. Biram, The Sadies, Sarah Shook & the Disarmers, and the late Justin Townes Earle at the beginning of their careers, established, critically-acclaimed artists like the Bottle Rockets, Detroit Cobras, Wayne “The Train” Hancock, William Elliott Whitmore, Bobby Bare Jr, and Murder By Death, as well as important musicians that had an early impact on him like Graham Parker, Alejandro Escovedo, Barrence Whitfield, Exene Cervenka, Dex Romweber, and R&B icon Andre Williams, Miller had an almost 30-year run in Chicago’s vibrant music scene, from the 1990s into the early 2020s. Through it all, the label remained fiercely independent, resisting efforts to pigeonhole their sound or succumb to the music industry’s hit machine mentality.

 Written with wry self-deprecation, the book is a unique look at the vibrant Chicago music scene and a little label that could.  It is a musical coming of age story that treads the line between memoir and history, and is full of anecdotes, cautionary tales, and a from-the-trenches perspective on the workings of underground music.  In great detail, the author hits the highs, the lows, the harsh realities, and the acts of creative enthusiasm that defied common business practices.  And, at its heart it is a celebration of indie communities, and an appeal to appreciate and strengthen them.

Jennifer Finch in conversation with David Eastaugh 

https://jenniferfinch.com/

https://jenniferfinch.bandcamp.com/album/diamonds-in-the-belly-of-the-dog

https://substack.com/@jenniferfinch

https://theshockerofficial.bandcamp.com/album/up-your-ass-tray-extended

American musician, designer, and photographer most notable for being the primary bass player of the punk rock band L7. Active in L7 from 1986 to 1996, Finch also wrote music and performed with her bands OtherStarPeople and The Shocker in the interim before joining the reunited L7 in 2014.

Christian Riou in conversation with David Eastaugh 

https://www.facebook.com/claytowntroupe

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.

During 2025, the current Claytown Troupe lineup supported:

The Godfathers at the Garage, London.

Spear of destiny at the 100 club London, Cardiff and Brighton.

Gene Loves Jezebel in Oxford, Birmingham and The Lexington, London.

Darkfest, an alternative rock festival in Wolverhampton with Balaam and the Angel.

They have been announced as the support for Fields of the Nephilim in October 2025, at Manchester, Glasgow (with Balaam) and the Forum, London. 

Leigh Goorney in conversation with David Eastaugh 

https://gnuinc.bandcamp.com/album/moribundiing

https://www.facebook.com/leigh.goorney

The new album by The Long Decline finds Leigh Goorney (formerly Kenny Wisdom) and his ever-shifting collaborators pulling together strands of history, politics, and autobiography into a startlingly unified whole. Produced by Cos Chapman (Rude Mechanicals), the record is perhaps the band’s most accomplished to date.

Palden Jenkin in conversation with David Eastaugh 

https://penwithbeyond.blog/about/

https://www.palden.co.uk/podcasts.html

I was born in Hartfield in the Ashdown Forest in Sussex in 1950, in a nursing home which not long before had been the American Generals’ HQ in Britain in WW2. A fine start. I grew up in 1950s Cardiff, Wales, and in 1960s Liverpool, and here my spiritual path began at age 16, tripping out on acid and beginning to see things in an entirely dfferent way. Went to university at the London School of Economics in 1969 during its time of revolution. I never looked back.

This was the big change-point in my life, which set the course for all the rest of it. In today’s terminology I was radicalised, thereafter dedicating my life to world change, and personal change with it, though very much tied up with it.

Later I lived in the mountains of Snowdonia, Wales, then I had to leave the country in 1974, regarded by the authorities and media as a traitor and even a murderer, to live in Sweden until 1980. I’m really grateful for the safety and healing Sweden gave me. I married a Swedish lady, Berit, and we had two kids and many adventures, partly in Stockholm and partly in the forest in northern Uppland.

There, as an English teacher of political refugees, inadvertently I started my later humanitarian work, in which I came to specialise in trauma recovery, social reconstruction and freelance intelligence work in conflict zones.

During that time, after seven years’ study, I became an astrologer. Since then I have counselled a few thousand people, writing three astrology books and founding the astrology camps in the 1980s.

But I didn’t easily fit into Sweden and, when I found out I was exonerated of my former alleged crimes, I returned to Britain. This involved a painful end to my marriage and the loss of two children. I landed in Glastonbury and I cried my eyes out with grief for two years in men’s groups and therapy groups. This was a big change too, opening me up for something.

Then came my instructions and I came alive again. In 1983-84 I started the UK camps movement – first with indoor gatherings in Glastonbury, then with summer camps, at first near Glastonbury, and later round the country.

The Glastonbury Camps, spontaneously started and lasting three years, were followed from 1987 by the OakDragon Camps, from both of which many other camps organisations sprouted, in several countries.  

By 1990 I was burned out, and there were quite a few people in the OakDragon who wanted to take things a different way. So, sad about that, I left and started again. I  went into book editing with an enlightened publisher called Gateway Books. In 1992 when I was asked to write The Only Planet of Choice – a book of communications from some cosmic beings called the Council of Nine. It was a privilege to write. I was also involved with editing a series of books by and about the Austrian genius Viktor Schauberger, and five books of alternative ideas about Jesus, and lots of other books too, through the 1990s.

Brinsley Schwarz in conversation with David Eastaugh 

https://brinsleyschwarz.bandcamp.com/album/shouting-at-the-moon

https://brinsleyschwarz.bandcamp.com/album/tangled

https://unexpectedcd.bandcamp.com/album/unexpected

Legendary British musician and songwriter Brinsley Schwarz returns with a new solo album this Autumn.Shouting At The Moon represents the third part of a trilogy begun with his debut solo release Unexpected in 2016 followed by Tangled, his first album for Fretsore Records in 2021.Founder of the 70spub-rock icons (if icons is not too strong a word!) of the same name, and subsequently Graham Parker and The Rumour, Brinsley’s passion for writing and recording reignited in recent years following two albums and tours with that band, as well as duo shows with Parker, resulting in Unexpected.

The gestation period for the songs on Shouting At The Moon goes back even further.“I wrote ‘The Chance’, ‘Nothing Is What It Seems’ and ‘What In The World’ sometime between the late 1990s and early 2005,”he explains. “‘Hard To Change’ and ‘It’s Been A Long Year’ were written during 2024 and 2025 and recorded during that time.

So you can see a big spread in time of writing and recording;some songs were recorded and were intended for my first solo album. But we had a surplus of recorded tracks and so we could pick tracks based on how the songs seemed to gel together as an entity, as an album.”As with Tangled, Brinsley pays tribute to his friend with a well-chosen cover: “Graham Parker wrote ‘Watch The Moon Come Down’ in the late1970s. One of my favourite GP songs.I loved rearranging and recording it.”

Key to this revived activity has been producer, engineer and keyboard-player James Hallawell another Parker collaborator, also noted for his work with the likes of The Waterboys and Jackie Leven. “He helped me record my first album Unexpected,”says Brinsley. “We just carried on recording.”

Bill Dickson in conversation with David Eastaugh 

https://rousers.bandcamp.com/album/1979-sire-session

Inspired by the New York Dolls, Ramones and such immortal ‘50s rockers as twangy guitar hero Duane Eddy, the Rousers were woefully under-documented in their prime. A few major labels sniffed around, including RCA and Warner Bros. subdi­vision Sire. But no one committed them to vinyl until Reynolds issued their “Party Boy” b/w “Don’t Let The Band Stop Playing” 45 (produced by Wayne Kramer of the MC5) via Jimboco in 1981. 

Reynolds corrects this oversight today with the release of the demos that the original Rousers lineup—vocalist Jeff Buck­land, rhythm guitarist Bill Dickson, bassist John Hannah, lead guitarist Tom Milmore, and drummer Jerid O'Connell—cut for Sire in the label’s basement studio on New York’s Upper West Side in 1979. 

Tracked to tape under the sharp ear of Ed Stasium, hot off sessions with the Ramones and Talking Heads, the 1979 Sire demos are raw, radiant, and long overdue for release. They captured the Rousers in full dragstrip ignition mode: dueling Gibson guitars plugged into Fender amps for maximum punk twang, hiccupping Elvis/Buddy Holly vocal inflections, and a rhythm section built for backseat makeouts and beer-splashed dance floors. 

With nods to Duane Eddy (“Ram Rod,” “Movin’ N Groovin’”), the sweat-soaked charm of originals like “Be My Girl” and “Product of the USA,” and a rip-it-up cover of Wilson Pickett’s “If You Need Me,” Rousers 1979 Sire Session is the missing chapter of NYC punk’s golden age, finally pressed to wax. 

Never before released, the tapes sat shelved in the Rock & Roll Hall of Fame’s Sire archives for decades, digitized and re­stored in 2024. Mixing duties were split between Bob Stander (Parchessi Studio) and Ed Stasium himself, ensuring pe­riod-authentic crunch meets modern punch.

The result is 13 tracks of grease-slicked melody and garage-pop swing, crowned by the kinetic rave-up “Bumblebee Rock” and the shoulda-been-hits “Lonely Summer” and “Be My Girl”—a song that splits the difference between Tommy James stomp and Marshall Crenshaw shimmer.

Katie Scaife & Kevin Bache in conversation with David Eastaugh 

https://thelovelybasement.bandcamp.com/

https://www.facebook.com/TheLovelyBasement/

The Lovely Basement are Katie Scaife, Kevin Bache, Steve Dew and Paul Waterworth. The band are based in Bristol, UK.