NC Music History: A Blog Related to the Music of North Carolina
Circa 2007-2008
NCMusichistory.com, a musical archaeological wonder, did not intend to deprive artists and labels of revenue. Instead Michael Slawter, the original owner of the site's domain and a musician/ music fanatic, hoped that the music presented on his site would contribute to interest that would eventually lead to legitimate re-issuing of the works of the artists represented, or at least wider recognition of already available releases.
Content is from the site's 2007-2008 archived pages and other sources since the new owner of the domain believes in Michael Slawter's original mission.
New Editor's Note: Sometimes the most interesting stories about the makers of music have nothing to do with music.
CAse in point involves a band punished for what shows up in Google's search results. We've agreed no to mention the actual name to protect the members from more abuse. The band's name sounds Arabic & the word has a meaning in another language that some people relate to terrorism. But the name was chosen for its sound, not its meaning, yet a search for it in Google shows search results on page 1 revealing the supposed terrorism link. Once those results started showing up consistently, the band stopped getting calls to perform. So Google is actually complicit in the ending of this band's career. In case you didn't realize it, negative Google search results harm many innocents. There can be more to a band's name than meets the eye or Google's search results.
My kids' first serious music, that is music played loud and forever from behind shut bedroom doors were from the 90's. The '90s witnessed a new awakening in rock music market place. The glam metal scene, which dominated the '80s music industry, faded away as the grunge revolution came to prominence with such bands as Nirvana, Alice In Chains, U2, Green Day, Radiohead, Pearl Jam, R.E.M, Foo Fighters, Red Hot Chili Peppers & more. I think U2 was one of my favorites. We would listen to them on our lengthy summer road trips. And I must say, thanks to Youtube for giving us the ability to listen to any of these 90's bands whenever the mood strikes.
NC Music History Dot Com
A message from Michael Slawter
If you have legal rights to any of the songs presented here, and wish to have them removed, I will attempt to dazzle you with the speed and abject humility of my compliance.
Michael Slawter
My blog is related to the music of North Carolina during the 60's, 70's, 80's, and 90's.
2010 POSTS
Friday, March 12, 2010
This blog has moved !!
This blog is now located at http://ncmusichistory2.blogspot.com/.
posted by Michael Slawter
2009 POSTS
Tuesday, January 20, 2009
NC Music History Dot Com made the top 100 Musicology Blogs by Distance Learning.net.
Music is something that nearly everyone knows about-but we don’t all take the initiative to really delve into the subject. These bloggers have, and they examine history, theory, criticism, and more, all relating to music. Read on, and you’ll find 100 of the best blogs covering the study of music today.
posted by Michael Slawter
2008 POSTS
Thursday, April 10, 2008
New Post FINALLY!!!
Hi Everyone.
Wow I cannot believe its been since September that I posted a blog. Before that, it was sparse at best. That being said, I could sit here and give you a laundry list of excuses why I haven't added anything new lately. Bottom line is I don't have anything else to say. I busy from time to time and I things like that but I could find time to add stuff to the site. Problem is I don't know what to add. I asked in the past for people to send info which I will post, but now all I am asking is for people to send suggestions. I will make it my mission for the rest of the year to post one new band each month till 2009.
I am really proud of what has been is available already on this site and I want to keep it that way. Your comments are invaluable and I look forward to hearing from everyone. Just because I don't post, doesn't mean I am not here.
Your Fearless Leader...
posted by Michael Slawter
2007 POSTS
Thursday, September 20, 2007
Penny Royalty - Static
from the cd Static - 2002
Back in 2001 Penny Royalty was blazing a new path through the then stale W-S music scene. They were a part of a handful of bands that were drawing attention to the W-S music scene once again. The band played blistering show even being voted Band of The Year in 2001 by the Winston-Salem Journal. Led by mastermind Ed Kinser, Penny Royalty recorded their one and only cd at Electromagnetic Radiation Recorders. Captured on that tape (yes tape, its an ADAT machine) was some of the roughest music W-S has seen in decades. Capturing the spirit of the MC5 and channeling it through the Nirvana generation Kinser, along with Shannon Murphy - drums and Eric Heinzman - bass, Penny Royalty seemed primed to make huge waves, sadly internal turmoil ripped the band apart. On a more recent note just weeks after the suicide of Sam Moss, Ed Kinser (a close friend of Sam's) now living in Texas decided to take his own life.
This cd is still in stock at CDbaby. Order it today!!!
Band Members:
Ed Kinser: Guitar, Vocals
Shannon Murphy: Drums
Eric Heinzman - Bass posted by Michael Slawter at
Saturday, May 05, 2007
Sam Moss - Losin' Susan
previously unreleased
Today, a very sad thing was discovered. Sam Moss, a local presence in Winston-Salem took his own life. I, like everyone else who knew him, am a bit stunned. He was a big part of why I LOVE music. Sam owned THE guitar store in the triad. Sam Moss Guitars was in business for over 20 years. I bought my first guitar from him at the age of 14, and even spent some time working in the shop not to mention endless hours just hanging out and shooting the bull. I know that there are LOTS of folks that could say the same thing. Not only was Sam a great guitar store owner he was always a great guy and one helluva' player. As witnessed on this rare demo included with this post. Seeing Sam playing live was always a moment you didn't soon forget. A feeling that you were in the presence of greatness.
So to Sam I say KOTJ-MF!!! Thanks for all the wisdom you bestowed on me. You are missed already!
To see what Sam was up to most recently go here.
posted by Michael Slawter
Thursday, May 03, 2007
Mike Greer - All I Need - 1973
from the Sugarbush lp - Between Two Worlds
As the story goes, Winston-Salem native Greer met South Carolina native Don Dixon their freshman year at UNC Chapel Hill. With the help of Greer's hometown pal Robert Kirkland and drummer Jimmy Glasgow they started Arrogance. Their first single released at the end of '69 "Black Death/An Estimation" was one of the first DIY releases and set the stage for such bands as Sneakers, H-Bombs, and later the dB's and Let's Active.
I'm not exactly sure of how it all went down but somehow Greer released this solo album in '73 with the help of his fellow Arrogance buddies along with Wes Locke and David Niblock.
Band Members:
Mike Greer - Guitars, Moog, Organ, Background Vocal
Robert Kirkland - Vocal
Wesley (Bobby) Locke - Drums
David Niblock - Bass
Don A. Dixon - Background Vocal
posted by Michael Slawter
Monday, April 30, 2007
mystery post of the week IV
Gravity's Pull - Haven't Done A Thing - 1994
from Screaming Goddess Records cd "Motorama"
posted by Michael Slawter
Monday, April 23, 2007
mystery post of the week III
Vertigo Joyride - You and Me Girl - 1994
posted by Michael Slawter
mystery post of the week II
Reverb-a-Ray - Don't Ask - 1994
posted by Michael Slawter
mystery post of week I
June - Bees in a Jar - 1994
June were a Chapel Hill band from ~1992 until 1996. Released 3 singles, the first two on Friction Media, a label founded by longtime WXYC staffer Bob Boster. The third single was on Squealer, the then-Virginia label run by Butch Lazorchak.
They were the subject of a minor major-label bidding war during 1994 & 1995, and wound up signing to Beggar's Banquet after a semi-successful trip to SXSW in 1995. They recorded their debut, "I Am Beautiful," over a period of several weeks in Nashville, released it in spring 1996, and broke up around a month later.
Original drummer Mathew Gross left the band before they signed to Beggar's Banquet. After grad school & travel, he reappeared on the national stage as the man who persuaded the Howard Dean campaign to start a blog. He's currently working as internet guru for the John Edwards campaign.
Replacement drummer John Howie Jr. currently leads his long-running country band the $2 Pistols in Chapel Hill.
Guitarist John Price is married & lives in Durham, I think. Guitarist Tricia Tuttle moved to London, where she is a journalist, film critic & festival programmer.
Bassist Andy Magowan is chef & co-owner of Piedmont restaurant, www.piedmontrestaurant.com, in Durham. He can occasionally still be seen playing in local bands Malt Swagger & Erie Choir, though the restaurant is open 6 days a week & he seems to always be there.
Singer Kat Cook moved to LA, and last I heard she was in a pop band called Cucalorus.
This song, "Bees in a Jar," was from one of the 7" recording sessions, IIRC. I'm not at home & thus don't have access to my record collection, but I don't think it was on any of the singles. Was it on a compilation, like maybe one of those Record Exchange comps? Perhaps Michael will tell us where he got it.
Band Members:
Kat Cook - Vocals
John Price - Guitar
Tricia Tuttle - Guitar
Andy Magowan - Bass Guitar
Mathew Gross - Drummer
posted by Michael Slawter
2006 POSTS
Sunday, September 24, 2006
Fabulous Knobs - Don't Stop Now - 1981
from the Moonlight Records album - Hugs and Kisses
from Matt Barrett's Golden Age of North Carolina Music
In the early eighties The Fabulous Knobs were the Rolling Stones and The Dads were the Beatles.
The Fabulous Knobs were actually better than the Stones. This may raise some eyebrows. How can a band that had maybe one album, playing in bars in North Carolina be better than the Stones? First of all you have to take into consideration that the Stones themselves though musically competent, in their live performances rarely rise above the level of a good high-school rock band playing Stones covers. So musicianship alone puts the Knobs over the Stones hump which in baseball would be the equivalent of the Mendoza line. Where the Knobs left Mick and company in the dust was in the category of lead singer. Debra Demilo was like Mick with the voice of Aretha Franklin. So what happened to the Fabulous Knobs? Debra got married and moved to Indiana. Terry Anderson, David Enloe and Jack Cornell formed The Woods who became an area favorite and were imortalized when the Georgia Satellites were signed on the strength of Terry's song Battleship Chains which somehow found its way onto that band's demo. Terry still shows up with a band at the occasional Sparkle Fest where he thunders through his style of redneck pop with balls and humor.
Band Members:
Debra Demilo - Vocals
Terry Anderson - Drums, Vocals
Keith Taylor - Guitar, Vocals
David Enloe - Guitar, Vocals
Jack Cornell - Bass, Vocals
Posted by Michael Slawter
Wednesday, September 13, 2006
Southern Culture on the Skids - Nashville Toupee - 1992
from the Plan 9/Caroline cd - For Lovers Only
from the SCOTS.com web site
Southern Culture on the Skids, the NC-based swamp-rock, trashabilly rock & roll trio whose odyssey started out with tiny clubs and DIY releases two decades back, just get better with age. Frontman Rick Miller is recognized as one of the finest players in the swamp/surf/rockabilly tradition, just ask any guitar geek, and on these nights he was playing like his soul was on the line. Bassist Mary Huff (she of the hi-style wighats) and stand-up drummer Dave Hartman (he of the “Mama Tried” t-shirt) are as solid and intuitive as any rhythm section in rock. With Doublewide and Live, SCOTS deliver a sweaty rock & roll party that fires on all cylinders, takes it into high gear and damn near jumps outta the speakers. This is what a live album is all about – capturing a band at the top of their game doing what they love in a place they call home.
Now with that in mind, pop a top and put on SCOTS’ latest, Doublewide and Live, and throw a party. That’s what SCOTS did - they threw one for 3 days in November 2004 at Chapel Hill’s Local 506. To record the revelry for posterity the band hauled in longtime co-producer Mark Williams and locked him up upstairs in a closet (aka "control room") and made him pay hi-fi attention to the lo-fi sounds blasting away downstairs. Each night had a different set list and a different crowd. The band played songs from each of their records going back to 1991's Too Much Pork through Ditch Diggin,' Dirt Track Date, Plastic Seat Sweat, Liquored Up and Lacquered Down and their latest, Mojo Box. All the spices and fine ingredients that make up the band’s musical stew are represented on Doublewide. When Rick yells out, "Come and get it!" at the top of the set, get ready to chow down on a heapin’ helping of the guitar-driven, swamp-rockin’, toe-suckin' geek-rock sounds that have made SCOTS a unique taste treat.
So there you have it, gentle reader, Doublewide and Live: the licks are sick, the crowd is wound and the band is tighter than Dick’s hatband. Instant dance party, all you gotta bring is your own drinks and cheese puffs …
Band Members:
Rick Miller - Guitar, Vocals
Mary Huff - Bass, Vocals
Dave Hartman - Drums, Vocals
Posted by Michael Slawter
Tuesday, September 12, 2006
Queen Sarah Saturday -Zoom - 1994
from the Thirsty Ear cd "Weave"/h3>
Formed in 1990 while its all members attended Northern High School, in Durham NC. Queen Sarah Saturday went on to release 2 EPs and the full-length "Weave". Since breaking up in the late 90s Johnny Irion married Sarah Lee Guthrie (daughter to Woody and grandaughter to Arlo) and tours with her. Zeke Hutchins was last seen drumming for Tift Merritt.
Band Members:
Johnny Irion - vocals, guitar
Ryan Pickett - guitar
Chris Hollaway - bass
Zeke Hutchins - drums
Posted by Michael Slawter
Wednesday, September 06, 2006
Big Kids -Facing Out - 1989 from the cassette "Happy Kick & RIP"
It was Fall 1987 and all were students at UNC Greensboro. Britt 'Snuzz' Uzzell was playing guitar in the Sociopaths, and Jeff Carroll was playing guitar in Notes From a Strange Mailbag. With Notes on indefinite hiatus Uzzell & Carroll began cowriting. After a handful of songs emerged they recruited Mike Fowler (Sociopaths drummer) to start Big Kids. Shows and recordings followed. Eventually Fowler was replaced by former Notes drummer Eddie Walker. Walker left and the group dissolved after difficulty nailing down a suitable drummer. In late 1990 Big Kids reformed with Carroll, Uzzell & Walker only to break up again in 1991.
Snuzz and Eddie Walker went onto to form Bus Stop with Evan Olson (Notes From a Strange Mailbag and Majosha) and Chuck Folds (brother of Ben Folds). Snuzz is still recording as a solo artist.
Jeff went onto to form Jeff Carroll and The Desmonds. He is now a mastering engineer.
Band Members:
Snuzz: Bass, Vocals
Jeff Carroll: Guitar, Vocals
Eddie Walker: Drums
Posted by Michael Slawter)
Tuesday, September 05, 2006
Johnny Quest - The Heisman - 1992
from the Blue Dude cd "10 Million Summers"
Johnny Quest was a fun funk metal band from Raleigh, NC. They played a lot of shows in the late 80's/early 90's. They released "10 Million Summers" in 1992. Anyone who saw Johnny Quest will admit that they were a great live band.
Band Members:
Joe Farmer: Vocals
Jack Campbell: Bass, Backing Vocals
Bill Ladd: Guitar, Vocals
Steve Hill: Drums
Posted by Michael Slawter
Butchwax - I'm Dangerous & Saturation Point - 1981
recorded live @ Silver Bullett Saloon February 8th 1981
Butchwax was formed in 1977. They made their stage debut in '79 and then suddenly fizzled in '83. They reformed in 2000 and recorded 32 demos. They played 5 shows and fizzled again. So endeth the lesson.
Band Members:
Mike Burnette - drums
Michael Dupree - guitar/vocals
Richard Martin - bass/vocals
Ron Taylor - vocals
Posted by Michael Slawter
AN INTERESTING SUGGESTION
I got an email from a former NC native who suggested doing a similar site referring to show posters. One of the best I've seen so far is here:
http://www.northcarolinatravels.com/music/goldenage/scrapbook.htm
If anyone has any others that they can scan in and send to me I'd be happy to create a gallery on the site to showcase these long lost artworks.
Thanks,
Michael
Posted by Michael Slawter
Wednesday, August 30, 2006
I wanted to mention that there are now well over 100 songs available on this blog. That's a heck of a lot of bands from NC, and I feel like we've barely scratched the surface.
There have been a lot of folks lately sending me anonymous thank you notes for creating this site. Well, thank you!!! It means a lot to me every time I get an email. I save ALL of them. Also, the stories that folks have written about these bands and the fact that so many musicians from these bands have written comments as well. Most of the bands have offered to send me even more songs that were never released or just lost to time, so that I can post them for you to hear. That is exactly why I started the site. So please send me ideas or postings, I can't do this by myself.
Today, I am posting three songs from the Didofare concert August 29,1998. This was a benefit honoring Sam Moss' late wife Diane (Dido) Foster Moss. A lot of great bands played that night and actually the benefit continued on for several more years, raising money and awareness for breast cancer research. Sam Moss is currently playing in the band <>The Sams with K.D. Rouse (see previous post 3/08/2006).
Peter Holsapple - Love Is For Lovers
Don Dixon - Heart In A Box
Mount Rushmore (featuring Don Dixon, Mitch Easter, Jon Heames, Peter Holsapple, and Sam Moss) - Time Has Come Today
Posted by Michael Slawter
Sunday, August 20, 2006
4 Who Dared - Urine Trouble
from the lp "Kids With Dynamite"
After my post on the X-Teens, I was contacted by Todd Jones. He was nice enough to send a link to his current web site which has several mp3's available for download. Among those was this lost classic from the short-lived 4 Who Dared. You be the judge, but I think this is about as catchy as they come. Enjoy.
Posted by Michael Slawter
Other Bright Colors - Incredible Shrinking Man /One of Us - 1987
from the previously unreleased lp "Drive In"
A few months back I posted a track from the one and only Other Bright Colors lp "Endlessly Rocks the Cradle". Through the greatness of the internet I was contacted by Joe Jaworski, drummer for OBC. Now living in Texas he filled me in on the fact that an entire record was recorded in the summer of 1987 with Mitch Easter at his Drive-In Studio. Joe was kind enough to send me a copy of this long lost record. I am extremely happy to post two songs from this record to share with you. As I hope you have realized, this is exactly why I started this blog. Thanks so much to Joe for allowing me to post this. We need more this folks.
Posted by Michael Slawter
More Background On NCMusicHistory.com
NCMusicHistory.com emerged in the mid-to-late 2000s as a deeply personal and unusually meticulous effort to document the overlooked musical history of North Carolina. At a time when music blogs were often focused on promotion, trend-spotting, or rapid commentary, this site took a markedly different approach: it treated regional music as cultural archaeology. The site’s early mission was not commercial success, branding, or scale, but preservation—specifically of artists, recordings, and scenes that had already begun slipping out of public memory.
North Carolina has long been a paradoxical musical state. It has produced globally influential artists across folk, blues, jazz, rock, punk, indie, and alternative genres, yet many of its local scenes—especially outside the major commercial corridors—have remained under-documented. NCMusicHistory.com positioned itself squarely in this gap, focusing on musicians and recordings that were often released independently, distributed locally, or never formally issued at all.
Rather than framing itself as an authoritative academic archive, the site adopted a voice that was conversational, reflective, and emotionally invested. This tone proved essential to its credibility. The writing conveyed not only historical information, but lived experience: the sense of having attended the shows, known the musicians, bought records directly from bands, or haunted the same venues and guitar shops. As a result, the site became a hybrid of blog, archive, memoir, and oral history project.
Ownership, Editorial Voice, and Stewardship
The original creator and editor of NCMusicHistory.com was Michael Slawter, a musician and devoted music enthusiast with strong ties to North Carolina’s local scenes. His role was not that of a distant curator; he wrote as someone embedded in the culture he documented. This insider perspective shaped both the site’s selection of material and its interpretive framing.
Importantly, Slawter was explicit about the ethical framework of the site. He made clear that the inclusion of music—particularly rare or unreleased recordings—was intended to generate renewed interest in the artists rather than to deprive them of income. The site operated on a preservation-first philosophy, with an open willingness to remove material at the request of rights holders. This approach aligned NCMusicHistory.com with a broader tradition of ethical archival sharing that existed in tension with commercial music distribution models of the time.
After the original period of activity slowed, the domain itself entered a new phase of stewardship. Later caretakers of the site expressed respect for Slawter’s original mission and preserved the archived content rather than attempting to rebrand or overwrite it. This continuity of intent has been crucial in maintaining the site’s credibility as a historical resource rather than a repurposed or diluted brand.
Historical Context: Blogging and Music Preservation in the 2000s
To understand the significance of NCMusicHistory.com, it is necessary to situate it within the broader context of early music blogging. Between roughly 2004 and 2010, blogs became one of the primary means by which independent music histories were recorded online. Social media platforms had not yet centralized discovery, and institutional archives were slow to digitize regional or underground material.
During this period, many blogs functioned as ad hoc archives. However, most focused on current releases or niche genres rather than geographically specific histories. NCMusicHistory.com stood out by anchoring its identity to place. It treated North Carolina not merely as a location, but as an organizing principle—a cultural ecosystem whose internal connections mattered.
This approach mirrored developments in other disciplines at the time, including folklore studies and vernacular history projects. The site’s posts often resembled case studies: one band, one recording, one story, contextualized within friendships, venues, labels, and local infrastructure. In this sense, the site contributed not just to music fandom, but to the broader documentation of Southern and regional American culture.
Scope of Coverage and Musical Eras Represented
One of the defining characteristics of NCMusicHistory.com is its temporal breadth. The site covers multiple decades of North Carolina music, with particular emphasis on the 1960s through the 1990s. This range allows readers to trace stylistic evolutions and generational shifts within the state’s music scenes.
The site documents garage rock, power pop, punk, post-punk, indie rock, funk, metal, and hybrid forms that resist easy categorization. Many of the artists featured were regionally influential but nationally obscure, making the site especially valuable to researchers and fans interested in micro-scenes rather than canonical histories.
Notably, the site does not limit itself to success stories. Bands that broke up prematurely, recordings that never reached wide distribution, and artists whose careers were cut short are treated with the same seriousness as more established names. This egalitarian approach reinforces the site’s archival ethos: historical value is not determined by chart success.
Geographic Anchoring and Local Scenes
Geography plays a central role in the site’s organization and storytelling. Cities such as Winston-Salem, Chapel Hill, Raleigh, Durham, Greensboro, and surrounding Triad and Triangle communities recur throughout the archive. These locations are not presented as abstract dots on a map, but as lived environments—places where rehearsal spaces, clubs, record stores, and informal networks intersected.
By repeatedly returning to these locales, NCMusicHistory.com implicitly maps the infrastructure of North Carolina’s independent music culture. Readers gain insight into how scenes sustained themselves: through college radio stations, small labels, benefit shows, and personal relationships. This localized detail is rarely captured in mainstream music histories, which tend to flatten geography in favor of industry narratives.
Cultural and Social Significance
Beyond music itself, NCMusicHistory.com captures the social dimensions of creative communities. Posts frequently touch on themes of friendship, mentorship, loss, and continuity. Musicians are portrayed not only as performers, but as shop owners, producers, collaborators, and community anchors.
The site also documents how music scenes intersected with broader social realities. Benefit concerts, mental health struggles, economic precarity, and the fragility of creative careers all appear organically in the writing. These elements contribute to a more honest and humane portrait of cultural production, resisting romanticization while honoring commitment and passion.
In this way, the site functions as a form of social history. It preserves evidence of how creative labor operated outside institutional support structures, relying instead on mutual aid and shared belief in the value of music.
Audience and Reach
The primary audience for NCMusicHistory.com has historically consisted of musicians, long-time fans, collectors, and researchers with a specific interest in North Carolina or Southern music history. However, its reach extended beyond the state, particularly among readers interested in underground and DIY cultures more broadly.
The site’s recognition as one of the top musicology blogs during its active years reflects this broader appeal. That acknowledgment positioned it alongside more academically oriented platforms, despite its informal tone. The distinction lies in its methodology: while not academic in structure, the site exhibits rigor in sourcing, specificity, and contextualization.
Popularity, Recognition, and External Validation
While NCMusicHistory.com was never designed as a mass-market destination, it did receive notable recognition within online music and educational communities. Its inclusion in curated lists of influential musicology blogs signaled that it was valued not just as a fan site, but as a serious contribution to music studies.
Additionally, the site attracted engagement from the musicians it documented. Former band members, collaborators, and contemporaries frequently contributed comments, corrections, and additional material. This feedback loop enhanced the archive’s accuracy and depth, transforming it into a collaborative historical project rather than a one-way publication.
Ethical Positioning and Rights Awareness
A recurring feature of the site is its transparent stance on intellectual property. Rather than ignoring legal concerns, NCMusicHistory.com addressed them directly, inviting rights holders to request removals and emphasizing respect over confrontation. This posture helped differentiate the site from less conscientious file-sharing platforms.
Importantly, the site framed preservation as complementary to legitimate reissues and renewed interest. By resurfacing forgotten recordings, it aimed to create conditions under which artists might regain visibility and recognition. This perspective anticipated later discussions around archival access, cultural memory, and restorative documentation.
Relationship to Archival Platforms and Longevity
As the original blog activity slowed, the importance of third-party archival platforms grew. Archived snapshots preserved the site’s content and ensured its continued availability even as hosting and blogging platforms evolved. This afterlife has become part of the site’s identity: NCMusicHistory.com now exists as both a historical artifact and a historical resource.
The survival of its content underscores the value of early independent archives. In contrast to algorithm-driven platforms, which frequently bury or erase older material, the site’s static pages retain their original context and voice. This stability enhances their usefulness for long-term research.
Comparison to Other Regional Music Archives
Compared to institutional archives or museum-backed collections, NCMusicHistory.com is more intimate and less formal. However, this informality is precisely its strength. It captures nuances that formal collections often miss: offhand anecdotes, emotional responses, and subjective judgments that reflect how music was actually experienced.
In contrast to social media, the site offers depth rather than immediacy. Posts are not optimized for sharing or virality, but for completeness. This makes the site particularly valuable in an era increasingly dominated by short-form content and ephemeral platforms.
Lasting Legacy and Continuing Relevance
Today, NCMusicHistory.com stands as a model for grassroots cultural documentation. Its influence can be seen in later regional history projects, oral history initiatives, and music blogs that prioritize place-based storytelling. While the site itself may no longer update regularly, its existing content continues to circulate among educators, writers, and enthusiasts.
The site’s enduring relevance lies in its refusal to separate music from the people and places that produced it. In doing so, it preserves not just songs, but contexts—ensuring that North Carolina’s rich and varied musical past remains accessible to future generations.