Tag Archives: garage

Michael Toland: ROCKIN’ IS MA BUSINESS (Blurt’s Rock & Roll Roundup Pt.4)

And business is good, whether your thing is punk, power pop, garage rock, rockabilly, glam, action rock, and their various spinoffs and offshoots. Our guarantee to you: no Nickelback allowed. Go HERE to read Dr. Denim’s first installment of the series, HERE for Pt. 2, and HERE for Pt. 3. Pictured above: Sweet Apple. (FYI: links to key audio and video tracks follow the main text.)

BY MICHAEL “DENIM” TOLAND

Everything singer/guitarist John Petkovic touches seems to turn to rock, from Death of Samantha to Cobra Verde to his current project Sweet Apple. The latter quartet seems like the culmination of his vision to date, putting postpunk, glitter rock, power pop and old-fashioned hard rock through Petkovic’s own special filter and coming out gold. Sing the Night in Sorrow (Tee Pee), the third LP from Sweet Apple, practically shivers with barely-repressed energy, focusing all of Petkovic’s loves into a potent rush to the rock & roll finish line. The tough “World I’m Gonna Leave You,” epic “Candles in the Sun” and sky-kissing “She Wants to Run” enliven the rock radio of our dreams, while “A Girl and a Gun” – a duet with Rachel Haden – and the album closing “Everybody’s Leaving” reclaim the slow song from power ballad territory beautifully. If Sweet Apple sounds a little more like Cobra Verde than on previous platters, that’s no surprise, given that CV co-axeman Tim Parnin and former DoS/CV slinger Doug Gillard share six-string duties. Not that it matters, as Sing the Night in Sorrow keeps the rock & roll faith as well as any other record Pektovic’s captained – which is to say as well as any contemporary rock record extant.

Boston seems like it should be a town too intellectual and gentile to kick out any jams, but plenty of balls-out rawk has come from that town. The latest addition to the ranks is Justine & the Unclean, a rip-snorting quartet of glam/punk/power pop/garage rockers that never met a six-string hook they didn’t like. Get Unclean (Rum Bar), the band’s debut, keeps the melodies strong and the attitude sneering on cracking tunes like “Love Got Me Into This Mess,” “Worry Stone” and the self-explanatory “I’m in Love With You, Jackass.” Fans of Nikki & the Corvettes and the NY Loose should just line right up.

Further to the west, Stars in the Night (Rum Bar), the second LP from Milwaukee trio Indonesian Junk, plays up the streetwise side of its protopunk/power pop cocktail. “Turn to Stone,” “Nosferatu” and “I Would Never Treat You Like That” streamline the band’s sound down to its essence, with bash-it-out rhythms pushing unvarnished rock licks and Daniel James’ inelegantly wasted sneer. Meanwhile, L.A. gutter rockers Dr. Boogie drop a deuce with new single “She’s So Tuff”/”Peanut Butter Blues” (Spaghttey Town). The A-side’s streetwise glitter rock contrasts nicely with the B’s Stonesy roar, the connecting thread being Chris P.’s angry rasp and the band’s dedication to riff and groove. The East Coast re-represents with New Yorkers Dirty Fences’ third slab Goodbye Love (Greenway), a dizzily catchy collection of rockers, rollers and rompers that crossbreed Midwestern power pop with Lower East Side street rock. If the feverish opener “All You Need is a Number” doesn’t do it for ya, the Christine Halladay duet “One More Step” or the delirious pop tune “Blue Screen” just might.


The legendary status of the Raspberries in the power pop community obscures the fact that the Cleveland band was quite popular during their early 70s heyday, regularly lobbing hit singles into the charts. Regardless of standing in the nebulous cloud of the music industry, the original quartet reunited in the first decade of the new millennium to show the young whippersnappers how it was done during the years when the Beatles, the Kinks and the Who were their only role models. Pop Art Live (Omnivore) captures a fiery gig from 2004 in front of a hometown crowd, all four original members included. Eric Carmen’s voice no longer hits the gloriously throat-shredding heights of the band’s glory days, but that’s no crime – age comes to us all, after all – and it otherwise retains its melodic power. The band backs him as if they couldn’t wait to get back in the saddle, making it clear that this reunion was done as much out of love as any financial incentive. Running enthusiastically through the catalog, the ‘berries reminds us just how many gems they’ve polished – not just the hits (“I Wanna Be With You,” “Overnight Sensation,” “Tonight,” a titanic, show-closing “Go All the Way”), but lesser-known, equally fine cuts like “Makin’ It Easy,” “I Can Remember” and “Nobody Knows.” Add in a couple of songs by Raspberries precursors the Choir and some filler from the Beatles catalog and it’s a power pop party. Plus it’s a double live album like the days of old.

Seattle’s Knast falls on the more psychedelic end of power pop on its debut Reckless Soul (Casual Audio Group Ltd). That mainly means some extra echo and tremolo here and there and some obvious affection for the 80s British psych pop scene, but the focus remains squarely on the songs and hooks. Which works out well for the Knast – whether the band is kicking up dust with “Side Effects” and “Sold Out,” getting sardonic with “Fight or Flight” and “Situation Vacant,” or just being a sparkling pop band on “Here and There” and “Time Out of Mind,” it knows just how to handle a catchy melody with taste and verve. The fellow Pacific Northwesterners of Date Night With Brian add a 90s alt.rock flare to the efficiently composed and performed tunes on its self-titled EP (Top Drawer). Five songs in eleven minutes, not a one less than immediately catchy and appealing.

The garage rocking Juliette Seizure and the Tremor Dolls (who win this month’s “Best Band Name” contest) find that revered sweet spot between Nuggets-powered punk and girl gang pop on Seizure Salad (Off the Hip), the Australian sextet’s second record. The blurry production doesn’t suit the band’s harmonies, but these songs are powered by attitude more than expertise, making the grungy “Stink,” the hooky “Imagination” and the rocking “Take What You Want” more representative than attempts to be like an edgier Shangri-La’s. Nice tip of the hat to Dead Moon with “Be My Fred Cole,” by the way. Detroit-to-L.A.’s intrepid Singles have kept on keepin’ on since the early ‘aughts, refusing to die no matter how many years go between albums. Sweet Tooth (Grimy Goods), the trio’s fourth LP, keeps the faith of prior platters, with stripped down power pop hearkening back to the late 70s glory years of the Plimsouls and their brethren/sistren. Stuffed with hooks and youthful verve, “Voodoo,” “If You Want Me, You Can Have Me” and “Masterpiece” effortlessly bring smiles with every turn of the melodies.

Chattanooga’s Mark “Porkchop” Holder clearly has no time to waste, as he’s already followed up his debut album from earlier in 2017 with Death and the Blues (Alive), picking up right where he left off. Though the former member of Black Diamond Heavies is no amateur, Holder is sort of the anti-cracker blues cracker bluesman – he skips displays of six-string virtuosity typical of Clapton/Vaughan acolytes and just goes for the gut. Whether he’s admonishing haters with the heavy “What’s Wrong With Your Mind,” gets a little frightening with the anthemic “Be Righteous” or just rocks like a motherfucker on “Coffin Lid,” Holder and his backup duo burrow right down to the bone. Speaking of blues grunge, Indiana’s Left Lane Cruiser hit a new high (yes, we see what we did there) with 2015’s Dirty Spliff Blues, and while latest album Claw Machine Wizard (Alive) takes a bit of a step back as the band goes back to being a duo, its raunchy punked-up blues roils unabated. “Lately” boogies, “Burn Em Brew” boils and the title track bashes, powered, as always by guitarist/vocalist Freddy J IV’s filthy slide and backwoods bark.

Five Horse Johnson plows much the same furrow as Cruiser, but if the latter uses a rake and a hoe, the musclebound Toledo quintet prefers a backhoe and occasional dynamite to make the earth move. Jake Leg Boogie (Small Stone), the band’s eighth album, pulls from the heavy rawness of the early years while keeping the songwriting progression of recent albums, making “Ropes and Chains,” “Cryin’ Shame” and “Daddy Was a Gun” masterclasses in powerhouse blues rock. Best of all, “Hard Times” gets political without being preachy – it’s too busy rocking your soul for that. Berlin’s Travelin Jack (pictured above) weave a carpet out of threads sewn from bluesy grit, hard rock stomp and glam, then dirties that rug up with platform boots on its second album Commencing Countdown (Steamhammer/SPV). Guitarist Floy the Fly drives the tracks with riffs that mix in-your-face theaterics and a soulful feel, but it’s vocalist Alia Spaceface who takes center stage with her leathery howl. Hit up the menacing “Fire,” the anthemic “Time” and the blazing “Keep On Running” and get your 70s rockstar air guitarspew on.

Australian James McCann did time in the original lineup of the Drones and its predecessor Gutterville Splendor Six, so you know the dude’s got chops, attitude and credibility to spare. But even if he didn’t, Gotta Lotta Move – Boom! (Off the Hip), his sixth album and second with his backing combo The New Vindictives, would rule. Like his former bands, McCann has a grounding in the blues, but no reverence for its traditions – he’s more interested in feel than form. For the latter the singer/guitarist goes back to his punk rock youth, bashing out blazing bruisers like “Lies Start Here,” “Tar On the Lip” and the blast-tastic title track like a man with nothing to lose and a lot to prove. “Sheena Says” boasts the kind of pop hook you’d expect from a song with a girl’s name followed by “Says,” while “Nick’s Song” drags countrified balladry through the bloodsoaked dust of the scene of a shootout. McCann pays tribute to a couple of vets along the way, co-penning, singing and guitaring “I Can Control Your Mind” with Wet Taxis/Sacred Cowboys/solo slinger Penny Ikinger and covering erstwhile Beasts of Bourbon/Johnnys guitarist/songwriter Spencer P. Jones’ “What is Life in Jail.” The real punk blues indeed. (Toland, you had me at “Australian.” I’m in love, L-U.V. — Oz Ed.)

The roots rocking Flat Duo Jets have often been cited as a big influence on Jack White and his perception of what a rock & roll duo could be. People forget, however, that the North Carolina combo was a trio when it made its full-length vinyl debut. The band’s self-titled first album came out in 1990 on former R.E.M. manager Jefferson Holt’s short-lived label Dog Gone, and was M.I.A. for years. The double disk Wild Wild Love (Daniel 13) rescues that LP from oblivion, adding the Jets’ 1985 cassette-only EP In Stereo and a plethora of outtakes from the original Flat Duo Jets sessions. The addition of bass grounds singer/guitarist Dexter Romweber and drummer Crow a bit, reigning in their wild-eyed Reagan-era rockabilly just enough to make it surge with power, like a tightly-coiled spring. Covers of the usual early rock suspects (Bo Diddley, Fats Domino, Elvis Presley, Wanda Jackson) sidle up to a handful of originals, but the real surprises come in the outtakes. Besides the rockabilly and R&B, Romweber knocks out the jazz standard “Harlem Nocturne,” the ridiculous but challenging “Bumble Bee Boogie” and Django Reinhardt and Stephane Grappelli’s gypsy jazz classic “Minor Swing.” It’s a reminder that Romweber is not, and has never been, a primitive, but a musician of unheralded skill.

Tom Heyman’s rock & roll creds are impeccable due to his membership in the long-gone, much-missed Go To Blazes. He’s kept more to a rootsy singer/songwriter vibe since then, but Show Business, Baby (Bohemian Neglect), his fourth album, pulls some of his mojo back in. Like a stripped-down Tom Petty, Heyman lets “Show Business,” “All Ears” and “Baby Let Me In” get loose ‘n’ lively like John Fogerty jamming with the 70s Stones. Boston’s Dirty Truckers get more medieval on roots rock’s ass with latest EP Tiger Stripes (Rum Bar). “Human Contact” and “Feedback” sound like they come from a lost mid-period Replacements album. Leader Tom Baker proved his rock & roll bonafides with this year’s Lookout Tower via his other band the Snakes, and Tiger Stripes upholds the same virtues: melody + energy = coooool.

Any punk knows the SoCal milieu in the early 80s was a thriving thrash & roll metropolis equal to the 70s scenes in New York, Detroit and the U.K. Symbol Six didn’t attain the same repute as peers like the Adolescents, Agent Orange and Black Flag, but when the band resurrected itself a few years ago, it was with the same brute strength and righteous rage as it had thirty years prior. Side Four (Jailhouse), the third album by the group since its revival, is simply a powerhouse, from Phil George’s battering drums to Tony Fate’s wall of guitar crunge to Eric Leach’s Alice Cooperesque howl. It helps that the band has a strong batch of songs to which to apply its mojo – “Cold Blood,” “Really Doesn’t Matter” and the cheeky “Megalomaniac” scan as catchy as crunching. Fate’s acoustic instrumental title tune and tape collage “Mellotron” allow quick chances to breath, but otherwise Side Four breathes fire from beginning to end. Eric Leach (pictured above) also has a solo album out; surprisingly, Mercy Me (self-released) eschews blazing punk & roll for tasteful roots rock. Comparable to the 80s roots rock scare, the songs on Mercy Me benefit from Leach’s evident sincerity, no-bullshit attitude and his remarkable voice, which adapts to this music better than you might think.

If Tales From the Megaplex (Saustex) is any indication, Count Vaseline (Stefan Murphy to his mom) sees no difference between 60s garage rock, 70s New Yawk proto punk and rockabilly. The former Dubliner/current Atlantean simply bangs out his rock ditties, most of less than two minutes long, without a jot of regard for genre, sensibility or public opinion. Plenty of wit and personality, though, from the dry shade of “Hail Hail John Cale” (“Lou Reed died wishing he could be John Cale”), the wishful thinking of “Texas Band” and the cheeky mystery of “What’s Your Name, Where Are You From, What Are You On?” (“I’m on ecstasy and I really want to tell you some jokes”). At eight songs in less than fifteen minutes, it’s a very efficient use of one’s rock & roll time. Pittsburgh’s Carsickness took the eclectic, late 70s punk model of the Clash and pushed into artier directions. 1979-1982 (Get Hip) shows off the quintet’s singleminded focus, mixing fractured rhythms, free jazz histrionics and pure punk power together for a knee-twisting blast of spasmodic fury. The raging “Plastic Beauty” and the seething “Bleeding” demonstrate that “rock” need not compromise for “art.”

Joey Skidmore is one of those rock & roll true believers who’s been knockin’ around the leather jackets/blue jeans underground for years. So many, in fact, that the Missouri rocker compiled a two-disk anthology covering his 37 (!) years of service. Mostly produced by the venerable Lou Whitney, may he rest in peace, Rollin’ With the Punches: The Best of Joey Skidmore (self-released) ranges from exuberant roots rock to raging power rock, all of it united by Skidmore’s rich baritone, love of guitars and enthusiastic songwriting. Divided into a “best of” disk and a “worst of” (i.e. rarities, EP tracks and unreleased stuff from the vaults), Rollin’ With the Punches never flags in its pursuit of a rockin’ good time. Skidmore may be an unknown quantity to many people, but with Nikki Sudden, Eric Ambel and members of Jason & the Scorchers, the Skeletons, the Morells and even Black Oak Arkansas making appearances and a covers pallet that runs the gamut from Chuck Berry to Blue Oyster Cult, you know he’s got the goods.

And speaking of faith-keepers, one of Finland’s greatest musical exports has also decided the time is right for a career-wide retrospective, as Michael Monroe, ex-Hanoi Rocks, rounds up nearly thirty tracks from his life outside of Hanoi for the simply titled The Best (Spinefarm). He divides the disks into the times between stints with Hanoi, with the first disk covering the mid-80s to the early ‘aughts, and the second disk hitting his recent years since Hanoi’s second shutdown in 2009. Though the first disk shows the influence of the time period in which a lot of it was recorded, Monroe’s rock & roll vision – a wickedly hooky blend of glam rock, punk and heartland rock refined in New York, L.A. and London, as well as his home country – stays consistent throughout. Disk two cuts like “Goin’ Down With the Ship,” “The Ballad of the Lower East Side” and “Trick of the Wrist” sound superior to these ears – there’s nothing like the buzz of a late career renaissance, when an artist has both reignited enthusiasm and savvy experience on his side. But that’s not to deny the powerhouses on disk one, including “Where’s the Fire John,” “Life Gets You Dirty” and the immortal classic “Dead, Jail or Rock N Roll.” Hell, the inclusion of four songs from Monroe’s sadly short-lived early 90s act Demolition 23, whose lone album is a bear to find, nearly make this a must-have on their own. Essential.

***

Check out selected audio and video from the records discussed above:

Carsickness – Bandcamp:

https://gethiprecordings.bandcamp.com/album/1979-1982

Th Dirty Fences – “One More Step”:

https://soundcloud.com/greenwayrecords/one-more-step-ft-christina

The Dirty Truckers – Bandcamp:

https://rumbarrecords.bandcamp.com/album/tiger-stripes

Five Horse Johnson – Bandcamp:

https://smallstone.bandcamp.com/album/jake-leg-boogie

Tom Heyman – Bandcamp:

htts://tomheyman.bandcamp.com/album/show-business-baby

Mark “Porkchop” Holder – “Captain Captain”:

https://www.youtube.com/watch?v=0_In-g8HejE

Indonesian Junk – Bandcamp:

https://rumbarrecords.bandcamp.com/album/stars-in-the-night

The Knast – “Situation Vacant”:

https://www.youtube.com/watch?v=IiFNifMynMs

Eric Leach – “Zoom”:

https://www.youtube.com/watch?v=ZPrBErt7xTk

Left Lane Cruiser – “Claw Machine Wizard”:

https://www.youtube.com/watch?v=5NZzn1nxVIE

James McCann & the New Vindictives – Bandcamp:

https://jamesmccann.bandcamp.com/

Michael Monroe – “Dead, Jail or Rock ‘n’ Roll”:

https://www.youtube.com/watch?v=5xdt3vqHyT0

Raspberries trailer:

https://www.youtube.com/watch?v=xNiEDetN9ik

Joey Skidmore – “Carnival Kids”:

https://www.youtube.com/watch?v=7D6ae3VV8V0

Sweet Apple – “World I’m Gonna Leave You”:

https://www.youtube.com/watch?v=gCUMnJuVnqo

Symbol Six – “Pay Up Sucka”:

https://www.youtube.com/watch?v=Fdd2SLNFT6o

Travelin Jack – “Keep On Running”:

https://www.youtube.com/watch?v=5h4xrD0zbdQ

 

 

 

Fred Mills: Why Snatches of Pink Was the Greatest NC Band of the Late ‘80s & Early ‘90s

Snatches

North Carolina’s Michael Rank, currently on a creative roll, has been on the scene for decades. An appreciation of his early band. Above, L-R: Sara Romweber, Rank (note leather pants), Andy McMillan.

By Fred Mills

UPDATE 8/17: Rank has the Snatches albums posted for free download at his Bandcamp page.

Listening to Tarheel singer/songwriter/rocker/twanger Michael Rank’s stunningly great new album Horsehair a lot lately—hell, it’s been a goddam fixture on the office and car stereo for weeks now. It finds the former Snatches of Pink frontman collaborating with Mount Moriah’s Heather McEntire, and it’s a match made in Gram ‘n’ Emmylou heaven. As we noted in the BLURT review of the record, he marries back porch soul to countryish roots rock, and “matters of the heart rarely stray far from Rank’s worldview, as he colors the rest of these outlaw folk tunes with nods to ex-wives, current flames and, of course, son Bowie Ryder, his most consistent muse.”

I practically had to arm-wrestle contributing editor (and Blurt blogger) Michael Toland for who was going to do the review honors as Toland is as much a fan of the dude as I am. (Go HERE to read his review of 2013’s Mermaids, and HERE for my review of 2012’s Kin.) Ultimately I said “uncle” and gave Toland the review, since I’ve written about Rank so frequently over the years that I risk being viewed as not particularly objective when it comes to his records. Well, fuck objectivity, y’know? The whole notion of “being objective” when it comes to discussing art, and particularly rock ‘n’ roll, is a journalistic smokescreen; you can’t write about an emotional experience from a distance, and when critics attempt to do so, their lack of engagement with their subjects shows. I’ll take passion over objectivity any day, because the whole reason I got into rock writing in the first place was because I realized that just listening to music wasn’t enough for me—I had to share my enthusiasm, share the wealth so to speak. In that regard, “Rock Journalist” became the proverbial accidental career.

Rank by Andy Tennille

Horsehair is Rank’s fifth solo album in three years, last year’s Deadstock and 2013’s In The Weeds joining it and the other two mentioned above. That’s a pretty impressive output by any measure, and it’s not an overstatement to say that Rank’s been on an extended creative roll during this time; release-wise, he basically went silent in 2007 following the release of the final album by his previous band Snatches of Pink. In absorbing Horsehair of late and thinking about what Toland wrote, I found myself thinking back to when I first encountered Rank and his music—the aforementioned Snatches of Pink.

It was 1985, and a cassette tape arrived in the mail with little fanfare. Titled The Stupid Tape and boasting a somewhat primitive-looking dark blue j-card, it featured six songs performed by what was at the time a 4-piece Snatches—Rank on guitars, Andy McMillan on vocals, Sara Romweber on drums and Jack Wenberg on bass. Raw and ragged but definitely right, the six-song tape had a primitive, careening-yet-hard-twanging cowpunk/garage quality to it on such eventual Snatches classics as “Salty Dog” and “Ones With the Black” that seemed thoroughly at odds with the prevailing jangly college rock of the day.

Stupid Tape

1987’s Demonstration/Demolition, also a tape, continued in the aesthetic, and by the time of the first “proper” Snatches release, 1988’s Send In the Clowns LP (released on the Athens-based Dog Gone, a short-lived indie label founded by then-R.E.M. manager Jefferson Holt) the group was also developing into a solid live act with a decent fanbase.

I forget exactly when I saw the group play for the first time, but it was probably around this time in Charlotte, at which point I was the resident Music Editor for alternatively newsweekly Creative Loafing and it had become my “mission,” as it were, to cover artists that the other local media either overlooked or deliberately ignored. Snatches of Pink certainly fit that bill, lurching into town from Chapel Hill on gas fumes and truckstop tacos and aiming to shake some action while shaking up the populace. “Where is the nearest liquor store?” most likely was the first thing they would ask when they arrived at the club.

Booze clearly fueled this band, which had slimmed down to a trio, McMillan having assumed the bass position (and sharing vocals with Rank) for 1989’s Dead Men. This LP, along with next year’s 4-song mini album Deader Than You’ll Ever Be, which was cut live at CBGB as a promotional radio release, is what solidified their image as a hard-drinkin’, unrepentantly badass group who clearly did not give a shit what folks—and, significantly, club owners and bookers—thought about the band as long as they came out to the show. That was another quality about Snatches which more than simply endeared me to ‘em: hailing from a long line of rock ‘n’ roll rebels that included such miscreants as the Rolling Stones, Iggy & the Stooges, Alice Cooper, Johnny Thunders and the Replacements, the Rank-McMillan-Romweber musical mafia were long, and I do mean loooonnnng, on attitude. They lived the part and looked it, too, each member’s shaggy, unkempt hair shrouding his or her face to the point that you figured it was only a matter of time before someone tumbled off the edge of the stage (no doubt this happened on a number of times, but I can’t say if it was due to not being able to see or simply too fucked up to walk). Rank in particular had a British rock star thing going for him, part Keef, part Nikki Sudden, part Hanoi Rocks, what with his penchant for tight pants, flowing shirts and colorful scarves. I mean, he probably wore eyeliner as well, but since I couldn’t see his eyes from under all that hair…

Snatches promo photo

Snatches of Pink were the kind of group that drew a line in the sand between them and the “nicer” artists that the Triangle generally sent down to Charlotte, and a lot of us opted to join ‘em on their side of the line. My good friend Michael Plumides operated the city’s 4808 Club and was an early supporter like me, his own thumb-your-nose-at-the-powers-that-be sensibilities fully in synch with Snatches’. On more than one evening, standing in the audience watching the trio in full spin cycle and at maximum decibel, he and I would marvel at their undeniable outlaw charisma while assuring ourselves that, yes, this is the best fucking group in North Carolina right now. The band was a helluva lot of fun to hang out with, too, whether passing the bottle around or yammering on about the latest records we’d bought or bands we’d seen. During this period I struck up a friendship with Rank that I am proud to say endures to this day; he knew I was a fan, first and foremost, but I think he also knew that I “got” where they were coming from and weren’t simply fostering an image for no other reason than they could do it. He was a guy that understood rock ‘n’ roll tradition and wanted to find where he fit in to it.

There were naysayers and detractors too, one of them also owning a local rock club. I remember having a long conversation with Jeff Lowery (R.I.P.) of the 13-13 Club in which he groused about how unprofessional and arrogant Snatches was. Lowery was an astute booker and brought hundreds of terrific acts to town, but since he was coming from a businessman’s point of view, it probably wasn’t surprising for him to have a problem with a group that knocked over mic stands and monitors, left broken bottles on the stage and ignored the soundman’s pleas to turn down the volume and distortion. I have no doubt that Snatches left a trail of disgruntled club bookers in their wake during their initial run.

Not that their reputation among fans didn’t precede them. They scored a semi-major label record deal for 1992’s Bent With Pray; Dog Gone was, by design, a regional indie, so the distribution and marketing oomph of NYC’s Caroline Records was a no-brainer. In addition to benefiting from a decent recording budget the record found the band experimenting with a softer, psychedelic, more overtly melodic side; just opening track “Mother Crane” alone, with its strummy acoustic guitars, dreamy backing vocals and modal vibe, suggested some heretofore only intermittently displayed folk and roots influences. They didn’t go soft, however, merely expanded the range and depth of their songwriting and arrangements—which, I reckon, is the product of any band’s natural evolution and maturation—while still being able to rock out on a moment’s notice.

The album also served to introduce the stylistic shift displayed on Rank’s subsequent solo debut, 1993’s Coral, also on Caroline, which was dreamy and gorgeous and bursting at the seams with plangent guitars and no shortage of 12-string flourishes. In retrospect, these two albums can be viewed as a foreshadowing of Rank’s current incarnation as a folk/country-tilting troubadour, not necessarily examples of proto-Americana (the records have more of a baroque British feel) but certainly a glimpse of where his songwriting was headed. They also suggested great things loomed for Snatches, given the proper marketing and a healthy touring regimen to get their music showcased outside their immediate region.

And then—silence. In the summer of ’92 I left for Arizona, and as a result, lost touch with a lot of NC friends in the pre-Internet era. Meanwhile, no more music would emerge from the Snatches camp until 1996, and when it did it was, confusingly, under the name of Clarissa rather than Snatches of Pink. Perhaps someone at their new label, Mammoth, had convinced them that the original name was a tad too suggestive for the brave, bold, politically correct new world of commercial alt-rock; or maybe the band just viewed the three-year hiatus as an opportunity to start with a clean slate, but either way, it was a misfire, strategically, as the group’s Silver album failed both to capture a new audience and to hold on to the old Snatches fanbase. Of the former I am certain, because I was working in a Tucson record store and observed firsthand how Mammoth totally dropped the ball in terms of exploiting its distribution arrangement with Atlantic to effectively market Clarissa; of the latter, well, this particular fan thought it was a wonderful record, but my gut feeling is that a lot of people just thought Snatches had disappeared off the face of the earth.

Which it pretty much did after that, at least until 2003 when Rank resurfaced with not one but two albums, one as a heavy-rocking reconstituted Snatches Of Pink, Hyena (featuring Romweber on drums, Marc E. Smith on second guitar and a procession of bassists) and the other as a new group, Marat (whose Marat album was a co-writing project of Rank and John Ensslin, late of NC’s Teasing The Korean). The new-look Snatches would also go on to release Stag in 2005 and Love Is Dead in 2007, with Marat issuing Again in 2005, and all five of these Rank-helmed projects from the ‘00s are worthy entries to the man’s discography but none of them really got the exposure they deserved.

At any rate, this story is less an abbreviated history of Michael Rank and more a belated appreciation for one of my favorite North Carolina bands, the classic Snatches lineup of Rank, McMillan and Romweber. I dearly love those core records and I cherish every memory of seeing them perform live.

Interestingly, there doesn’t seem to be a ton of info out on the web about Snatches; there aren’t even all that many good early photos of the band online. And the Trouser Press entry is relatively succinct, and incomplete, while the Wikipedia listing is criminally bare-bones and way out of date, with a bunch of dead links listed. There is an official Snatches of Pink website, although it appears to have gone dormant in 2009, and it doesn’t really deal with the early lineup(s) and albums, just the latter-day incarnation. It’s worth noting, though, that during that phase an indie documentary about the band, Now It’s A Rock N Roll Show, was released in 2007 by Trickle Down Productions and directed by Daniel Adams so you can get details about it at the site. (Below: two trailers for the film, which includes plenty of early-days content)

Meanwhile, Bent With Pray, Rank’s Coral and Clarissa’s Silver (which in my mind is a Snatches album) are all readily available, and fairly inexpensively, at eBay and sundry online sources while the three Dog Gone titles surface from time to time (the somewhat rare CD version of Dead Men is even showing currently at Discogs, ranging from $9 to $35). The more recent Snatches CDs can be found easily too, and Love Is Dead is also available at Rank’s Bandcamp merch page along with all his recent solo titles.

Almost as good, and maybe even better considering the ease of access: Rank has posted Send In the Clowns, Dead Men, Deader Than You’ll Ever Be, Bent With Pray, Hyena and Stag all at that Bandcamp page as free downloads (even though I own physical copies of everything, I have been downloading each title while writing this because, well… just because). Speaking of free downloads, back at the Snatches website is a link just called “bootleg” and whattaya know, it is 13-song, lo-to-medium-fi live show from the group’s trio days, Charlotte’s Fucking Web, pictured below, featuring such Pink gems as “Ones With the Black,” “Goin’ Down” and “Salty Dog” plus a ridiculously thrashy cover of the Rolling Stones’ “2000 Light Years From Home.” I’ve got a pretty good idea about that concert tape’s provenance, but I’ll leave that to your fertile imagination, fellow Snatches buffs.

charlottesfuckingweb

Bottom line: don’t just take my word for how great the band was—find out for yourself by listening to ‘em. The stuff’s out there. Then go get that new Rank album Horsehair. Dr. Toland and I command you.

It’s been a great run, Michael. Salute! Keep ‘em coming, brother.

 

Photo of Michael Rank by Andy Tennille