From the Cutout Bin: Seven Mary Three - Orange Ave.

Welcome to From the Cutout Bin, where we dig up old CDs that have been forgotten for whatever reason and can now be found in the dollar (or quarter) bin at your local used CD store (if your community still has a used CD store). This installment features the final major-label album by Seven Mary Three, 1998's Orange Ave.

Of all the albums we've done for this feature so far, this one was one of the more successful ones: it charted at #121 in the summer of 1998, and the lead single, "Over Your Shoulder," was a Top 10 mainstream rock and a Top 20 modern rock hit. So why did I get a copy (admittedly, a radio promo copy without any liner notes or artwork, but still) for $1? Because 7M3's first major-label album, 1995's American Standard, went platinum, and their follow-up, Rock Crown, failed to go gold. So expectations were low for Orange Ave., which came out a scant 14 months after Rock Crown.

I probably should note that I don't own any of 7M3's other albums, and haven't heard them all the way through. I am familiar with the hit singles: "Cumbersome," "Water's Edge," "My My," "Lucky," etc. I've seen the band once, at a radio station festival in the fall of 1998. And I was in a band in high school that ripped off the riff from "Water's Edge" for one of our songs. So there are my Seven Mary Three credentials up front.

This album seems like a conscious decision to get away from the "post-grunge" label that 7M3 were saddled with after their first two albums. And unlike bands like Better than Ezra, who released albums in 1998 that dabbled in electronica and trip-hop, Orange Ave.went in a '70s outlaw country / roots-rock direction. This is the sound of a band that were really into Pearl Jam, but used that as a gateway to Bruce Springsteen, Bob Seger, and Skynyrd.

This album is pretty good. It sounds like a southern-rock Wallflowers album, and that's not a backhanded compliment. "Over Your Shoulder" is a great song. No, really: listen for yourself:

That's a live version from 2009; the band didn't make any music videos off this album, which probably reflects Atlantic's continued interest in them.

Things were not going well for the band by the time Orange Ave. came out. From 7M3's own webpage, here's lead singer Jason Ross on the album: "The record is disjointed. The fragile moments and the energetic ones never reached continuity, largely because some of us weren’t speaking to each other at the time. It is our only attempt at making a straightforward pop rock record. There are songs on it that deserved a better effort than we could give at the time amidst the upheaval of knowing something bad was about to happen. I wanted to pay respects to my hometown of Orlando, a much-maligned hub of disposable entertainment and excess. Touring in support of Orange Avenue was work. And it was sad. It never felt like work before, but the damage was done." Lead guitarist Jason Pollock quit the band after this album.

From trolling the web, it seems as if this album is a bit of a black-sheep in the 7M3 catalog for the band's fans, but I rather enjoyed it. Besides "Over Your Shoulder," I also particularly liked "In-Between" and "Southwestern State."

7 Mary 3 are still going, and have managed to maintain a cult following. They've released three studio albums on various indie labels since Orange Ave. and opened up for Three Doors Down in 2004 on a lengthy amphitheater tour. Only lead singer Jason Ross and the bass player are still around from the original incarnation of the band, but they have a new acoustic album out, and they're playing Alaska later this month. Visit their webpage here.

Is Orange Ave. worth your dollar? I'd say yes.

From the cutout bin: Foam - Big Windshield Little Mirror

Welcome to From the Cutout Bin, where we dig up old CDs that have been forgotten for whatever reason and can now be found in the dollar (or quarter) bin at your local used CD store (if your community still has a used CD store). This installment features the debut (and only) album by Maryland natives Foam, 1998's Big Windshield Little Mirror.

I found this album for $1 in the clearance used bin at my local shop, still in its original shrinkwrap, and when I opened it up, I found a little card offering a month's free access to Earthlink (assuming I had Windows 95 or 3.1 or Macintosh 7.5 installed). I was also invited to "cruise the internet!" with Sony Music Online and their custom browser. I'm pretty sure that custom browser thing didn't really pan out.

Anyway, Foam. Produced by Michael Beinhorn, mixed by Tom Lord-Alge. Quite the pedigree. Beinhorn's famed for being one of the most expensive producers out there, and he'd just done Hole's Celebrity Skin, Social Distortion's White Light White Heat White Trash,* and Marilyn Manson, so he was coming off three platinum albums in a row.

Foam sound like Live. A LOT like Live. You can hear it from the first notes of "Head Not Love." "If" sounds like the Gin Blossoms for about 45 seconds, then it dips back into Live territory. This shouldn't be that surprising, as Foam came from Hagerstown, MD, in the northwestern part of the state, about 75 miles from York, PA, the home of Live. When their debut album came out, they were in their early 20s, meaning they grew up on Mental Jewelry and Throwing Copper. Their early demos were produced by Live's guitarist, Chad Taylor. Reportedly, they hadn't even played a show outside of Maryland when they got signed (if you want to see how green Foam were, check out this interview from the Baltimore Sun in the spring of 1998). Knowing their backstory now, I'd have been more surprised if they didn't sound like Live.

Remember that great lost Live track that Kevin Smith used a couple of years ago? This is like the great lost Live album. Same guitar tones, same vocal stylings, same everything. Even that same Ed Kowalcyzk falsetto. Seriously, go to their Myspace page and listen to "Rollercoaster." That being said, Big Windshield, Little Mirror is really pretty good. It sags in the middle, and the lyrics are a bit sophomoric, but those are problems that could have been fixed with a follow-up had this album not tanked.

If I were to guess, I'd say the biggest problem with this album is Live's 1997 album Secret Samadhi, which flopped as Foam were recording. It would have fit in exactly on the radio in 1995. Problem is, it came out in 1998, and up against Semisonic, Fastball, and Third Eye Blind on the radio, Foam sounded way too heavy. This album has to be considered one of the bigger flops of the late '90s, based on the large amount of money that Epic undoubtedly spent on recording / mixing, and the fact that none of the singles charted.

Based on the sketchy information I was able to find on the Internet (there are no Foam videos on YouTube and no Foam page on Wikipedia), the band spent most of '98 opening up for second-tier alt-rock acts, then dropped off the face of the earth. There are vague references to a band called Head Not Love (the name of the opening track on this album), indicating that they probably had to change their name in order to get out from their record contract after being dropped.

This album's super-easy to find; there are a lot of penny albums on Amazon, and if you want to pay less than $3.50 for shipping, copies pop up on eBay a lot, too. Or you might find an unopened copy like I did.

Postscript: Foam reunited in 2007... they now have a Facebook page and a Twitter feed and a Myspace page. If you go to any of those, you'll see they're promising new music in 2010. Maybe there's still time for Foam.

* Beinhorn's pedigree: Red Hot Chili Peppers' Mothers Milk, Soul Asylum's Grave Dancers Union, Soundgarden's Superunknown, Marilyn Manson's Mechanical Animals, the absolutely spectacular Verve Pipe self-titled album.

From the cutout bin - Less than Jake - Hello Rockview

Welcome to From the Cutout Bin, where we dig up old CDs that have been forgotten for whatever reason and can now be found in the dollar (or quarter) bin at your local used CD store (if your community still has a used CD store). This installment features Less than Jake's entrant in the great ska-punk explosion of 1998, Hello Rockview.

To be honest, I'm a little surprised this week's entrant was available for only $1 (a new, sealed copy at that, though the liner notes were missing due to some sort of manufacturer's defect). I've never been much of a fan of Less than Jake, but I'm aware of the band, occasionally see kids wearing their t-shirts, etc. They've had a lengthy career, encompassing stints on two different major labels, a music video starring the chick from Gilmore Girls, spots on various Tony Hawk game soundtracks, and a 2000 national tour opening up for Bon Jovi (?!? Is Richie Sambora a fan?). A couple of the guys in the band are owners of the Fueled by Ramen label, which has released Paramore's albums.

Pretty good: "All My Best Friends are Metalheads," "History of a Boring Town," and "Scott Farcas takes it on the Chin." Boring ska-punk without any hooks: everything else. This just wasn't my cup of tea, and I can only recommend it to people who have attended more than one Warped Tour (the majority of whom probably already own it).

Hello Rockview hit #80 on the charts, then quickly dropped off. The really notable thing historically about the album is that it marks producer Howard Benson's crossover into alt-rock At the time he did this album, he was known for production work on late-period hair metal bands, but following Hello Rockview he transitioned to producing POD, Crazytown, Hoobastank, My Chemical Romance, Daughtry, and the All-American Rejects.

The one hit off the album was "History of a Boring Town," which squeaked in at #39 in 1998:


Fun tidbit for the comment section: where would you rank Less than Jake in terms of the ska revival of '97-'98? I'd say behind No Doubt, Mighty Mighty Bosstones and probably Reel Big Fish, so fourth. Definitely ahead of Buck-o-Nine, Voodoo Glow Skulls, Aquabats, and Save Ferris. Actually, Reel Big Fish, Goldfinger, and Less than Jake are probably all in a solid second tier of ska-punk bands. Post your thoughts below.

From the Cutout Bin: Heather Nova - Siren

Welcome to From the Cutout Bin, where we dig up old CDs that have been forgotten for whatever reason and can now be found in the dollar (or quarter) bin at your local used CD store (if your community still has a used CD store). This installment features 1998's Siren, by Bermudian Lilith Fair vet Heather Nova.

Heather Nova made her bones in the US with 1995's Modern Rock hit "Walk This World."


But that song's not on Siren, which I found for 50 cents at my local used bookstore. Instead, this is the follow-up, which was obviously expected to be a hit. There are three different producers, including Jon Kelly (known for his work in the UK with British adult-friendly pop stars like Kate Bush and the Beautiful South) and Youth, who was fresh off producing the Verve's 1997 masterpiece Urban Hymns. Superstar mixer Andy Wallace (whose credits include Nirvana's Nevermind, Soul Asylum's Grave Dancers Union, Screaming Trees' Sweet Oblivion, Jeff Buckley's Grace, The Toadies' Rubberneck, Rage Against the Machine's Evil Empire, the Wallflowers' Bringing Down the Horse, Everclear's So Much for the Afterglow, etc.*) worked on 12 of the 14 tracks. And as soon as it came out, Nova went on tour with Lilith Fair II.

(*Seriously, that list could have been twice as long, and still would have included nothing but platinum albums. Someday, I may do a post on Andy Wallace and the Lord-Alge brothers, the great mixers of the '90s.)

The problem is, it wasn't really a hit, at least in the US (unlike a lot of artists, Nova's Wikipedia page is pretty scarce, so I don't know how these songs charted overseas. Apparently, she's pretty big in New Zealand). It hit the 170s on the Billboard Top 200, the same as the previous album, and landed one track on the Adult Top 40.

Two songs on this album are great, in that "summer road trip when the only radio station you can find is one playing hot adult contemporary" sense: "London Rain" (that aforementioned Adult Top 40 hit) and "What a Feeling." The rest are pretty generic, inhabiting that gray area in between trip-hoppy stuff like Beth Orton and straightforward singer-songwriter stuff like Sheryl Crow.

Siren certainly didn't end Heather Nova's career; she segued over to the V2 label, was featured on the I Am Sam soundtrack among much more high-profile artists, co-wrote a comeback single with Dido and the Matrix that flopped, and then went the indie route. A new album, The Jasmine Flower, comes out Oct. 10 and then she'll do a two-week tour of Europe. She's worked with Moby, had her songs placed on a number of movies and TV shows, and earned a coveted spot on Divas of the Court: Songs from the WBNA. And hey, I already resold this CD on Amazon for a cool 15-cent profit, so I guess the demand's still there.

From the Cutout Bin: Pee Shy - Who Let All the Monkeys Out?

Welcome to From the Cutout Bin, where we dig up old CDs that have been forgotten for whatever reason and can now be found in the dollar (or quarter) bin at your local used CD store (if your community still has a used CD store). This installment features 1996's Who Let all the Monkeys Out?, by the unfortunately named Pee Shy.

When I was in college (the tail end of the '90s), the people I knew who worked at our college radio station were really, really into this band. In fact, I was going through some boxes in my closet this weekend, and found that they were #1 on the WTUL Top 10 one week. Yet I don't remember ever hearing a single song of theirs until I popped this dollar purchase into my computer.

And... it's cute, if a little bit twee. Dean Wareham of Galaxie 500 and Luna fame produced it (his only producing credit until 2006, according to allmusic). The band featured a lot of odd instrumentation: clarinets, accordions, trumpets, and saxophones can be found wherever you look, but there's hardly any guitar, bass, or drums. And there are three extremely odd spoken-word interludes which sound like they could have been broadcast as essays on NPR.

It turns out Pee Shy came from Tampa, home to other alt-rock also-rans Sugarspoon and the Hazies (all of whom got signed and put out debut albums in '96). According to this article, co-leader Cindy Wheeler used to run a bookstore in one of the hipper parts of Tampa; her partner in crime Jenny Juristo had an off-kilter radio show on the lower end of the FM dial.

This album did have a chance: it came out in 1996, a year after Jill Sobule's left-field hit "I Kissed a Girl," which was also quirky and twee. And it was the second release from Mercury affiliate Blue Gorilla: the first release was Joan Osborne's Relish, which made enough money to ensure adequate promotion for Pee Shy.

But maybe it was just too weird. As of November 1996 (seven months after its release), Who Let All the Monkeys Out had only sold about 1,000 copies, and it's hard to imagine it sold that many more after that date. Pee Shy moved to New York City, recorded a second album, Don't Get Too Comfortable, which made #2 on the college radio charts, got played on Melrose Place, and even got a little airplay on KROQ. But that was it, and the band broke up towards the end of 1998.

Pee Shy made at least one video to promote this album, for the song "Little Dudes." I can't embed it (thanks, Universal!), but you can view it here. Wait... is this song about 30-something women doing teenage men? Pee Shy correctly anticipated the cougar craze!

So, if you see this album selling for one crisp dollar, is it worth your time? Yes, if only because it's currently going for $3.25 on Amazon.

From the Cutout Bin: Super Deluxe - Via Satellite

Welcome to From the Cutout Bin, where we dig up old CDs that have been forgotten for whatever reason and can now be found in the dollar (or quarter) bin at your local used CD store (if your community still has a used CD store). This installment features 1997's Via Satellite, the second album from power-poppers Super Deluxe.

An example that this band has been almost completely forgotten? Their Wikipedia page wasn't created until two months ago (and not by me, OK?). And now that superdeluxe.com is a comedy short-film website (check out the Team Tiger Awesome stuff on there, it's hilarious), few people even realize that Super Deluxe was a band.

There were two streams in the Seattle scene of the '90s: grunge and power-pop. The power-pop scene was led by the Posies (you could probably make a case for lumping the Presidents of the United States of America in there too). Super Deluxe were firmly in the latter camp.

Via Satellite was released in the summer of 1997, when the big hits on modern-rock radio were "Semi-Charmed Life," "Impression that I Get," Sugar Ray's "Fly," and Smash Mouth's "Walkin' on the Sun." The atmosphere was ripe for a power-pop band to make a big splash on the charts.

But this album stiffed, big-time. Unfortunate, because it's good, but there's no stand-out hit single. It seems to be the classic example of a band zigging when they should have zagged; this album is much harder and grunge-like in its sound (especially on songs like "Lost in Your Failures") just as modern-rock radio was taking a turn to softer and more poppy. If they'd stuck with the lighter sound of their 1995 debut (which featured "She Came On")...

It's a grower. "Your Pleasure's Mine" wasn't a great song the first time, but was really good the second time. There are big-time Queen influences in "Alright," and "Half Asleep" is good in that "could have soundtracked the closing credits of a late-'90s teen movie" way. "I Can See" is good, too.

It's too long by 3 or 4 songs, at 14 tracks (see the Connells, an album that came out at the same time with similar problems), the back end is better than the front, which is bad for a new band that needs to prove itself to radio programmers and fickle reviewers, and there's nothing as great as "She Came On," which got almost no airplay itself.

Of note to '90s rock fans: the producer and mixer on this album is Tim Palmer, who did mixing work for Pearl Jam, Catherine Wheel, Concrete Blonde, Stabbing Westward, Reel Big Fish, U2, Live, and the Cure, and producing work for Kajagoogoo, Big Country, Tears for Fears, Goldfinger, and Switchfoot. He produced and mixed Sponge's Wax Ecstatic (which is very underrated), and mixed the last two Better than Ezra albums, Closer and Before the Robots. And he's still quite in demand: he's done recent work for Robert Plant, Hot Hot Heat, and H.I.M. Clearly, the man transcends boundaries, a nice way of saying he doesn't have a particular "sound." The production here is workmanlike, and doesn't get in the way of the hooks.

Here's one of the two (unsuccessful) singles: "Your Pleasure's Mine." Apparently it was featured in an early episode of Dawson's Creek (and Revolution didn't bother making a video for it):

From the cutout bin: The Connells - Weird Food and Devastation

Welcome to From the Cutout Bin, where we dig up old CDs that have been forgotten for whatever reason and can now be found in the dollar (or quarter) bin at your local used CD store (if your community still has a used CD store). This installment features 1996's Weird Food and Devastation, the sixth album from North Carolina's the Connells.

The Connells were one of the first crop of post-REM bands to come out of the Southeast (ahead of groups like Better than Ezra and Hootie and the Blowfish). They got their start in Raleigh, N.C. and achieved unexpected success all over Europe with 1994's "74-75." They spent most of 1995 touring in Europe, and those experiences affected this album.

According to the reviews I found online of this album, fans consider it to be the Connells' "weird" one. And it is both dark and jaded; Weird Food sounds, if anything, like a band trying to figure out its next step and how to hold on to its newfound audience. But many of the songs are not that strong: if the chorus is catchy, the verses are boring. If the intro is intriguing, the rest of the song slacks off and dies. "Hang On" starts out strong, but then loses it with a sing-song chorus and an atonal lead guitar line. "Smoke" overstays its welcome. The album as a whole is too long, clocking in at a bloated 14 tracks (REM's New Adventures in Hi-Fi, also released in 1996, has been accused of this as well).

My verdict: good, but not great. It was the first Connells album since 1987 not to chart in the Billboard Top 200 and modern rock radio ignored both the singles, "Maybe" and "Fifth Fret."

By 1996, the Connells had seen college-rock bands who followed in their footsteps become multiplatinum superstars (especially Hootie and the Blowfish). REM, the band they came up behind*, were the biggest band in the world. Did they feel pressure to deliver with this one? I don't know; maybe. Did they deliver? Not really. This could be the fault of their longtime label, TVT, as the singles were pretty decent; TVT screwed over plenty of bands (check out Trent Reznor's thoughts on Nine Inch Nails' short time with the label).

After Weird Food and Devastation, the Connells released one more album for TVT, 1998's Still Life, which also failed to chart, and then self-released a final album, 2001's Old-School Dropouts. They are in semi-hibernation now, and occasionally play shows in and around Raleigh, where they remain popular. Ongoing disputes with TVT have kept any sort of greatest-hits compilation from being released (and TVT's recent bankruptcy can't help matters on that front, as the Connells' back catalog is now owned by Prudential Securities).

Here's "Fifth Fret," the second single (and the catchiest song) off the album:

You know, as I watch the video, it strikes me that matters weren't helped by the fact that this band looks like the English department at your local college decided to start jamming in somebody's attic.

*early REM producers Don Dixon and Mitch Easter also did production work on the early Connells' albums

From the Cutout Bin: Headswim - Despite Yourself

"The hype is as high as an elephant's eye." - Headswim, "Hype."

Here's what I know about this band: I was supposed to see them open up for Our Lady Peace and Black Lab in the spring of 1998 in New Orleans, but they didn't show up. Word in the crowd that night was they'd dropped off the tour entirely. Also, I vaguely remember hearing the single "Tourniquet" on 106.7 the End.
Here it is:

Headswim formed in the early '90s in Essex, England, released a couple of singles, then got picked up by Sony. Despite Yourself was their second album. Was the hype really that big for Headswim? Wikipedia says "Tourniquet" was a top 30 single in the UK and a minor radio hit in the US. They did tour the US with Brad (the Pearl Jam side project) and Kula Shaker, but sales weren't great, they got dropped, released one independent single in 2000, then broke up in 2001.

I realize I only paid $1 for this thing, but it was quite aggressively mediocre. According to AllMusic, their first album, 1994's Flood, was very Pearl Jam-influenced. This one sounds like they listened to The Bends 30 or 40 times and then sat down to write some songs. The two singles, "Tourniquet" and "Better Made," are decent, but I can only recommend this one as a 25-cent super-cutout bin purchase (such as they have at Hastings), not a $1 bin buy.

So where are they now? Lead singer Dan Glendining formed a new band, BlackCar, who released an album in 2003 and now appear to be dormant. Check out their Myspace here. There are some Headswim rarities (including a cover of Gary Numan's "Cars") here.

From the cutout bin: Chalk farM - notwithstanding

I have a bit of a soft spot for Chalk FarM (no idea why the capitalization is that way). In the late fall of 1996, I went to see Better than Ezra at the UNO Arena in New Orleans, still (so far as I know) the largest headlining show BTE has ever done. It was the homecoming date and the last show on the Friction, Baby tour and it was awesome. Chalk FarM was the opening act, and during "King of New Orleans" the lead singer of Chalk FarM came back onstage and turned over cue cards with the lyrics to the song on them. Then he placed a crown on Kevin Griffin's head, which Griffin tossed into the crowd at the end of the show (I still have one of the plastic jewels from the crown).


I believe Chalk FarM came back through town in the spring of '97, but that was the last I ever heard of them, until I found this CD in the dollar bin at my local record store.
So who were they? A Los Angeles band made up of East Coast transplants, they were originally a two-man acoustic outfit that then expanded to a full band, and they were frightfully socially earnest (this really comes through in the lyrics). So a bit like Vertical Horizon crossed with Live. Their one big hit was "Lie on Lie," from 1996, which you can find on YouTube, but which I can't embed for some reason. They then had a minor hit with "Live Tomorrow," which skirted the edge of the mainstream rock Top 40 in '97. As a sidenote, they did much better on the mainstream rock charts than the modern rock charts, which is a little surprising, as the modern rock station where I lived played them a lot.

Chalk FarM was dropped by Columbia sometime in the late '90s, lost their drummer, regrouped enough to put out a second album on their own label in 2000, performed in the film Coyote Ugly, and broke up. The lead singer, Michael Duff, recently released a solo album, and appears from his website to have gotten fairly involved with Scientology... perhaps he can open for Beck.
notwithstanding is a decent album, neither great nor terrible, and considering the success Vertical Horizon had with this basic sound three years later, it's a little surprising that they were dropped by Columbia.

From the cutout bin: Summercamp - Pure Juice

It's time for a new feature here at Tied to the '90s: From the Cutout Bin, where we dig up old CDs that have been forgotten for whatever reason and can now be found in the dollar (or quarter) bin at your local used CD store (if your community still has a used CD store).

First up, Summercamp and their only album, Pure Juice, released in April 1997. These guys came out of the surprisingly-varied Santa Barbara scene, which also produced Ugly Kid Joe, Toad the Wet Sprocket, Nerf Herder, Lagwagon, Dishwalla, and Sugarcult and were together in some form or another for a decade before Madonna made them one of the early signings to her vanity label, Maverick Records. Actually, that may be one reason why these guys aren't around anymore; Madge herself set the bar a little high when (in early 1997, mind you), she claimed that her new signings were better than Oasis (seriously; check it out here)

Not to be cruel, but I have no clue what Madonna was talking about. These guys sound absolutely nothing like Oasis; it's very, very typical mid-'90s alt-rock, distorted guitars with melodies influenced by late-'70s power pop. Think Dishwalla or the Posies, but a little more generic.
Their single "Drawer" went top 40 on the mainstream rock charts and top 25 on the modern rock charts, but the album never charted (Wikipedia says "Should I walk away" went top 10 in Japan). They played the Lollapalooza second stage in '97 (the year it tried to go electronica with Orbital, Tricky, the Prodigy and the Orb on the main stage), then toured with Tonic, did a couple of festivals in Europe and Japan, and dropped off the face of the earth.

So what happened? This article from February 1999 says the band had gone into a studio in Santa Barbara to record a follow-up with producer Gil Norton (Feeder, Foo Fighters, Pixies, Jimmy Eat World, etc.). Another website claims they subsequently recorded in LA, New York, and London, replaced their drummer, and were doing more recording with Bon Jovi's producer. The album was scheduled for fall '99, then fall 2000, but nothing ever came out, not even in Japan. Their Myspace page says they broke up in 2000.

Lead singer Tim Cullen has put out a solo album, toured Japan, and done some work with Bad Astronaut and Sugarcult. He's currently in the Playing Favorites with Marko from Sugarcult and a couple of guys from Lagwagon. Guitarist Sean McCue has played some shows with Glen Phillips of Toad the Wet Sprocket and also has a solo album.

Here's a video of the band playing the Fuji Rock Festival in 1997:


This wasn't a bad album. It showed some promise, and their sound was quite similar to bands like Stroke 9, SR-71, and American Hi-Fi who got pretty big a couple of years later. Maybe Summercamp was a little before their time.
Check out their one sorta hit, "Drawer," which sounds a bit like Superdrag:

• MTV
• Music Videos
• MTV Shows
• Entertainment News