"The Throes" Formed in 1988 - Greater Washington, D.C. - - - okay, the suburbs... Northern VA to be exact... Bill Campbell, Harry Evans and Joy Gewalt. They were young and full of pride. And we were friends who loved each other and the music. Songs were written. An independent cassette was released. The Era of Condolence featured seven songs of youth, love and unanswered questions. Two stand-out songs are still crowd pleasers: Elisabeth and Dead End St. This was 1989. And the songwriting team of Evans/Campbell was churning full force. In 1990, The Throes signed with R.E.X. Records. R.E.X. was an indie label based out of New York City and featured a roster of speed and death metal acts. The Throes would be their first Alternative pop band. September of 1990 marked the release of All The Flowers Growing In Your Mother's Eyes. Flowers featured a barrage of guitars, vocals and the lyrical musings of Harry Evans. This album stands up today and is considered a classic by many.

Arriving in the heyday of the alternative revolution, the Throes' astonishing debut, All the Flowers Growing in Your Mother's Eyes, captured the innocence and idealism of that singular movement. Driven by the songwriting prowess of Bill Campbell and Harold Evans, the Throes create dour, moody pop akin to the Smiths and R.E.M.. Songs are built around Campbell's sparkling guitar and driven forward by Evans' idiosyncratic percussion. Where most college rock bands flounder amidst pretentious lyrics and too-light music, the Throes convey their often-poetic sentiments adroitly. "This Love Is an Ocean" churns and rolls, moving slowly forward while "Passion Flower" is up-tempo and colored by sadness. Even the sweaty, punkish rave-up "Skin Kings" is propelled by a sentiment of self-loathing and disgust. All the Flowers Growing in Your Mother's Eyes works because it stays open and airy and buoyant despite these weighty confessions. The record is charged with the unmistakable energy of possibility, the sound of a young band who still believes they can change the world. ~ J. Edward Keyes, All Music Guide

For the next couple of years, The Throes would tour all over the world. The fall of '92 brought many changes as the Evans brothers parted to form Poole, while Campbell and bassist David Lash brought in drummer Matt McCartie, guitarists Jeff Booth and Rob Yarbrough. Fall On Your World was recorded in Los Angeles by the production team of Derri Daugherty and Steve Hindalong of The Choir. Met with mixed reviews, Fall has also withstood the test of time, chock full of pop goodness such as the Evans/Campbell gen x anthem "Say Hello" to the self loathing "Oh Well".

1995 marked a major turning point for the band. 12 Before 9 marked the first Throes album without the songwriting team of Evans/Campbell. Some have said this release was a Bill Campbell solo album. For most, this was their first Throes experience as 12 Before 9 played out to a larger audience with wider distribution.

A significant step forward after the calamitous Fall on Your World, 12 Before 9 is sunnier and less tedious than its predecessor. Opening with the jangling, sarcastic "So Controversial" (written for Michael Roe, frontman of the 77's), the band regains much of their melodic sensibilities. Bill Campbell remains the band's only original member, and the Throes are beginning to seem increasingly like a product of his singular vision. Though they are still sandbagged by occasional bouts of psychedelia (the unforgivable "Circles of the Wheel" and "Stunned"), the Throes also seem more willing to produce the sort of heartsick pop that made their debut so indelible. "Mess With Me cops the melody to the Cars' "Best Friend's Girl" and bends it to create a dark tale of manipulation. "Words" is one of the best songs Campbell has ever written, a somber meditation on fame and its consequences. Still, much of 12 Before 9 feels bloated, and Campbell's dominance over the proceedings is a large part of the problem. Edward Keyes, All Music Guide This period was also considered a tipping point for the band. Over saturation and too much in too little time closed this chapter. The band went back into the studio. This time however, Campbell asked Evans to return. With 10 new songs, The Throes recorded Ameroafriasiana on a small budget, in little time and with much prowess.

Much of the rabid following the Throes had amassed with their near-flawless debut had abandoned them by the time their final album, Ameroafriasiana, was released. It's no wonder: The Throes' relentless touring and less-than-spectacular albums had served to over-saturate their audience with mediocre material. Those who remained found a second triumph in Ameroafriasiana. It's hard not to attribute the success of the record to the return of Harold Evans, but Campbell for his part seems more focused than he has in years. Even the band's psychedelic impulses are grounded in melody. "Understanding" opens into a gigantic, gorgeous chorus, "Grieve" is driven by a sinister, snaking guitar line, and the galloping love song "Satiable" glows with optimism and satisfaction. Only the plodding, repetitive "Slip" is an outright disaster. The rest of the record couples the winsome charm of All The Flowers Growing in Your Mother's Eyes with a maturity and wisdom earned through innumerable hard years. That it served to be the Throes' swan song is both tragic and oddly fitting -- a graceful note on which to end a turbulent career. ~ J. Edward Keyes, All Music Guide

The Throes still goes... A new live album has been released and Evans/Campbell are back to writing and recording again. They promise this will be the very best album they've ever worked on.

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