Rachel Mayfield in conversation with David Eastaugh

rachelmayfield.com

https://rachelmayfield.bandcamp.com

Rachel Mayfield is a singer, writer and mixed media artist from Birmingham, UK.

In the 1990's she formed and fronted Indie Rock band 'Delicious Monster' being hailed by the NME as a "Goddess of Indie Rock' and as 'exciting, unpredictable and dangerous as a ten legged Tyrannosaurus. The band received critical acclaim for three top ten singles and one album placing them at the forefront of the cultured Indie Rock scene. Since then she has diversified into Solo albums, Film and Art installations while continuing to develop creative collectives.

In 2015 her short film 'All Lovers Could Be Love' from 'Venture of Belief' featured in the BFI love season with Poetryfilm.org.

October 12th 2017 saw the release of Rachel Mayfield - "Winter of Desire" in a Digital format through Iron Man Records, Birmingham.

In 2018 Rachel Mayfield began a monthly Radio Show for Brum Radio called "Truth To Material," a free flowing monthly diary of ideas, events, artists, music and conversation.

On 4th March 2018 Rachel Mayfield – Transports Of Delight was given a Digital Release on Iron Man Records, Birmingham.

James Smith - The Nightingales - in conversation with David Eastaugh

https://uknightingales.bandcamp.com/album/the-last-laugh

The Nightingales are a British post-punk/alternative rock band, formed in 1979 in Birmingham, England, by four members of Birmingham's punk group The Prefects. They had been part of The Clash's 'White Riot Tour', recorded a couple of Peel Sessions, released a 45 on Rough Trade and, years after splitting up, had a retrospective CD released by US indie label Acute Records.

Described in John Robb's book on 'post punk' Death To Trad Rock as "The misfits' misfits" and comprising an ever-fluctuating line up, based around lyricist/singer Robert Lloyd, the Nightingales enjoyed cult status in the early 1980s as darlings of the credible music scene and were championed by John Peel, who said of them – "Their performances will serve to confirm their excellence when we are far enough distanced from the 1980s to look at the period rationally and other, infinitely better known, bands stand revealed as charlatans".

The Rosehips were an indiepop band from Stoke on Trent, UK. They were together from 1986 to 1989.

Ian Cooper & Paul Hammond - Ultramarine - in conversation with David Eastaugh

Ultramarine are an English electronic music duo, formed in 1989 by Ian Cooper and Paul Hammond. Their work blends elements of techno, house and ambient music with acoustic instrumentation, the influence of the 1970s Canterbury scene, and other eclectic sources.[1] They are best known for their 1991 album Every Man and Woman Is a Star, reissued on Rough Trade the following year.

Mike Gallo - 20/20 I n conversation with David Eastaugh

20/20 was an American power pop band based in Hollywood, California. They were active from 1977 to 1983 and reunited during the mid-1990s to the late 1990s. In the mid-1970s, Steve Allen and Ron Flynt played together in Tulsa. Allen and Flynt were graduates of Nathan Hale High School, and both attended Oklahoma State University, where Flynt earned a degree in music.[2] Allen decided to move to Los Angeles in 1977 after fellow Tulsa natives Phil Seymour and Dwight Twilley met with success. Once in Los Angeles, Allen met with Mike Gallo (singer/songwriter/keyboardist/drummer), who had already conceived of the idea and name for the band (after having spent time in the UK). Gallo first started writing with Allen, and later auditioned Allen's friend from Tulsa, Ron Flynt, for 20/20.

George Henderson - The Puddle & The New Existentialists - in conversation with David Eastaugh

https://thenewexistentialists.bandcamp.com

The Puddle are a New Zealand rock band originally formed in Dunedin in 1983 by George D. Henderson. They had a mini-album, a live album, a studio album and a single released on New Zealand independent record label Flying Nun Records between 1986 and 1993. The group has continued to exist since then, with several line-up changes and periods of inactivity. Since 2006 the group has released four albums on Dunedin independent record label Fishrider Records.

Cos Chapman - Rude Mechanicals - in conversation with David Eastaugh

http://www.rudemechanicals.co.uk

https://www.coschapman.com

High Tide - Tony Hill - In conversation with David Eastaugh

https://www.bluematterrecords.com

Allmusic author, Wilson Neate, stated this of the group, "High Tide had the muscularity of a no-nonsense proto-metal band, but they also ventured into prog territory with changing time signatures and tempos, soft-hard dynamics, multi-part arrangements, and even some ornate faux-Baroque interludes".

High Tide made their first recordings as the backing band on Denny Gerrard's album Sinister Morning. Gerrard returned the favor by producing their first album, Sea Shanties, which was released in October 1969. Though it met with a scathing review in Melody Maker, reviews in the underground press were universally positive, and sales were just enough to convince Liberty to give the green light to a second album.

Jarboe in conversation with David Eastaugh

https://www.thelivingjarboe.com

Jarboe described herself as "obsessed" with Swans since hearing their first album, Filth (1983). She came into contact with Michael Gira and attended the band's practice sessions before, after several auditions, joining as a vocalist and keyboardist and debuting on Greed(1986). Prior to Swans, Jarboe's musical background had consisted of training as a jazz and choral vocalist.

James Brown in conversation with David Eastaugh

https://www.amazon.co.uk/Animal-House-James-Brown/dp/1787477908

In 1985, James Brown was a contributor to the alternative newspaper Leeds Other Paper. In 1986, following work on his fanzine Attack on Bzaag, Brown was hired as freelance features writer for Sounds; from there he soon joined the magazine NME. In 1991, Brown became the manager of Fabulous, a rock band composed of various NME journalists. After leaving NME, he wrote features for the Sunday Times magazine.