"The sound is beautiful, powerful pop that would be enough to freeze your radio dial where it is. The only reason not to like them is you haven't heard them yet" (Manhattan Mirror).
Clare Quilty's first album, Suga-Lik, featured the band's distinctive pop sound, spotlighting the contrast between lead vocalist Jenn Rhubright's hypnotically lilting voice and guitarist Michael Rodi's aggressive use of distortion and feedback. Jenn's performances were immediately noted by fans and press alike: "Rhubright shines from beginning to end of the LP, and her exploits make the album a genuinely successful debut" (MTV Online). Suga-Lik was indeed an impressive debut; released in September of 1997, the album enjoyed an 8 week run in CMJ's Top 200 chart at the end of the year. Growth continued in early 1998 as the band released a video and Suga-Lik went to #1 at WRAS, Georgia State's 100,000 watt radio station located in the heart of Atlanta. Suga-Lik was re-released in March through WEA (Warner/Elektra/Atlantic) when DCide secured distribution via Lightyear Entertainment. Kudos rolled in from such publications as Exclaim!, Manhattan Mirror, and Rockpile, all agreeing that Clare Quilty had "definitely established itself as a band to watch" (Ink 19). The band toured through the Southeast, sharpening their stagecraft by performing with such groups as Drivin n Cryin, Mighty Joe Plum, Luna, and Southern Culture on the Skids. Tracks from the album appeared on numerous compilations, including Settling the DC Score, In-Line Skater Vol. 2 (which also featured Better than Ezra, Bran Van 3000, and the Jesus Lizard), two compilations by Skechers (also featuring Big Bad Voodoo Daddy, Sonichrome, Postilina Mosh, Bis, Jimmy Eat World, and Sparklehorse), The Pit vol. 2, and Women n Rock. By fall, the time had arrived to begin work on Clare Quilty's second album.
 If Suga-Lik was characterized by the marriage of opposites--edgy rock guitars under dreamy, sensual vocals--the band's follow-up album, Strong, takes this dualism to a new level. The songs themselves seem to cover broader spectrum, running the sonic gamut from the assaultive rock of "Dylarama" to the light, ethereal grooves of "Anger is Beautiful," or from the signature pop of "Angel of the Odd" to the bittersweet innocence of "Reach Tommorow." Jenn's vocals exude playful charm one minute and aggressive anger the next as they pour over the music's lushly layertuart Gunter's powerful rock drumming is lock tight. The resulting album, Strong, is a shrewd, summary panorama of today's pop-culture, and a stunning exhibition of CQ's development as a band.
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