Eleven Eleven - Real Men - 1988
previously unreleased

Imagine four college kids decide to start a band one day (we've never heard that story before, right?). One gets a job in Winston-Salem, NC (of all places) and the rest are coaxed into moving with offers of booze and free women, or was it women and free booze (doesn't matter because neither were free). They move into a killer old house in downtown W-S and commenced to making a whole lot of racket. They decided to throw a party and invited another local band Jonathan E (see my very first post) to join them. The party was a huge success and the rest is history as they say.

If I had a band that left behind just 2 songs and this was one of them I'd have a grin on my face. What started out as a drunken party game turned into a 2 minute experiment in... well I don't rightely know what ya call it. But its good!!!

Band Members:
Chris Myers - Vocals
Mike Morse - Guitar, Vocals
Richard Skinner - Bass
Richard Rothermel - Drums

Sugarsmack - Zsa Zsa - 1992
from the 3 AM cd ep - Zsa Zsa

from allmusic.com

The North Carolina alt-rock quintet Sugarsmack is led by vocalist Hope Nicholls, who was previously a member of roots rockers Fetchin Bones (issuing a string of albums that proved to be favorites of college radio during the late '80s). After the group's breakup, Nicholls formed Sugarsmack with her boyfriend/guitarist Aaron Pitkin, enlisting percussionist Deanna Gonzales, drummer John Adamian, and second guitarist Chris Chandek to round out the band. Sugarsmack issued their debut album, Top Loader, in 1993 on Chicago's Invisible label, while a sophomore album, Tank Top City, saw the light of day in 1998 (which also proved to be their major-label debut for Sire).

Band Members:
Hope Nicholls - Vocals & Saxophone
Aaron Pitkin - Guitar, Bass, Keyboards, Sequencing
John Adamian - Drums
Chris Chadnek - Guitar and Sequencing
Deanna Gonzales - Percussion and Electronic Percussion

Zen Frisbee - Crazy Steven - 1994
from the cd "I'm As Mad as Faust"

Chapel Hill's Zen Frisbee were ridiculously popular in their hometown. I don't really know much about them. Outside of owning this cd, I have seen the video to "Jonesin" on Norwood Cheek's excellent video collection "Young Rock". Those more knowledgable than myself, I invite you to comment on this band.

Band Members:
Clint Curtis - Drums
Kevin Dixon - Guitars, Vocals
Laird Dixon - Guitars, Vocals
Andrew Maltbie - Bass, Vocals
Brian Walker - Vocals, Guitar

Jeff Hart and the Ruins - Lovesick - 1995
from the album "Glances from a Nervous Groom"

Guitarist and songwriter for the Americana styled "Brown Mountain Lights", "The Nervous Grooms," the power pop "Frosted Sugar Bombs" and his own rock combo "Jeff Hart & The Ruins". He's played bass and guitar in other NC standouts such as the "Two Dollar Pistols", "Chris Stamey's Big Band" and "Robert Kirkland & The Hanks" (following the breakup of "Arrogance"). A 17-year veteran of the NC music scene, primarily in the Raleigh-Durham-Chapel Hill clubs. An NC original, he covers the gamut of styles from Flying Burrito Brothers, The Byrds, Ray Davies to Tom Petty and the Replacements.

Band Members:
Jeff Hart - Vocals, Guitar
Glenn Jones - Bass, Vocals
Bryan Sodemann - Drums
Brian Yamamoto - Guitar

Riff Doctors - Turn Me On - 1985
from the cd Teen Line Volume One - Powerpop & poprock 45s: R & S

from the liner notes:

In powerpop's darkest hour, "jangle" appeared in North Carolina. Partly from the usual powerpop roots (Mitch Easter loved Big Star) and a jangly guitar sound that Mitch inexpensively resurrected from mid-period Byrds records —but just as much from Don Dixon's long-running country-pop band. Arrogance. Unleashed on the masses, jangle quickly degenerated into guitar-band mumbling and jamming, but you might think of Frank Bednash's Riff Doctors as the first of the counter-revolution: twangy, hook-laden, brief, and totally popped-out. A couple years later, he'd hooked up with NYC's Donna Esposito (ex-Cyclones), and cut an amazing demo (with Mitch) that went nowhere til it became the B-side of the debut Cowboy & Spingirl 12" (Subway UK).

For those not familiar with the brilliant Teen Line series go here NOW!

Band Members:
Frank Bednash

Annabel Lee - Sweet Caroline - 1991
from the Accidental Records cd "Self Recognition - NC Sampler Of The Unsigned"

Raleigh's Annabel Lee were as polished and groomed for greatness as any band from NC. Led by the smoother-than-silk voice of Ashley Carter, Annabel Lee seemed destined for greatness. How many times have you seen me write that here? Great band, lost to time.

Band Members:
Ashley Carter - Vocals
Celeste Hodgins - Keyboards
Thomas Mills - Bass
Chris Sheridan - Drums
Christopher Stevens - Guitars

Sorry for the lack of postings lately. I was out of town all week AND we had some problems with the server. I am back now and the server has been fixed so I will be back to it asap. Thanks to all the folks who have responded to my request for guest postings. I can't wait to get them and share with the world.

UPDATE: someone just pointed out that my last posting by Superchunk was sort of telling. Well you're right I guess I have been one. HAR HAR!!! Please keep spreading the word!!!!

Cheers,
Michael

Superchunk - Slack Motherfucker - 1990
from the S/T Matador release

from cmj.com

Perhaps no band was more emblematic of the true spirit of American indie rock during the 1990s than Superchunk, the pride of Chapel Hill, NC. Following the D.I.Y. ethic to the letter, the group operated solely by their own rules, ignoring all passing trends by sticking to their trademark sound -- typified by the buzzing guitars and high, impassioned vocals of frontman Mac McCaughan -- and rejecting all major-label advances in favor of the unlimited freedom afforded by owning their own company, the highly successful Merge Records. Although Superchunk's resistance to the overtures of the music industry may have deprived them of the wider audience their work clearly deserved, perhaps their greatest legacy remains their unwavering dedication to the indie tradition, a model which all up-and-coming bands should strive to emulate.

Superchunk was formed in the college town of Chapel Hill in 1989 by singer/guitarist McCaughan, bassist Laura Ballance, drummer Chuck Garrison, and guitarist Jack McCook. Initially dubbed merely Chunk -- the "Super" prefix was later added to avoid confusion with a similarly named New York City avant-jazz band -- the group's debut single, What Do I, was soon issued on Merge, a label jointly run by McCaughan and Ballance. The follow-up was 1990's epochal Slack Motherfucker, MacCaughan's blistering tirade against a lazy Kinko's co-worker; the single was immediately hailed on both sides of the Atlantic as one of the definitive indie anthems of the era; and with the subsequent release of their self-titled debut LP, Superchunk was widely celebrated among the most promising young bands in America.

Band Members:
Mac McCaughan - Vocals, Guitar
Laura Ballance - Bass
Chuck Garrison - Drums
Jack McCook - Guitar

Mitch Cooper - Always On The Horizon -1986
from his self-titled 7" ep on Prismic Records

Charlotte's Mitch Cooper led the area's retro-60's psychedelic revitalization with the release of this e.p. in 1986. Shortly after, he formed "The Inn" and his vision was fully realized. The Inn released three LP's all with the same wonderful 60's-influenced West Coast-styled psychedelic-pop. They went from free-form freakouts to more structured flowing rock pieces. I saw them numerous times at the Milestone and remember a vivid light show, tons of balloons floating all around, and other sorts of visual enticements. From what I understand, they are still together.

Before the Inn, Mitch was the original drummer for Fetchin' Bones. He caused a local stir when he released an unauthorized bootleg of early Fetchin' Bones demos in the late '80's (right as Fetchin' Bones were signing to Capitol Records--and appeared to be on the verge of breaking out). Hope Nichols and Capitol Records threatened legal action, but nothing ever came of it.

Mitch is probably best known for a Todd Rundgren tribute cd he released in 1991 ("For The Love Of Todd") which featured contributions from Peter Holsapple, Mitch Easter, Don Dixon, The Woods, Jamie Hoover, Parthenon Huxley, and Bill Lloyd. He released a follow-up Todd tribute cd in 1995 ("Still There's More").

Fred Mills adds:

Cooper, along with his Inn cohorts, was also responsible for the now-lengendary series of "Psychedelic Psunday" happenings in Charlotte; each concert featured a brace of lysergic locals jamming from early in the afternoon until way into the wee hours of the next morning -- on Sundays, naturally -- in true Fillmore fashion.

Patrick Richardson

Band Members:
Mitch Cooper - all instruments

Marsha - Not Lookin For Action - 1995
from the cd Tornado Bait

In 1995, ex-Leap of Faith bandmates Joe Romweber and Norman Underwood were beginning to assemble material to take into the studio to record the follow up to Joe's first solo record - All Over. Norman suggested that they enlist the help of ex-Orange Driver bandmate/guitarist Matt Paul. They enjoyed playing so much they decided to form a band and make a go of it as Marsha. They then recruited bass player Jeff Umbarger to fill in the final spot releasing a full length cd - Tornado Bait on Joe's own Vertical 8 label. Making the Local 506 their "home away from home," the guys enjoyed limited success and played and recorded more for fun than anything else. Matt Paul called it quits a few years later and the band forged ahead as a trio recording a second full length album - Wigged Out in 1998.

Band Members:
Joe Romweber - Guitar
Norman Underwood - Drums
Matthew Paul - Guitar
Jeff Umbarger - Bass

Orange Driver - Ugly As Sin - 1991 (WARNING: Language!!!)
live at the Cat's Cradle - previously unreleased

In 1990, Ugly Americans guitarist Danny Hooley (nee "Hooligan") moved from Durham to Raleigh to form the first version of Orange Driver with singer/guitarist Danny Kurtz, bassist Chris Stephens and drummer Chris Brewer.

The band, which played most of its gigs at The Fallout Shelter (now defunct) that year, was short-lived, but during this time, Hooley wrote some of the songs that would be carried over to the next version of the band, including "Walk Home Alone" "Rio Rita," and "The Driver."

Hooley moved back to Durham in mid-1990 and formed another band with guitarist Matt Paul, and bassist Joe Caparo and drummer Norman Underwood of Chapel Hill band Leap of Faith.

Caparo and Underwood worked at Pepper's Pizza, so Chapel Hill naturally became the band's base of operations. At the time, of course, Chapel Hill was experiencing a musical renaissance, with bands like Superchunk, Archers of Loaf and Pipe. Hooley's idea was for the band to stand out with its punk-inspired hard rock, much in the same way The Dead Boys stood out in the art-rock scene of Cleveland in the late `70s.

But, just as The Dead Boys had to eventually move to New York to make their fame, Orange Driver learned that going against the grain in a tightknit scene doesn't always work. Although they drew enthusiastic audiences in Durham, Greensboro and Raleigh, the band was unpopular in Chapel Hill, despite getting some college radio airplay the single "Walk Home Alone" /The Driver/"Rio Rita" on the band's own Power Trash Records.

Drummer Norman Underwood was the first to leave, replaced by OD mach 1 drummer Chris Brewer. Orange Driver split up for good in 1993.

Band Members:
Danny Hooley — Guitar, vocals
Matt Paul — Guitar
Joe Caparo — Bass, vocals
Drums — Norman Underwood

Glory Fountain - Faith - 1997
from the cd "Blame Love"

Glory Fountain began as the duo of John Chumbris and Lynn Blakey, who called themselves Sundowners. The two natives of Washington, D.C., had begun a casual songwriting partnership after becoming acquainted at a local studio while recording. When both Chumbris and Blakey settled in North Carolina, the pair began to craft songs together and to play out on area stages. Chumbris would play guitar and contribute harmonies, while Blakey wrote lyrics and sang. Glory Fountain evolved into a four-person outfit with the additions of drummer John Williams and bass player David Collins. The group has performed with a list of artists that includes Tanya Donelly, Mary Lou Lord, Juliana Hatfield, the Backsliders, and Whiskeytown. Before settling down in Glory Fountain, Chumbris played bass in both the Wanktones and the Slickee Boys. Blakey previously teamed with Lynda Stipe and Linda Hopper in the Georgia band Oh-OK. Williams has worked with the Lubricators and Econoline, while Collins worked with Eighthundred.

Lynn is now a member of Tres Chicas.

Band Members:
Lynn Blakey - Vocals, Guitar
John Chumbris - Vocals, Guitars, Bass, Organ
Eddie Walker - Drums

Grover - Yeah, I'm Dumb - 1995
from the Zero Hour release "My Wild Life"

Grover was the short-lived trio led by ex-Let's Active guitarist (and the former Mrs. Mitch Easter) Angie Carlson, backed with drummer Chris Phillips, and bassist Dave Burris. Their sole album, My Wild Life, was released by Zero Hour Records in 1995, but pretty much disappeared immediately. Phillips went back to his day job as the drummer for the Squirrel Nut Zippers. Burris (see Light In August) switched to guitar and formed the eclectic alt-country act Jolene with ex-HardSoul Poet John Crooke. Carlson largely retired from music, taking up a position as an editor for a North Carolina alternative weekly newspaper. Angie now works for Yep Roc in Carrboro, NC.

Band Members:
Angie Carlson - Guitar, Vocals
Chris Phillips - Drums
Dave Burris - Bass
*Mitch Easter - Heavy Bass

Notes From A Strange Mailbag - Doy - 1986
from the Deep South Records release "If I Was A Russian I'd Be A Czar"

Notes from a Strange Mailbag had a sound. What that sound was exactly, I can't really define...but it was their sound. The band was a amalgam of each members prevailing tastes: Norwood's hip-hop influence, Evan's hard rock riffage, Jeffs pop-rock songcraftand Eddie's jazz-school percussion. And the common denominator between all four band members was punk rock. Wherein most bands these contrasting influences would cause conflict, in Notes it spurred creativity.

Originally formed as a three piece by high-school friends Eddie, Evan and Norwood, things kicked into high-gear when the founding members asked college bud Jeff Carroll to join on second guitar. Adrenaline flowing, Notes: Mach II headed out for world domination (or at least a good support gig at Cat's Cradle). In turn, this CD is not a comprehensive take of the bands career but rather a snapshot of this period, the most creative of the band.

Although "Fight for Your Right to Party" and "Walk this Way" were dominating the radio charts, no one was combining rock and rap in a live element. Fact is Notes from a Strange Mailbag were blending components of rock/rap/metal before most people would admit to liking more than one of these genres. After all, this was 1986. It wasn't until years later that bands like Urban Dance Squad made a splash and much later before Beck mastered the still-fledgling 'genre'. Notes were ahead of their time, way ahead of their time.

This CD is combination of recording sessions from '86-'87. Although a nice reminder of what was, these low-budget recordings do not fully capture the dynamics of each individual song. Nor the brilliance of the bands performances. Live is where the band really propelled...from the 'Face Dancing/Bass Scratching' of 'Doy' Jo the full-metal blast of "Call the Maker" (Look, every good southern boy owns a copy of "Back in Black", okay?). And the band never recorded their array of covers: from Disco ("I Love the Nightlife") to New Wave ("Rio" complete w/kazoo solo)...and again, before it was deemed fashionable to delve into these musical era's.

If a band this creative and talented started today, they'd be signed in a second and you'd have Kennedy or Tabitha spelling about the group, not me. I was the defacto manager mainly due to my 'music industry experience' (I had read a few issues of CMJ and attended the New Music Seminar...). Well, of course I wasn't ready for the gig but that's not the point. The two years I spent working with the band was one of the greatest experiences of my life.

Whether this is your inaugural experience or a walk through memory lane, I hope this disc moves you as much as it does me. Well, just Evan play, play, play, play

Glenn Boothe

Band Members:
Evan Olson - Guitar, Vocals
Eddie Walker - Drums, Vocals
Norwood Cheek - Bass, Vocals
Jeff Carroll - Guitar, Vocals

The Raymond Brake - Phillistine - 1995
from the Simple Machines cd "Piles Of Dirty Winters"

from the Simple Machines web site:

Patti Smith once wrote, "The perfect noise exists between everything and nothing".

Some bands are everything: the naked object, they rock in capital letters according to the most recent, successful examples in their field. They are all flash pots, angst and compression. At the other extreme bands exist as nothing: living science projects that embrace calculation over result, they remain forever all math and no magic.

The Raymond Brake existed precariously in between these two extremes. They did not state facts or obscure them with detail, they inferred. At their best they implied or divined and you, as listener, did the work to meet them in the middle at the perfect noise.

Hailing from Greensboro, NC, the Raymond Brake was in a unique position at a remarkable time. With access to the "young rock" that was pouring out of nearby Chapel Hill from Superchunk, Polvo and Archers of Loaf, you might think that they'd just have become another indie rock band. But they didn't fall into such an easy trap. Greensboro is a small town, and the Raymond Brake boys wrote incredibly complicated songs that showed their influences but mimicked none. They didn't have the luxury of being caught up and brought down as the poster children of any useless hypothetical movement. They didn't sound like another local older band that kicked ass...because there wasn't one.

Their other undeniable asset: they weren't afraid of melody. Hey, don't worry. These boys grew up on the best of American math rock...Grifters, Polvo, Sonic Youth, even the "P"-word. If there's a strange tuning or rythym in the world they tried it, but that doesn't mean you should get out your calculators. Melody is the glue in a Raymond Brake song and just because "sing" has become a four letter word in most of the rest of the indie-world, but that doesn't mean you won't find it here. The extremes of both musical innovation and simple melody co-exist with genuine depth but in a surprisingly catchy way. This is the very essence of great songwriting. The perfect mixture of freshness and familiarity.

When the Raymond Brake recorded these releases, they were all barely old enough to get in the venues they were playing. Touring was fun, recording was fun, playing was fun, and it shows all over their music. It's not cuddle-core mind you... there's nothing naive or twee about The Raymond Brake. But just the same, they're not punching the rock-n-roll clock. These boys wrote great music and they enjoyed playing it.

Band Members:
Andy Cabic: guitar, vocals
Ryan Stewart: guitar, vocals
Peder Hollinghurst: bass
Joel Darden: drums

Patty Duke Syndrome - History - 1994
from the Blast - O - Platter split 7"

In honor of the news that Lindsey Lohan has become smitten with Ryan Adams, I give you the Patty Duke Syndrome, the ying to Whiskeytown's yang (or is it the other way around).

from the Answering Bell web site:

The members of Patty Duke Syndrome came from utterly different circumstances--drummer Brian Walsby from the hectic West Coast punk scene, singer/guitarist Ryan Adams and bassist Jere McIlwean from the rural splendor of downstate NC--and the resulting music documented the tension between those two worlds in every note. During their short existence, they broke up at least a half-dozen times, but while they were together, they recorded some of the tightest postpunk around. Thanks to both the interpersonal tension and the music, it's easy and tempting to raise the specter of Husker Du -- but the songs never dive into the depths of anguish that Bob Mould always seemed to be in.

Band Members:
Ryan Adams: Guitar, Vocals.
Jere McIlwean: Thunder Broom.
Brian Walsby: Drummist.

X-Teens - Say It Isn't So & Western Eyes - 1984
from the Dolphin Records lp "Love and Politics"

Okay I am making a plea right here and now. Someone reissue the X-Teens catalog now!!!! Falling somewhere between XTC and the B52's, mixing power pop with ska and just plain quirkiness the X-Teens were in my estimation as good as it gets.

from CMJ.com

Part of the early-'80s explosion of Southern power pop, the X-Teens emulated the quirky wit and geeky tension of new wavers like Elvis Costello, XTC, and Talking Heads. The group was formed in Durham, North Carolina, and featured guitarist/vocalist Robert Bittle, keyboardist/vocalist Todd Jones, bassist/vocalist Kitty Moses, and drummer Ned Robie. Their debut release was the Don Dixon-produced EP Big Boy's Dream, issued on the local Moonlight label in 1980. Local legends Dixon and Mitch Easter both worked on the band's self-titled first album, which was released on Dolphin in 1983, several years after it was originally completed. The follow-up, 1984's Love and Politic, was the band's biggest seller, even scoring a little MTV airplay with the single "Change Gotta Come." However, that taste of success led to internal tensions, and the X-Teens split up in 1985. Jones and Robie formed 4 Who Dared, while Bittle and Moses embarked on their own project; neither achieved the respectable underground profile of their former vehicle.

note: anyone have any of the 4 Who Dared stuff or what Kitty and Robert after the X-Teens?

Band Members:
Kitty Moses - Bass
Robert Bittle - Guitars
Ned Robie - Drums
Todd Jones - Keyboards

The Ugly Americans - Night On Redneck Mountain - 1985
from the "Comboland 3" cassette

from the Independant Weekly

Sometime in 1983, Northgate Mall Record Bar clerk Bob McIlwee discovered that he shared a love for punk rock with Danny Hooley, a video arcade employee. The two formed a band that summer, recruiting drummer Dan Adams and bassist Chris Eubank--both Duke students--to complete the lineup. Adjoining dorm rooms in Duke's Alspaugh Hall were the home of the band in its infancy, though they quickly graduated to practicing and playing shows at the Duke Coffeehouse.

Early the next year, the band acted quickly, founding its own Discipline Records and recording a 14-track debut with Byron McKay at JAG Studios. The album was pressed and issued on blue vinyl months later and just months before Adams left the band. Jon McClain of Stillborn Christians success stepped in behind the kit, and a more metal-oriented approach quickly manifested itself, due in large part to Raleigh crossover rabble-rousers, Corrosion of Conformity.

The band later signed to Metal Blade imprint Death Records and issued the eight-song Who's Been Sleeping In My Bed in 1985. Tours with The Dead Kennedys, The Descendents and COC followed for two years. The band broke up in 1987, only to reform following their first reunion gig in 1988. Once again, the band eschewed metal, experimenting now with punk songs conceived with open tunings and wild time signatures when original drummer Jon McClain rejoined. They broke up for the last time in 1990.

Band Members:
Bob McIlwee - Vocals
Danny Hooley - Guitar
Jon McClain - Drums
Chris Eubank - Bass

Let's Active - In Little Ways - 1986
from the IRS release "Big Plans For Everybody"

from TrouserPress.com

North Carolina's Let's Active was probably the most misunderstood of the South's ‘80s new-pop bands. Though dogged by a rosy-cheeked nicest-guys-of-wimp-pop image, they could be downright moody. Producer/multi-instrumentalist Mitch Easter assembled the trio in 1981, but it only emerged nationally in the wake of R.E.M., whose first two discs Easter co-produced at his Drive-In garage studio outside of Winston-Salem, North Carolina. Joining that band's label, Let's Active released a six-song EP, Afoot, bringing new meaning to such overused pop adjectives as crisp, bright and ringing. All the songs, even those with melancholy lyrics, are hook-filled, boppy and ultra-hummable. Pick to click: “Every Word Means No.”

But things were not as they seemed. Although perceived as the engineer of the now-sound-of-today in American guitar pop, Easter's own tastes were running towards the electronic gadgetry of techno-rock. (His career as a producer was also taking off.) Also, his two original partners — bassist Faye Hunter and drummer Sara Romweber (sister of Flat Duo Jets’ Dexter Romweber) — were viewed as sidepeople, despite Easter's egalitarian efforts to the contrary. In real life, the trio were not just simple, cheerful popsters. Both Easter's love of "sounds" and the band's inner conflicts were explored on Cypress, a record that is deeper and more enduring, though not as immediately winning, as Afoot. Denser, rambling textural pieces — some wistful, even angry — came to the fore. Few records sound so multi-dimensional, and Let's Active has, for that reason, been tagged psychedelic — they make sounds you can almost touch. (In 1989, IRS combined Afoot and Cypress on a single CD.)

After Hunter and Romweber (who went on to Snatches of Pink) left the band, Easter did shows with other players (including Windbreaker Tim Lee) and recorded Big Plans for Everybody piecemeal with four people, including Hunter and two permanent associates: Angie Carlson (the future ex-Mrs. Easter; guitar, keyboards) and Eric Marshall (drums). Far less twinky and hardly cute, Big Plans for Everybody is disturbingly downcast, a doleful version of pop music that isn't about sad things, but still leaves you feeling that way. The album connects emotionally, its offbeat songs making a strong impression.

Adding bassist John Heames and a few dBs of electric power, Every Dog Has His Day effectively combines Easter's homey studio approach with co-producer John Leckie's chartworthy British experience. From the blazing-guitars title track and the stomping romance of "Sweepstakes Winner" to the overtly Beatlesque "Mr. Fool," the best songs (most of them on Side One; "I Feel Funny" dominates the flip) are classic Easter: unsettled emotional lyrics and eccentric pop melodies that have him straining on vocal tiptoes to reach the hard bits.

[Elizabeth Phillips/Ira Robbins]

Collectors Choice reissued the entire Let's Active catalog in 2003. For more info click here.

A tribute to Let's Active was released in 2003 as well. For more info click here.

Band Members:
Mitch Easter - Vocals, Guitar, Bass, Keys
Angie Carlson - Guitar, Keys, Percussion, Backing Vocals
Eric Marshall - Drums

Snatches Of Pink - Travis - 1987
from the Dog Gone Records release "Send In The Clowns"

Snatches of Pink were a Chapel Hill, North Carolina trio, consisting of drummer Sara Romweber (ex-Let's Active), singer Andy McMillan, and guitarist Michael Rank. Unlike other North Carolina bands of the time, Snatches of Pink took a rough and ragged approach, that while often inspired, failed to make much impact. In 1987, they released their debut, Send in the Clowns followed by Dead Men in 1989 and Bent with Prey in 1992.

Michael Rank contiues to keep Snatches Of Pink going. Click Here for more info.

Band Members:
Sara Romweber - Drums
Andy McMillan - Vocals, Bass
Michael Rank - Vocals, Guitar