Whatever Happened to the C86 Kids?: An Indie Odyssey

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Neil Taylor co-compiled C86 and is the author of Document & Eyewitness: An Intimate History Of Rough Trade. Since the 1990s he has worked in publishing. In 2022, journalist Nige Tassell published the book Whatever Happened to the C86 Kids?: An Indie Odyssey, based on interviews with members of all 22 bands that had appeared on the cassette. It outlines the "many and varied paths through life" these musicians took over a period of more than three decades. [22] Follow-ups [ edit ]

Women of the 80s Indie Boom - One Touch Football

If you do nothing, you will be auto-enrolled in our premium digital monthly subscription plan and retain complete access for 65 € per month.In retrospect, we were probably slightly more established than most of the other bands, even if it didn’t seem like it at the time. We were just honored to be on an NME tape, having read the magazine for years, and perhaps a bit guileless about how it might affect us. But I can understand why, say, the June Brides didn’t want to be on the tape, and how some of the less established bands might be pigeonholed by it, especially when the scene seemed to have run its course.

C86 and All That: The Birth of Indie, 1983-86 - Goodreads C86 and All That: The Birth of Indie, 1983-86 - Goodreads

In 1986 I was the tender age of 15 & had zero knowledge of the C86 cassette, but by ‘87 I started really getting into the independent music scene & became aware of the term C86. As detailed in the book it referred to a certain type of music; jangly guitars, played almost exclusively by young white males with bad haircuts. I think it was meant to be an insult, but I absolutely loved these bands & as a result was aware of the musical artefact they had appeared on. I think I still own records (up in the loft) of at least half the bands mentioned. It’s really interesting to see the challenges and problems that each band had before, during and after C86, some complain of too much freedom, others of too much control, some sought mainstream, pop success, others were happy to remain obscure. We really get a broad range of personalities too, those who remain proud of their contribution and others who wish to distance themselves from it and are determined not to be defined by it. Ex- NME writer Andrew Collins summed up C86 by dubbing it "the most indie thing to have ever existed". [16] Bob Stanley, a Melody Maker journalist in the late 1980s and founding member of pop band Saint Etienne, similarly said in a 2006 interview that C86 represented:In 1986, the NME released a cassette that would shape music for years to come. A collection of twenty-two independently signed guitar-based bands, C86 was the sound and ethos that defined a generation. It was also arguably the point at which ‘indie’ was born. Some of the bands, like Primal Scream, went on to achieve global stardom; others, such as Half Man Half Biscuit and the Wedding Present, cultivated lifelong fanbases that still sustain their careers thirty-five years later. Then there were the rest, who ultimately imploded in a riot of paisley shirts, bad drugs and general indifference from the record-buying public. Others were found farther afield. The Mighty Lemon Drops’ guitarist Dave Newton was hunted down to California where he’s a record producer for hire, operating out of the studio in his double garage. He even once formed a covers band – the C86 All Stars – to play the indie hits of the mid-to-late 80s. Dave was clearly still happy to be associated with C86. For many of the bands, the cassette provided their careers with a springboard, often involving signing for a major label. For others, it was a millstone that was hard to shed, a pigeonhole impossible to escape. Following the success of the three-disc compilation, ‘ The Sun Shines Here’ (which documented the roots of Indie Pop from 1980-84), the prequel to C86, C85 combines “name” bands with many obscurities making their debut on CD. Several acts on C85 would eventually feature on that NME’s C86 collection: Primal Scream, The Wedding Present, the Mighty Lemon Drops, etc, who all had singles released in 1985. One by one they agreed to be interviewed. Invariably, they would ask who else had confirmed. If, say, members of the Pastels or Age of Chance or the Mighty Lemon Drops were on board, that was enough for them. Some would tender old phone numbers of their former bandmates, keen for each of these missing persons cases to be solved. In the end, no band wanted to be left out, for their story not to be told. When I secured an interview with the drummer from the 22nd and last band to respond, I punched the air in delight. Relief, too.

C86 cassette helped create the British How NME magazine’s C86 cassette helped create the British

There was an upside as well as a downside,” concludes Stephen McRobbie, of the Pastels. “There’s no doubt that it helped us to reach a larger audience. We probably benefited. But it became more of a signifier than any of us imagined … ” But by uniting the muddled sounds of “indie” under a single albeit contested banner NME stamped a unique moment in British music. Journalist Nige Tassell, author of 2022 book Whatever Happened to the C86 Kids?: An Indie Odyssey, would write in The Guardian: “These groups laid the foundations for later outfits such as the Stone Roses, Oasis and Arctic Monkeys who took indie ‘overground’, swapping upstairs rooms in pubs for headline slots at the biggest festivals.”By 1986, however, the politics of the magazine had changed dramatically. C86 was used as a weapon not only in the civil war within the paper, in but in the war between it and other music magazines. There was heavy competition around this time between music publications, with four weekly music mags competing for sales, each trying to pique reader interest by writing about new bands and trends. C86 aimed to create a new genre for NME to profit off, hoping to generate attention by ‘discovering’ and promoting a new genre. In achieving this purpose, the tape was a success. To this day, C86 is recognised as its own legitimate subgenre on RateYourMusic.com. But C86 was also used as a pawn in the so-called ‘Hip-Hop Wars’ going on in NME in the 1980s, a schism between fans of hip hop and guitar music enthusiasts. C86 was a tactic devised to reinvigorate interest in the indie scene, taking attention away from the burgeoning rap game. It was designed to be, as Ex-NME staffer Andrew Collins put it, “the most indie thing ever to have existed”. “The most indie thing that ever existed” Following on from the cult success of C81, NME or anyone else couldn’t possibly have predicted just how seminal their C86 compilation cassette would become. But even today, nearly forty years on a whole generation and then some, know exactly what you mean when you say the words C86. The significance of C86 was recognized by several events marking the 20th anniversary of the compilation's release in 2006: