C86 Show - Indie Pop

The Pooh Sticks with Hue Williams

The Pooh Sticks special with Hue Williams in conversation with David Eastaugh

The Pooh Sticks were an indie pop band from Swansea, Wales recording between 1988 and 1995. They were notable for their jangly melodiousness and lyrics gently mocking the indie scene of the time such as on "On Tape", "Indiepop Ain't Noise Pollution" and "I Know Someone Who Knows Someone Who Knows Alan McGee Quite Well". The band changed direction on their 1991 U.S breakthrough The Great White Wonder, eschewing the 'twee' British indie pop sound for a more American-styled power pop sound, akin to bands like Jellyfish and Redd Kross. Subsequent albums Million Seller, released on 11 January 1993, considered by some power pop fans to be the band's best work, and Optimistic Fool, released on 24 April 1995, followed in this style.

Galaxie 500 & Luna special with Dean Wareham

Galaxie 500 & Luna special with Dean Wareham in conversation

Guitarist Dean Wareham, drummer Damon Krukowski and bassist Naomi Yang had met at the Dalton School in New York City in 1981, but began playing together during their time as students at Harvard University.Wareham and Krukowski had formed a series of punk-influenced student bands, before Wareham returned to New York. When he returned in 1987 he and Krukowski formed a new band, with Yang joining the group on bass guitar, the new group deciding on the name Galaxie 500, after a friend's car, a Ford Galaxie 500.

The band began playing gigs in Boston and New York City, and recorded a demo which they sent to Shimmy Disc label boss and producer Mark Kramer, who agreed to produce the band. With Kramer at the controls, the band recorded the "Tugboat" single in February 1988, and the "Oblivious" flexi-disc, and moved on to record their debut album, Today, which was released on the small Aurora label. The band toured the United Kingdom in late 1988 and in 1989, then signed to Rough Trade and released their second album, On Fire, which has been described as "lo-fi psychedelia reminiscent of Jonathan Richman being backed by The Velvet Underground", and is considered the band's defining moment.On Fire reached number 7 in the UK Indie Chart, and met with much critical acclaim in the United Kingdom, but was less well received by the US music press, who cited Wareham's 'vocal limitations' as a weakness.

Galaxie 500 recorded two sessions for John Peel's BBC Radio 1 programme, these later released on the Peel Sessions album. Their cover of Jonathan Richman's "Don't Let Our Youth Go To Waste" was also voted into number 41 in 1989's Festive 50 by listeners to the show.

The band split up in the spring of 1991 after the release of their third album, This Is Our Music. Wareham, who had already moved back to New York, quit the band after a lengthy American tour.

Galaxie 500's records were released in the US and UK on the independent Rough Trade label. When Rough Trade went bankrupt in 1991, Krukowski and Yang purchased the masters at auction, reissuing them on Rykodisc in 1996 as a box set containing all three albums and another disc of rarities.

Dweezil Zappa

Dweezil Zappa discussing his life in music, Frank Zappa and performing the classic 1974 album Apostrophe - with David Eastaugh 

Dweezil commented “Not only will we be performing with Frank once again via the technological wonderment of enhanced video during the live performance, but we will also be performing the works from one of his most well known albums. That’s right, ‘Apostrophe’, played in it’s album running order. It’s always been one of my favourites and it’s certainly a fan favourite as well. My very first experience playing to a large audience took place in the UK. I played at the Hammersmith Odeon with my dad when I was 12 years old. All these years later I still feel a connection to the UK because it’s part of a touchstone type of memory for me. One day I would love to come full circle and play at that venue again with my band. I know the venue now lives on under a different name but there’s a parallel there. My father’s music is also living on under a slightly different name, Dweezil Zappa Plays Zappa.”

“I’m really looking forward to this upcoming tour especially on the heels of the Roundhouse Zappa festival. That was such a great experience. We’ll be playing the entire Apostrophe album on tour and that really is a lot of fun. We’ll have some other surprises in the set as well. We always strive to learn new material each time we tour and this time we’re going to dig deep”

Sam Knee talking about Memories of a Free Festival

Author Sam Knee discussing Memories of a Free Festival: The Golden Era of the British Underground Festival Scene - with David Eastaugh

Free music festivals were at the epicentre of counterculture in Britain during the latter half of the 20th Century. With roots deeply embedded in the social history of British folklore, they evolved from embryonic jazz festivals through the anti-nuclear protest marches of the early ‘60s, to the Rock Against Racism and Jobs for a Change gigs of the late ‘70s and early ‘80s. They encapsulated the most radical voices of generations of young people, as they responded to the political schisms and social unrest that surrounded them. Memory of a Free Festival celebrates this wondrous world of bohe - mia. Hundreds of previously unpublished period photos capture jazz-loving beatniks, flower power hippies and post punk indie kids in all their festival finery.

 

 

The Searchers with Frank Allen

The Searchers special with Frank Allen talking about their career and recent tour - with David Eastaugh 

Isle of Wight Festival - Ray Foulk in conversation

Ray Foulk discussing his two new books on the Isle of Wight Festival - Stealing Dylan from Woodstock and The Last Great Event with Jimi Hendrix and Jim Morrison with David Eastaugh

The 1969 Isle of Wight Festival was Bob Dylan's one and only full concert appearance in seven-and-a-half years and played its part in a highly transformative period of the artist's life. Stealing Dylan from Woodstock tells, from a unique perspective, of an extraordinary event which seismically altered the lives of the author, his family, all those involved with it and many of those who attended.

For a time, the Isle of Wight Festivals transformed a sleepy English island into the rock'n'roll capital of the world. What started in 1968 as a parochial one-nighter in a stubble field to raise funds for a local swimming pool, a year later ballooned into a massive outdoor gathering. Numbers sky-rocketed as devotees flocked to the Island from mainland Britain, Europe, the Americas and as far away as Australia, to pay homage to rock's poet laureate, Bob Dylan.

The reclusive star had been holed up in the artist-town of Woodstock for more than three years, following a serious motorcycle accident. He toyed with playing the Woodstock festival brought to his own front door but it was the Foulk brothers who succeeded where all others failed, luring Dylan 3,000 miles away from home to their Island, to create a Woodstock of his own.

Landing the music biz coup of the decade, the three Foulk brothers, a printer, an estate agent and an art student became pioneers in pop promotion by signing for the world exclusive appearance of the reluctant 'voice of his generation'.

For the organisers, short on experience, resources and time, the ensuing public response was almost overwhelming, and the challenge of delivering the most eagerly-awaited musical event of the era daunting. The world's media covered the phenomena, gave the event global coverage and marked it as a suitable climax as the swinging sixties drew to a close.

 

Danny Goldberg talking In Search of the Lost Chord: 1967 and the Hippie Idea

Danny Goldberg talking about his book, In Search of the Lost Chord: 1967 & The Hippie Idea

‘Danny Goldberg is probably one of the purest, most reasonable guides you could ask for to 1967.’ Ex-Rolling Stones manager Andrew Loog Oldham. 

‘Weaves together rollicking, rousing, wonderfully colourful and disparate narratives to remind us how the energies and aspirations of the counterculture were intertwined with protest and reform … mesmerising.’ The Nation

It was the year that saw the release of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, and of debut albums from the Doors, the Grateful Dead, Jimi Hendrix and Janis Joplin. The year of the Summer of Love and LSD; the Monterey Pop Festival and Black Power; Muhammad Ali’s conviction for draft avoidance and Martin Luther King Jr’s public opposition to war in Vietnam.

On its 50th anniversary, music business veteran Danny Goldberg analyses 1967, looking not only at the political influences, but also the spiritual, musical and psychedelic movements that defined the era, providing a unique perspective on how and why its legacy lives on today.

Exhaustively researched and informed by interviews including Allen Ginsberg, Timothy Leary and Gil Scott-Heron, In Search of the Lost Chord is the synthesis of a fascinating and complicated period in our social and countercultural history that was about so much more than sex, drugs and rock n roll.

My Life Story with Jake Shillingford

My Life Story with Jake Shillingford in conversation

At the time of their debut single, "Girl A, Girl B, Boy C" (1993) produced by Giles Martin son of George, the group had a regular line-up of twelve members. Though the membership fluctuated continually, it rarely dipped into single figures until 1999, when their third album credited just four regular members, though most of the former line-up were still used as session musicians. Their orchestral sound led them to be compared to groups such as Tindersticks and especially The Divine Comedy. Their debut album, Mornington Crescent was released on 10 January 1995. My Life Story enjoyed the most success at the time of their second album The Golden Mile, which was released on 10 March 1997. It spawned five singles that entered the lower half of the UK Singles Chart, but finally disbanded after a series of farewell concerts in December 2000.

On 26 May 2006 the band reformed with the full line-up of thirteen members, to play at the Mean Fiddler (LA2) on Charing Cross Road in London, in support of their forthcoming Best Of album. The gig got a review rating of 10/10 from Planet Sound. A second reunion show took place at the Astoria in London on 8 December 2006. Further reunions have taken place every two years on 13 December 2007 at the O2 Shepherds Bush Empire, and Koko on 26 November 2009, where the band performed their debut album, Mornington Crescent, for the first time in its entirety. In 2009, it was announced that, to mark 15 years since their debut album, the group would reform and perform the album in full, together with later songs. This concert took place at KOKO which is next door to Mornington Crescent tube station.

My Life Story announced that they were to reunite again to perform The Golden Mile at the Shepherds Bush Empire on 3 March 2012 to celebrate fifteen years since the album's release.

In mid-2013 the group announced their first UK tour in 14 years. Singer Jake Shillingford is reported to have said: "For many years we have only been able to play a big London show due to the sheer size and scale of the band. Now I am able to take my songs out on the road with a stripped down tight rocking outfit."

"I will be joined by various members of My Life Story along my journey around the UK, culminating in our traditional annual London concert with the original bunch, I'm really looking forward to seeing everyone again, expect a big, bold and brash performance, all foxy horns and horny foxes."

In September 2016 My Life Story released their first single in 16 years, "24 Hour Deflowerer". The launch was marked with a two-night residency at The Borderline in London on 14–15 October, with all audience members receiving a numbered limited edition 7" vinyl of the single.

My Life Story performed in the Star Shaped Festival, a Britpop revival tour, alongside The Bluetones, Space, Dodgy and Salad, in July/August 2017 and again in August/September 2018 together with Echobelly, Black Grape and The Supernaturals. The band's current five-piece line-up features Jake Shillingford (vocals), Nick Evans (guitar), Chris Hardwick (drums), Jack Hosgood (bass) and Aimee Smith (keys).

The fourth My Life Story studio album, World Citizen, was crowd-funded with pre-orders from fans and was released on 6th September 2019. Described as "the best My Life Story album ever", World Citizen received review scores of 4/5 in The Express, 85% in Hi Fi News and 7/10 in Uncut

The release will be followed by a UK tour in November.

Hawkwind special with Dave Brock

Dave Brock in conversation with David Eastaugh

Hawkwind are an English rock band and one of the earliest space rock groups. Formed in November 1969, Hawkwind have gone through many incarnations and they have incorporated different styles into their music, including hard rock, progressive rock and psychedelic rock. They are also regarded as an influential proto-punk band. Their lyrics favour urban and science fiction themes.

Dozens of musicians, dancers and writers have worked with the band since their inception. Notable musicians to have performed in the band include Lemmy, Ginger Baker, Robert Calvert, Nik Turner and Huw Lloyd-Langton, but the band are most closely associated with their founder, the singer, songwriter and guitarist Dave Brock, who is the only remaining original member. Hawkwind are best known for the song "Silver Machine", which became a number three UK hit single in 1972, but they scored further hit singles with "Urban Guerrilla" (another Top 40 hit) and "Shot Down in the Night." The band had a run of twenty-two of their albums charting in the UK from 1971 to 1993.

Arthur Brown in conversation

Arthur Brown in conversation with David Eastaugh 

Arthur Brown  is an English rock singer and songwriter best known for his flamboyant theatrical performances, eclectic (and sometimes experimental) work and his powerful, wide-ranging operatic voice.

Brown has been lead singer of various groups, most notably the Crazy World of Arthur Brown and Kingdom Come, followed by a varied solo career as well as associations with Hawkwind, the Who and Klaus Schulze. In the late 1960s, the Crazy World of Arthur Brown's popularity was such that the group shared bills with the Who, Jimi Hendrix, the Mothers of Invention, the Doors, the Small Faces, and Joe Cocker, among others.

He is best known for his 1968 single "Fire", reaching number one in the UK Singles Chart and Canada, and number two on the US Billboard Hot 100 as well as its parent album The Crazy World of Arthur Brown which reached number 2 in the UK and number 7 in the US. Following the success of the single "Fire", the press would often refer to Brown as "The God of Hellfire", in reference to the opening shouted line of the song, a moniker that exists to this day.

Although Brown has had limited commercial success and has never released another recording as commercially successful as "Fire", he has remained a significant influence on a wide range of musicians in numerous genres due to his operatic vocal style, wild stage persona, and often experimental concepts; he is considered to be a pioneer of shock rock and progressive rock and has had an influence on both electronic and heavy metal music. In 2005, Brown won the 'Showman of the Year' award from Classic Rock magazine, with Brown receiving the award at the Classic Rock Roll of Honour Awards ceremony held in London's Café de Paris.

Nicholas Pegg - The Complete David Bowie

Nicholas Pegg discussing his latest book The Complete David Bowie - with David Eastaugh

Critically acclaimed in its previous editions, The Complete David Bowie is recognized as the foremost source of analysis and information on every facet of Bowie’s work. The A-Z of songs and the day-by-day dateline are the most complete ever published. From his boyhood skiffle performance at the 18th Bromley Scouts’ Summer Camp, to the majesty of his final masterpiece Blackstar, every aspect of David Bowie’s extraordinary career is explored and dissected by Nicholas Pegg’s unrivalled combination of in-depth knowledge and penetrating insight.

Mike Garson special - David Bowie

Mike Garson in conversation with David Eastaugh - recorded 28th January 2016

Garson was David Bowie’s longest and most frequent band member. They performed together for both Bowie's first and last concerts in the United States as well as 1,000 concerts around the globe in between.

Garson provided the piano and keyboard backing on the later Ziggy Stardust tour of 1972-73 and his contribution to the song "Aladdin Sane" (1973) gave the song an avant-garde jazz feel with lengthy and sometimes atonal piano solos.

I had told Bowie about the avant-garde thing. When I was recording the "Aladdin Sane" track for Bowie, it was just two chords, an A and a G chord, and the band was playing very simple English rock and roll. And Bowie said: 'play a solo on this.' I had just met him, so I played a blues solo, but then he said: 'No, that's not what I want.' And then I played a Latin solo. Again, Bowie said: 'No no, that's not what I want.' He then continued: 'You told me you play that avant-garde music. Play that stuff!' And I said: 'Are you sure? 'Cause you might not be working anymore!'. So I did the solo that everybody knows today, in one take. And to this day, I still receive emails about it. Every day. I always tell people that Bowie is the best producer I ever met, because he lets me do my thing.

Garson played also for Bowie's guitarist bandmate Mick Ronson on his first and last solo tour, and his first Slaughter on Tenth Avenue (1974) and second solo album Play Don't Worry (1975). Garson came to replace Ronson as Bowie's musical lieutenant on several occasions, notably on "We Are the Dead" from the 1974 Diamond Dogs album, where Garson's metronome-like keyboard provides a dramatic setting for Bowie's vocals, and on the title track to Young Americans (1975) where his jaunty piano leads the band. Garson played with Bowie on and off over the years, resurfacing on The Buddha of Suburbia (1993) and 1 Outside (1995).

Jethro Tull special with Ian Anderson

Jethro Tull special with Ian Anderson in conversation with David Eastaugh

Jethro Tull are a British rock band formed in Blackpool, Lancashire, in 1967. Initially playing blues rock and jazz fusion, the band later developed their sound to incorporate elements of hard rock and folk rock to forge a progressive rock signature. The band is led by vocalist/flautist/guitarist Ian Anderson, and has featured a revolving door of lineups through the years including significant members such as guitarists Mick Abrahams and Martin Barre, keyboardist John Evan, drummers Clive Bunker, Barriemore Barlow, and Doane Perry, and bassists Glenn Cornick, Jeffrey Hammond, John Glascock, and Dave Pegg.

The group first achieved commercial success in 1969, with the folk-tinged blues album Stand Up, which reached No. 1 in the UK, and they toured regularly in the UK and the US. Their musical style shifted in the direction of progressive rock with the albums Aqualung (1971), Thick as a Brick (1972) and A Passion Play (1973), and shifted again to hard rock mixed with folk rock with Songs from the Wood (1977) and Heavy Horses (1978). After an excursion into electronic rock in the early-to-mid 1980s, the band won its first and only Grammy Award with the 1987 album Crest of a Knave. Jethro Tull have sold an estimated 60 million albums worldwide, with 11 gold and five platinum albums among them. They have been described by Rolling Stoneas "one of the most commercially successful and eccentric progressive rock bands".

The last works as a group to contain new material were released in 2003, though the band continued to tour until 2011. Anderson said Jethro Tull were finished in 2014; however, in September 2017 Anderson announced plans for a tour to commemorate the fiftieth anniversary of the band's first album This Was, and then record a new studio album in 2018. The current band line-up includes musicians who have been members of Anderson's solo band since 2012. The band began a world tour on 1 March 2018.

Paul Hanley - A History of Manchester Music in 13 Recordings

Paul Hanley was the drummer in Manchester legends The Fall from 1980-85 and now plays with Brix & The Extricated. He's studying for an English degree with the Open University and occasionally writes for Louder Than War. He's married with three children and once got 21 on Ken Bruce's 'PopMaster'.

When British bands took the world by storm in the mid-sixties, the world turned and looked at London. Despite the fact that the most successful of these bands hailed from the North West corner of England, for the USA, London was the source of these thrilling new sounds. And in many ways it was - The Beatles, The Hollies and Herman's Hermits recorded all their hits with London-based producers, for London-based companies in London studios. And that's how it remained, until four Mancunian musicians became alive to the possibility of recording away from the capital.

Against the prevailing wisdom, they opted to plough their hard-earned cash back into the city they loved in the form of proper recording facilities. Eric Stewart of The Mindbenders and songwriter extraordinaire Graham Gouldman created Strawberry Studios; Keith Hopwood and Derek Leckenby of Herman's Hermits crafted Pluto. Between them they gave Manchester a voice, and facilitated a musical revolution that would be defined by its rejection of the capital.

This book tells the story of Manchester music through the prism of the two studio's key recordings. Of course that story inevitably takes in The Smiths, Joy Division, The Fall and The Stone Roses. But it's equally the story of 'Bus Stop' and 'East West' and 'I'm Not in Love'. It's the story of the Manchester attitude of L.S. Lowry, by way of Brian and Michael, and how that attitude rubbed off on The Clash and Neil Sedaka. Above all, it's the story of music that couldn't have been made anywhere else but Manchester.

Richard King - How Soon Is Now?

Author Richard King special - discussing his book How Soon Is Now?

'If you look at all the people involved - Ivo, Tony Wilson, McGee, Geoff Travis, myself - nobody had a clue about running a record company, and that was the best thing about it.' Daniel Miller, Mute Records

One of the most tangible aftershocks of punk was its prompt to individuals: do it yourself. A generation was inspired, and often with no planning or business sense, in bedrooms, record-shop back offices and sheds, labels such as Factory, Rough Trade, Mute, Beggars Banquet, 4AD, Creation, Warp and Domino began. From humble beginnings, some of the most influential artists were allowed to thrive: Orange Juice, New Order, Depeche Mode, Happy Mondays, The Smiths, Primal Scream, My Bloody Valentine, Aphex Twin, Teenage Fanclub, The Arctic Monkeys. How Soon Is Now? is a landmark survey of the artists, the labels, and the mavericks behind them who had the vision and bloody-mindedness to turn the music world on its head.

Simon Reynolds discussing Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-First Century

Author Simon Reynolds discussing Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-First Century with David Eastaugh

A Guardian, Sunday Times, Mojo, Daily Telegraph and Observer Book of the Year
Longlisted for the Penderyn Music Book Prize 2017

As the sixties dream faded, a new flamboyant movement electrified the world: GLAM! In Shock and Awe, Simon Reynolds explores this most decadent of genres on both sides of the Atlantic. Bolan, Bowie, Suzi Quatro, Alice Cooper, New York Dolls, Slade, Roxy Music, Iggy, Lou Reed, Be Bop Deluxe, David Essex -- all are represented here. Reynolds charts the retro future sounds, outrageous styles and gender-fluid sexual politics that came to define the first half of the seventies and brings it right up to date with a final chapter on glam in hip hop, Lady Gaga, and the aftershocks of David Bowie's death.

Shock and Awe is a defining work and another classic in the Faber Social rock n roll canon to stand alongside Rip it Up, Electric Eden and Yeah Yeah Yeah.

Nick Lowe special with author Will Birch

Author Will Birch discussing his new book 'Cruel to be Kind: The Life & Music of Nick Lowe

Cruel to Be Kind is the definitive account of Nick Lowe's uncompromising life as a songwriter and entertainer, from his days at Stiff Records, to becoming the driving force behind Rockpile, to the 1979 smash hit 'Cruel To Be Kind'.

Nick's original compositions have been recorded by the best in the business, from enfant terrible of the New-Wave, Elvis Costello, to 'The Godfather of Rhythm and Soul', Solomon Burke; from household names, including Engelbert Humperdink, Diana Ross, and Johnny Cash, to legendary vocalists such as Curtis Stigers, Tom Petty, and Rod Stewart.

His reputation as one of the most influential musicians to emerge from that most formative period for pop and rock music is cast in stone. He will forever be the man they call the 'Jesus of Cool'.

'Nick's poise as a singer, his maturity, and his use of tone is beautiful. I can't believe it's this guy I've been watching since I was a teenager' Elvis Costello, 2013

'The master of subversive pop' Nick Kent, NME, 1977

'Nick Lowe is such a f*cking good songwriter! Am I allowed to say that?' Curtis Stigers, 2016

Motorhead special with Fast Eddie Clarke

Motorhead special with Fast Eddie Clarke in conversation

Motörhead were an English rock band formed in June 1975 by bassist, singer, and songwriter Ian "Lemmy" Kilmister, who was the sole constant member, guitarist Larry Wallis and drummer Lucas Fox. The band are often considered a precursor to the new wave of British heavy metal, which re-energised heavy metal in the late 1970s and early 1980s. Though several guitarists and drummers have played in Motörhead, most of their best-selling albums and singles feature the work of Phil "Philthy Animal" Taylor on drums and "Fast" Eddie Clarke on guitars.

Motörhead released 22 studio albums, 10 live recordings, 12 compilation albums, and five EPs over a career spanning 40 years. Usually a power trio, they had particular success in the early 1980s with several successful singles in the UK Top 40 chart. The albums Overkill, Bomber, Ace of Spades, and particularly the live album No Sleep 'til Hammersmith cemented Motörhead's reputation as a top-tier rock band. The band are ranked number 26 on VH1's 100 Greatest Artists of Hard Rock. As of 2016, they have sold more than 15 million albums worldwide.

Motörhead are typically classified as heavy metal, and their fusion of punk rock into the genre helped to pioneer speed metal and thrash metal. Their lyrics typically covered such topics as war, good versus evil, abuse of power, promiscuous sex, substance abuse, and, most famously, gambling, the latter theme being the focus of their hit song "Ace of Spades".

Motörhead has been credited with being part of and influencing numerous musical scenes, thrash metal and speed metal especially. From the mid-1970s onward, however, Lemmy insisted that they were a rock and roll band. He has said that they had more in common with punk bands, but with their own unique sound, Motörhead is embraced in both punk and metal scenes.

 

The Pogues special with James Fearnley

The Pogues special with James Fearnley talking about life in music, and also new new musical adventure, the Walker Roaders.

The Pogues were a British Celtic punk band fronted by Shane MacGowan and others, founded in Kings Cross, London in 1982, as "Pogue Mahone" – the anglicisation of the Irish Gaelic póg mo thóin, meaning "kiss my arse". The band reached international prominence in the 1980s and early 1990s, recording several hit albums and singles. MacGowan left the band in 1991 due to drinking problems, but the band continued – first with Joe Strummer and then with Spider Stacy on vocals – before breaking up in 1996. The Pogues re-formed in late 2001, and played regularly across the UK and Ireland and on the US East Coast, until dissolving again in 2014. The group did not record any new material during this second incarnation.

Their politically-tinged music was informed by MacGowan and Stacy's punk backgrounds, yet used traditional Irish instruments such as the tin whistle, banjo, cittern, mandolin and accordion.

 

New Model Army with Justin Sullivan

New Model Army with Justin Sullivan in conversation with David Eastaugh 

New Model Army are an English rock band formed in Bradford, West Yorkshire, in 1980 by lead singer, guitarist and main composer Justin Sullivan, bassist Stuart Morrow and drummer Phil Tompkins. Sullivan has been the only continuous member of the band, which has seen numerous line-up changes in its 39-year history. Their music draws on influences across the musical spectrum, from punk and folk to soul, metal and classical. Sullivan’s lyrics, which range from directly political through to spiritual and personal, have always been considered as a key part of the band’s appeal. By the time they began making their first records in 1983, Robert Heaton, a former drum technician for Hawkwind, had replaced Tompkins.

Whilst having their roots in punk rock, the band have always been difficult to categorise. In 1999, when asked about this, Sullivan said "We've been labelled as punks, post-punks, Goth, metal, folk – the lot, but we've always been beyond those style confines". Following a large turnover of personnel, both permanent and as touring members, as of August 2017 New Model Army comprise Sullivan, Dean White (keyboards and guitar), Michael Dean (drums), Marshall Gill (guitar) and Ceri Monger (bass).

The band were formed in Bradford, West Yorkshire in the autumn of 1980, taking their name from the army established by Parliament during the English Civil War, and played their first concert in Bradford in October, playing songs based on their shared love of punk rock and Northern soul.

Until the mid-1980s, Sullivan used the alter ego of "Slade the Leveller" (Levellers being a radical political movement of the 1640s), supposedly so that he would not lose his unemployment benefits if the authorities realized he was making money from music. They continued to gig around the United Kingdom with little recognition, but in 1983 released their first singles "Bittersweet" and "Great Expectations" on Abstract Records, and were given airplay by Radio 1's John Peel.

In February 1984, they were invited to play on popular music show The Tube, being introduced by presenter Muriel Gray as "the ugliest band in rock and roll". The producers of the show however were concerned about the lyrics of "Vengeance", which the band were due to perform ("I believe in justice / I believe in vengeance / I believe in getting the bastards") and so the band played "Christian Militia".

Following this performance, the band's first mini-album Vengeance reached Number 1 in the UK independent chart in early 1984, pushing The Smiths from that position. After a further single "The Price" also reached a high placing in the independent charts, the band were signed by major label EMI.